Sep 2010 19

From our Amsterdam HQ to the underground of Paris, we have music coming through from all over the place and with our French connection we are pleased to welcome Burst (Paris) to our roster.

Recently at Mysteryland we enjoyed a crazy crowd rocking to the beats of ‘Badbeats’ but surely the rest of the ‘Bucal ep’ will go down very well in your sets too.

Remixes are by the hands of Jazper, Michell van Wijngaarden and Franklin Reeves and vary from dark tech-house to pumping House music.

Go to Get These Tracks Add This Player

Released by: Strom recordings
Release/catalogue number: str019
Sep 2010 26

Tim Roscoe

Posted In Artists,Blog

Dutch techno DJ and producer Tim Roscoe suddenly emerged into the scene with his succesful debut release on Stolen Moments in 2010. The “Gossips EP” got played and charted many times and has been topping the Beatport charts for quite some time.

Tim has produced and remixed for labels such as for Strom Recordings, Uniform Records, Stolen Moments and also Sander Kleinenberg’s Little Mountain recordings.

Tim Roscoe’s side project, RackeT, together with his close friend The RipTide awaits an upcoming release on Tommy Sunshine’s Brooklyn Fire.

More info about Tim Roscoe visit

Sep 2010 26

From Equador Daniel Jaramillo and Roberto Bastidas (aka Bastien) are working together as “Jaramillo & Bastien” since 2008. Their powerful tech minimal music has put them on the map as the next big thing from Southern America their music is not limited to one genre only but goes from deep techno to latin house and their sound is always marked by one constant  quality factor…groove!

Jaramillo & Bastien have released for labels such as: Starlight, Multivitamins, Strom, Limonada, Airdrop and T-Bahn amongst others and tracks like Sleepy Edit, Bloco and So Saxy have been in the top of the best sellers charts of Beatport, Whatpeopleplay and many more.

Their tracks are very succesful and played and ranked by artists like Tony Rhor, M_Ferri, Mathias Mesteño, Tim Green, DJ Sneak, Marcelo Rosselot, etc.

Together they own “La Pirada Ecuador,” branch of the famous argentinean company “La Pirada Latam,” an all media audio production and postproduction company which already counts with local projects for big names such as MTV and Bora-Bora.

As mixing and mastering ingeniers they have worked for labels like: Cadenza, Los Andes Music, Tongut, Mindsounds, and more.

Their performance in clubs is considered neat, consistent and well driven. They have played in Bahrein, Levitar (Arg), Trotamundos, Gran Central, Me robo el corazon (Chi), etc.

With a great list of upcoming releases –some in 12”– 2010 was (and still is) an excellent year for the duo.

For more info, contact J&B via e-mail:

Oct 2010 15

The Amsterdam Dance Event (ADE) is the leading electronic music conference and the biggest club festival for electronic music. Founded fourteen years ago, ADE first came to light in 1996 as a small conference with a few hundred music professionals and a festival program in 3 clubs with 30 DJs ans Strom recordings has been invited to host a room at the fabulous Club Rain right here in the centre of Amsterdam… Read more

Oct 2010 17

This week on XT3 Techno radio we have a special show featuring Hermanez and Phly. Both artists have been buzzing tremendously the last few years and both are attending Amsterdam Dance Event to showcase their music and/or labels. We will have an exclusive DJ set from both and we’ll be doing the usual interviews and talk about the ins and outs of the Amsterdam Dance Event 2010.

Hermanez has been doing very well lately with releases on Great Stuff, Mobilee and Kling Klong and just returned from a successful tour in Brasil and he will be doing a remix on Strom recordings later this year for a release by Roderick Fox.

Phly aka Philipp Bruening is the label manager of Pokerflat and Dessous which is home to artists like Steve Bug, Trentemoller and Argy and has been very busy with these  successful labels and also hosts his own club nights in Hamburg.

For more info go to:

Nov 2010 02

More social media podcasts coming your way via
Be sure to check em out! Below the latest DJ set by Zoutman for XT3 Techno radio.

Nov 2010 04

DJ set by Roderick Fox for Strom Sessions Amsterdam broadcasted live @ XT3 Techno radio hosted by James Nidecker.

Jan 2011 04

Album release party “Zeitgeist” by Stefanowitz

Een nieuw jaar is begonnen en wat is een betere manier om het eerste weekend van 2011 in te knallen met de release party voor het debuut album van Stefanowitz getiteld ‘Zeitgeist”. Voor het Amsterdamse techno label Strom recordings is dit het eerste artiesten album wat zij uitbrengen en iedereen van het label is ongelofelijk enthousiast om de wereld kennis te laten maken met dit sterke debuut. Stefanowitz kruist techno met diepere tech-house en minimal invloeden en weet hiermee een uur lang de spanningsboog strak gespannen te houden.


