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EQ is the most used tool in a mix — and the most abused one.
The problem isn’t the eq itself. It’s using it without context, without listening to how each move affects everything else around it.

Over-processing, ignoring the mid-range, never checking in mono — these are the decisions that quietly kill a mix before it reaches the master bus.

Work subtractively first. Decide in context, never in solo. And let the eq follow the energy of the arrangement — not stay frozen across the whole track.

EQ is the most used tool in a mix — and the most abused one.
The problem isn’t the eq itself. It’s using it without context, without listening to how each move affects everything else around it.

Over-processing, ignoring the mid-range, never checking in mono — these are the decisions that quietly kill a mix before it reaches the master bus.

Work subtractively first. Decide in context, never in solo. And let the eq follow the energy of the arrangement — not stay frozen across the whole track.

EQ is the most used tool in a mix — and the most abused one.
The problem isn’t the eq itself. It’s using it without context, without listening to how each move affects everything else around it.

Over-processing, ignoring the mid-range, never checking in mono — these are the decisions that quietly kill a mix before it reaches the master bus.

Work subtractively first. Decide in context, never in solo. And let the eq follow the energy of the arrangement — not stay frozen across the whole track.

EQ is the most used tool in a mix — and the most abused one.
The problem isn’t the eq itself. It’s using it without context, without listening to how each move affects everything else around it.

Over-processing, ignoring the mid-range, never checking in mono — these are the decisions that quietly kill a mix before it reaches the master bus.

Work subtractively first. Decide in context, never in solo. And let the eq follow the energy of the arrangement — not stay frozen across the whole track.

EQ is the most used tool in a mix — and the most abused one.
The problem isn’t the eq itself. It’s using it without context, without listening to how each move affects everything else around it.

Over-processing, ignoring the mid-range, never checking in mono — these are the decisions that quietly kill a mix before it reaches the master bus.

Work subtractively first. Decide in context, never in solo. And let the eq follow the energy of the arrangement — not stay frozen across the whole track.

EQ is the most used tool in a mix — and the most abused one.
The problem isn’t the eq itself. It’s using it without context, without listening to how each move affects everything else around it.

Over-processing, ignoring the mid-range, never checking in mono — these are the decisions that quietly kill a mix before it reaches the master bus.

Work subtractively first. Decide in context, never in solo. And let the eq follow the energy of the arrangement — not stay frozen across the whole track.

Introducing viceversa (Live).

After years of producing, releasing and performing across the global underground scene, viceversa is entering a new chapter — bringing his sound into a fully immersive live experience.

Blending organic atmospheres, deep chords and hypnotic energy, this new project marks a major evolution for an artist who has already left a lasting mark on dancefloors worldwide.

We’re proud to welcome viceversa (live) to under the agency.

The Elektron Analog Four MK2 is a 4-voice analog synthesizer built around the most powerful step sequencer available in hardware — every voice has its own discrete analog signal path with two oscillators, a multi-mode filter, two envelopes, two LFOs, and an overdrive circuit, all accessible from a single interface. What separates it from every other analog polysynth is the combination of Elektron’s parameter lock system with true analog circuitry — you can program a different filter cutoff, oscillator pitch, envelope shape, and LFO rate on every individual step of every voice simultaneously, turning a 16-step pattern into a composition of 16 unique analog events rather than a repeated loop.
Key parameters:

Analog voice: 2 VCOs with hard sync, ring modulation, and PWM — multi-mode filter (lowpass, highpass, bandpass) with resonance and overdrive; all circuits are fully discrete analog
Parameter locks: Per-step values for every synthesizer parameter — pitch, filter, envelope, LFO, FX send; up to 72 parameter locks per step across all voices simultaneously
CV/Gate outputs: 4 dedicated CV and gate outputs for controlling external modular or analog gear — sequenced by the same Elektron sequencer as the internal voices
Individual outputs: 4 separate audio outputs — one per voice — for independent processing in DAW or external mixer

The Analog Four MK2 is the instrument for producers who think sequentially rather than harmonically — its strength is in melodic and rhythmic evolution over time, where parameter locks create movement and development that static patch programming cannot. It sits at the center of live techno and electronic sets where the sequencer drives both internal voices and an entire modular system from a single device.

💡 TIP: Assign Voice 4 exclusively to the CV outputs with no internal audio — use it as a dedicated modulation sequencer sending pitch CV to a modular VCO and gate to a Eurorack envelope. Your Analog Four now sequences four internal analog voices and one complete external modular voice simultaneously, all locked to the same clock and parameter lock system.

07.06 @clubgiovanilemilano

Bad gain staging is the hidden reason your mixes sound muddy, distorted, or just off — even when everything else seems right.
Set your levels before you process. Keep headroom at every stage. Make sure your plugins are receiving a clean signal to work with.

Get this right and everything else — EQ, compression, saturation — starts working the way it’s supposed to.

Bad gain staging is the hidden reason your mixes sound muddy, distorted, or just off — even when everything else seems right.
Set your levels before you process. Keep headroom at every stage. Make sure your plugins are receiving a clean signal to work with.

Get this right and everything else — EQ, compression, saturation — starts working the way it’s supposed to.

Bad gain staging is the hidden reason your mixes sound muddy, distorted, or just off — even when everything else seems right.
Set your levels before you process. Keep headroom at every stage. Make sure your plugins are receiving a clean signal to work with.

Get this right and everything else — EQ, compression, saturation — starts working the way it’s supposed to.

Bad gain staging is the hidden reason your mixes sound muddy, distorted, or just off — even when everything else seems right.
Set your levels before you process. Keep headroom at every stage. Make sure your plugins are receiving a clean signal to work with.

Get this right and everything else — EQ, compression, saturation — starts working the way it’s supposed to.

Bad gain staging is the hidden reason your mixes sound muddy, distorted, or just off — even when everything else seems right.
Set your levels before you process. Keep headroom at every stage. Make sure your plugins are receiving a clean signal to work with.

Get this right and everything else — EQ, compression, saturation — starts working the way it’s supposed to.

Bad gain staging is the hidden reason your mixes sound muddy, distorted, or just off — even when everything else seems right.
Set your levels before you process. Keep headroom at every stage. Make sure your plugins are receiving a clean signal to work with.

Get this right and everything else — EQ, compression, saturation — starts working the way it’s supposed to.

The Neve 1073 is the most recorded-upon preamplifier in the history of audio engineering — a discrete Class A mic pre and three-band EQ module originally designed by Rupert Neve in 1970 for the Neve 1073 console, and since then found in virtually every major recording studio worldwide. Its transformer-coupled input and output stages add harmonic saturation to everything passing through them, and its EQ curves — fixed frequency shelves and a semi-parametric midrange — are so musically voiced that boosting with a 1073 almost never sounds like boosting. It makes sources sound more like themselves, only better.

Key parameters:
• Mic preamp: Discrete Class A amplifier with transformer-coupled input — gain from +20 to +80 dB in 5 dB steps; the input transformer is the primary source of the 1073’s harmonic character
• High frequency shelf: Fixed at 12 kHz, boost or cut up to ±16 dB — unusually smooth and airy for a passive shelf; never harsh even at maximum boost
• Mid EQ: Semi-parametric with selectable frequencies (360 Hz, 700 Hz, 1.6 kHz, 3.2 kHz) and ±18 dB range — the 3.2 kHz setting is one of the most recorded sounds in music history
• Low frequency shelf: Fixed at 220 Hz with ±16 dB range — adds warmth and body to kick drums, bass, and vocals without muddying the low-mid region

The 1073 belongs on every source where you want to add presence and body simultaneously — vocals, acoustic guitars, drum room mics, and bass DI all respond to its midrange boost in a way that synthetic EQs with similar curves don’t replicate. The hardware transformer saturation at high gain settings adds a density that no plugin fully captures, though the best software emulations come remarkably close.

The Novation Launch Control XL is a dedicated hardware mixer controller built specifically for Ableton Live — 8 channel strips each with three rotary encoders and a dedicated mute, solo, and select button, plus 8 motorless faders for volume or any MIDI-assignable parameter. Where generic MIDI controllers require extensive mapping before becoming useful, the Launch Control XL ships with a factory template that mirrors Live’s mixer layout out of the box, making it the most immediately practical hands-on controller for Live-based mixing and performance at its price point.

Key parameters:
• 8 channel strips: Each strip has 3 encoders (Send A, Send B, Pan by default) plus a 60mm fader — fully remappable to any MIDI-assignable parameter in Live or any other DAW
• Templates: 8 storable user templates for different sessions or instruments — switch between a mixer layout, a drum rack template, and a synth parameter layout without reprogramming anything
• Buttons: 8 mute, 8 solo, and 8 select buttons per bank with colored LED feedback — visual state matches Live’s mixer state in real time
• Bank switching: Left/right navigation buttons shift all 8 channels across as many tracks as your session contains — control a 64-track session from 8 physical strips
The Launch Control XL earns its place in any Live setup where mouse-based mixing creates a creative bottleneck — having sends, pans, and faders under your hands simultaneously transforms mixing from an editing task into a performance. It’s particularly powerful for live sets where you need to ride send levels to a reverb or delay bus in real time without clicking through the GUI.

💡 TIP: Map the three encoders on each strip not to Send A/B/Pan but to the three most performance-relevant parameters of the instrument on that track — filter cutoff, reverb send, and volume. Now your mixer controller becomes an 8-channel instrument performance surface, and every fader move is a musical gesture rather than a technical adjustment.

#novation #launchcontrolxl #novationlaunchcontrol #abletonlive #midicontroller

The Soma Laboratory Lyra-8 is an analog synthesizer that operates on principles found nowhere else in electronic instrument design — eight oscillators arranged in a web of cross-FM modulation, playable only through direct finger contact on eight touch-sensitive pads that alter the FM routing between oscillators in real time. There are no keys, no MIDI, no sequences, and no patch cables. The instrument responds to the electrical properties of your body — skin resistance, contact area, and pressure all affect how the oscillators interact, making every performance physically unique and impossible to precisely repeat.