Door Nachtlab, waar Strom sinds 2009 haar label en studio heeft ondergebracht, werd de kans geboden om de release van het album met een goed feestje te lanceren. En dus pakt Strom samen met Nachtlab meteen groot uit met een feest in Studio80 waar Stefanowitz, James Nidecker, Roderick Fox, Zoutman en Tim Roscoe de boel flink zullen laten knallen in de grote zaal! En om dit extra te vieren, zal niemand minder dan 2000 AND ONE als speciale gast daar nog een schepje boven op doen die avond.

In de kleine zaal zullen Miss Melera, Salvador en Eke Evi de avond muzikaal invullen. Deze drie zijn graag geziene gasten achter de decks in Studio80. De avond zal geopend worden door Eke Evi, de enige echte Miss Bar27, gevolgd door Salvador, wie regelmatig op woensdagavond de zaal vol draait tijdens de Katapult avonden en dus geen moeite zal hebben zich staande te houden tussen deze twee sterke dames… Als afsluiter zal allrounder Miss Melera zich over de laatste uurtjes van de eerste vrijdagnacht van 2011 ontfermen.

Voor een ieder die niet kan wachten is “Zeitgeist” nu al als preview te downloaden op de site van Strom recordings;

Strom recordings en Nachtlab hebben overigens ook nog een nieuwjaars presentje voor je. Een ieder die dit bericht leest en een mail stuurt naar Strom recordings, ontvangt een unieke link naar een gratis download van een track van het nieuwe album “Zeitgeist” van Stefanowitz!

Dus stuur een e-mail met als onderwerp “Ik wil met Zeitgeist het nieuwe jaar in!!” en je volledige naam naar en je krijgt als eerste een voorproefje van dit waanzinnig sterke album!

Hoewel je de beste indruk van Stefanowitz natuurlijk in Studio80 zelf zult krijgen. Tot vrijdag 7 januari!

Nachtlab presents Strom Recordings – Album release “Zeitgeist”

Studio 80 / 7 januari 2010 / 23.00 uur


Presale €11 ( /

Deur €13 / GraagGezieneGasten €11

Mar 2011 08

Includes sets by 2000andone, James Nidecker, Roderick Fox, Stefanowitz, Zoutman and Tim Roscoe. This was a recordings of a subliminal night at Studio80 in Amsterdam, celebrating the pre release of Stefanowitz’ ‘Zeitgeist’ album…download here.

Mar 2011 08

A new year is opening up and what better way to kick start 2011 with a superb debut techno album by Stefanowitz entitled “Zeitgeist”.

And since it’s also the first artist album to be released on Strom recordings we’re all very excited to launch this little jewel into the world the best way we can.

Stefanowitz’s (aka Stephen J Kroos) thoughts on the album title refer to his current state of mind in which he created a sonic landscape of music ‘which hopefully is still worth listening to in ten years from now..’ (quote Stefanowitz). His ability to shape melodic structures with deep and layered dark beats is almost like a typical trademark for this Dutch producer who’s earlier releases got full support from DJ’s like Laurent Garnier, Sasha, Dubfire, Gregor Tresher, Paco Osuna and many more.

The album preview mix is now available for download and stream on the Strom Soundcloud and a special video edit shall be going live in the beginning of 2011 on the label’s Youtube channel.

And you can now download the bonus track ‘Meus Ardor’ here:

In 2011 there will also be various remixes by Estroe, label head James Nidecker and some very special guest producers so keep an eye out for those too.

Time will tell but Stefanowitz definitely has delivered another jewel in the crown of Dutch techno for 2011.

For more info and interview requests please contact:

:::Album tracklisting:::
01. Blackout 3.0
02. Pumtschj
03. Dilligence
04. Monomyth
05. Hop to it
06. Dwangwant
07. Snippers
08. Coccyx
09. Organization
10. Synthesize to escape
11. Recurrence

Go to Get These Tracks Add This Player

Mar 2011 30

Kicking off show #012 with the incredible active producer/DJ duo from Equador Jaramillo & Bastien who are knocking out release after release with quality minimal tech-house funk on labels like Tongut, Starlight and Strom recordings. After their DJ set I will have a short interview with them to hear how party life in Equador affects these talented producers.Keep an eye out for their two upcoming releases on Strom recordings at the end of the year and in the beginning of 2011.

In the second hour of podcast #012 we have the Irish duo Dualtec who are masters at producing fat tech grooves and they have a very strong release coming up on Strom recordings in the beginning of 2011. They also release on labels such as Deal records, Armada and Kompressor and you should definitely check out their ‘What’s the Jazz’ ep on Central Station Records.

Apr 2011 03

This Session we invited an artist that has been doing very well with his productions recently and even saw his remix for Burst’s “Bucal” (Strom recordings) being buzzed in South America big time.

Michell van Wijngaarden will be doing an exclusive DJ set at the XT3 studios and James will do a short interview with him at the end of his set to see where he is heading with his music and what else is buzzing in his agenda as a DJ.

For more info about Michell you can visit his facebook or his Twitter:

10 ways to get a proper record deal
Apr 2011 12

With a couple of years of experience on the label side of the music bizz I thought it was worth it to give some insights from a label’s point of view and why certain things don’t work the way people think they should work regarding GETTING A RECORD DEAL.