Key parameters:
• 8 oscillators: Arranged in four paired voices, each pair with independent frequency and detune — all eight oscillators continuously influence each other through the cross-FM network
• Cross-FM matrix: Touch pads route FM modulation between oscillator pairs in configurations that change continuously as fingers are added, removed, or moved — the modulation depth is set globally with the Hyper LFO control
• Distortion + filter: Post-oscillator distortion circuit followed by a lowpass filter — both are deliberately dirty, adding harmonic roughness that reinforces the organic character of the FM interactions
• Hold/Delay: Sustain and echo circuit for sustaining tones and creating layered textures from a single touch — effectively a lo-fi delay built into the signal path

The Lyra-8 is an instrument for producers who want to record sounds that feel alive — its instability is the point, not a flaw. It excels at drone-based ambient music, experimental sound design, film scoring, and any context where human unpredictability and biological physicality are more valuable than repeatability and control.

The Eventide H3000 Ultra-Harmonizer is the processor that redefined what studio effects could sound like — released in 1986, it introduced pitch shifting, harmonization, and modulation algorithms so musically sophisticated that they remain reference-quality nearly four decades later. Where previous pitch shifters produced robotic, glitchy artifacts, the H3000’s algorithms maintained the natural character of the source signal even at extreme transpositions, making it the first hardware processor that could shift pitch as a creative tool rather than a technical compromise. Its 100+ factory algorithms cover everything from subtle chorus and micro-pitch detune to extreme harmonic transformation.

Key parameters:

Pitch shifting: Transposition from -2 octaves to +2 octaves with independent left/right shift amounts — diatonic harmonization mode tracks key and scale, producing musically correct harmony lines automatically
Mod factors: Per-algorithm modulation parameters including rate, depth, and waveform — LFO-modulated pitch shift produces chorus, flanging, and vibrato with a warmth no plugin fully replicates
Delay: Integrated delay lines with millisecond precision, feedback, and filtering — combined with pitch shift for chorus, slapback, and multi-tap effects in a single algorithm
Ultrashifter: Advanced pitch shifting algorithm with independent shift and feedback per channel — at extreme settings produces metallic, inharmonic textures used in film scoring and experimental production

The H3000 belongs on vocals above everything else — its diatonic harmonizer mode has been on virtually every major vocal production of the last 35 years, adding thirds and fifths that track the key of the song without any manual pitch correction. But it’s equally powerful on drums, guitars, and mix buses where micro-pitch detune adds width and three-dimensionality that EQ and compression can’t achieve.

Roar earns its place on every kind of source material — subtle Warm stage saturation on a bus adds density without audible distortion, while stacking Fold into Hard into Feedback on a synth lead produces aggressive harmonic complexity that compressors and EQs can’t touch. Its feedback path is the most unique feature: at low settings it adds warmth and sustain, at high settings it becomes an instrument in itself.
💡 TIP: On a drum bus, run Stage 1 as Warm at low drive, Stage 2 as Hard at moderate drive, and set the feedback path to a high-pass filtered loop at about 15% — you’ll add punch and harmonic density to the transients without smearing the low end, and the filtered feedback loop adds a subtle mid-frequency sustain that glues the bus together without a compressor.

#ableton #abletonroar #roar #abletonlive12 #saturation

The Oberheim OB-X8 is the return of one of the most beloved analog polyphonic synthesizers ever built — designed by Tom Oberheim himself, the engineer whose original OB series defined the sound of recorded music in the late 1970s and 1980s. Where most modern analog polysynths use a single shared filter per voice, the OB-X8 uses discrete voice cards — each of its eight voices is a completely independent analog circuit with its own oscillators, filter, and amplifier, meaning every note in a chord has its own slightly different character. That voice-to-voice variation is the source of the Oberheim “sound” — a thickness and organic width that no digitally-controlled analog architecture replicates.

The OB-X8 is the synthesizer for producers who want polyphonic analog warmth on pads, strings, and chord stabs without any digital compromise in the signal path. Its 2-pole filter mode is particularly special — that open, slightly hollow character sits in a mix in a way the Moog ladder filter never does, complementing rather than competing with other elements.

The Korg MS-20 Mini is a 86% scale reissue of the legendary 1978 MS-20, faithfully recreating the original’s analog circuitry with one significant update — the filter. Early production MS-20 units used a self-oscillating filter design that Korg later revised in 1979, and the Mini uses the original first-revision circuit, widely considered the more aggressive and characterful of the two. Everything else follows the original blueprint: dual filter architecture, semi-modular patchbay, external signal processor, and the same brutal, uncompromising sound that made the MS-20 one of the most influential synthesizers ever built.

The MS-20 Mini sits at the center of any setup where raw analog aggression matters — its filter is one of the few circuits in hardware synthesis that genuinely sounds different from everything else, and its external input turns it into a powerful audio processor for drums, bass, and external synths. The reduced size makes it more practical than the original without sacrificing a single feature.

#korg #ms20mini #korgms20mini #ms20