Every label works differently so below is not a set of rules, but I know some of the mistakes both artist and label make to annoy the fuck out of each other and a little help might do us all some good.

So, here we go…..and yes, this post goes beyond 250 characters :-)

1. don’t send out mass e-mails with every label in the world in cc!!
Pretty obvious you say? Well, not for some aspiring artists out there cuz we (the labels) still seem to get a lot of demo e-mails with as many as 50 other labels in CC. Seriously guys and gals, no label (and I do mean NO) is interested in your demo e-mail as soon as they discover that they are not the only ones getting your ‘exclusive hot demo’. It just reflects that you are a lazy ass who didn’t take the time to get personal with a label, find out who they really are and start building some sort of relationship with them.

2. don’t send Trance garbage to a credible techno label (and vice versa).
Again, if you are really looking to connect with a label representing your music then it might help if you first check out their site and musical style, to see if it fits your genre.

Don’t think that bombing people with the wrong shit (at least, that’s what a label will think of you and your music if your genre is way off from theirs) gives you the result you are looking for….in other words, a record deal.

3. If you Google “techno music + label” you might think that whatever pops up first, that should be your first choice of label for sending them demos, right?….nope, wrong again.
Check out what you buy as a music lover and which labels you like and play as a DJ. Or check on Beatport the charts of your genre to get familiar with labels and their artists. Don’t get fired up just cuz you’ve downloaded the latest Ableton version with a zillion plugins (which can make u feel pretty awesome of course). Familiarize yourself with labels and artists, ask other artists what their experience is with some of their labels and then decide which ones fits your musical needs.

4. Facilitate…don’t irritate
yeay yeah, we all know sendspace, yousendit, hotfile, rapidshare and almost every other kind of free file sharing site out there. But, those sites don’t make it easier for a label manager to go through it all. Long downloads (never send demo wav files please), slots not working, waiting annoyingly for 45 secs before download starts etc etc…bleh!

Don’t get shocked (..of course you should be) but the average electronic label receives over 10 – 30 demos…each week!

And that’s probably only the amount of demos that the relatively smaller labels receive, don’t even mention the bigger ones like Great Stuff and Minus who reportedly get over 100 demos (!) each week, according to an article in Groove magazine.

So, make it as easy as possible for a label to listen to your music. Upload to Soundcloud and send a label those links so that with only one click any label manager can have a quick listen to your music and decide of your demo is something for them (or not).

5. Don’t get frustrated…send a friendly reminder :-)
As mentioned before, many labels get tons of e-mails every day and, since most of the label managers are men, they don’t handle such an information overload very well (women are better organised, ask your mum). Some labels have a notification on their website which says something like “due to the amount of demos we receive it is impossible to reply on every email…blablabla”. I know, such a line sounds lame and uber cool at the same time (depending on your point of view) but at least you know where you stand when you don’t get a quick response on your e-mail.

So, as a general rule of thumb, if you don’t get an answer:

a) after 1 day….wait another 2 days

b) after a week….send a friendly reminder asking your contact if he/she had time to listen to your demo. I say ‘stay friendly’ cuz if you get too excited or irritated in your e-mail….be honest…nobody likes that and busy labels won’t even bother to reply you with a ‘screw-slash-fuck-you’ e-mail….or at least I wouldn’t 😉

c) after 2 weeks (which includes you sending that friendly reminder)….start wondering if this is the kind of label that you want to be on as an artist since they probably don’t have the professional courtesy (or time) to respond at all. This usually is an indication that a label doesn’t care less about anyone besides themselves or that they don’t have the staff to handle the e-mail overload….both annoy the fuck out of me and such labels should be considered a no go label. The least a label could do is let you know if they’ve received your e-mail or have something stated on their website that they only reply whenever they are interested in a demo.

d) after a month with numerous reminders (from friendly to almost wanting to write ‘go fuck yourself you arrogant label pricks)….you should by now think “this is not the label for me’.

e) after 3 months (yes I do know artists who are very persistent to get signed onto certain labels…if you still think it is worth being on a label that clearly doesn’t give s shit about their future artists…then…well…you are a naive ass sucker (nothing personal) who will bump into more frustrating music industry bullshit during his/her career as an artist……but don’t let that hold you back of course.

6. Ask for feedback on your music…but be prepared for an honest reply.
Once you have a connection with someone from your label of choice you can ask for some honest feedback (which will always be brutally honest if it sucks..but again, don’t let that bring u down) on your music. Sometimes a track is 80% finished, has the right vibe but just doesn’t cut it to be released…yet. Maybe with some proper advice from a label manager you can lift your track to a higher level which might make it release worthy.

7. Make a selection of your best tracks…..there are no b-sides in the digital age!
With vinyl you would want to use every part on that precious black golden disc to make it worth your money. But with so many labels turning digital for the majority of their releases (even the big ones) why bother having middle of the road b-side tracks on your release? Send the best of your work to the label that fits your style and pray that they have a label manager working there that has some good ears for discovering golden nuggets. If it’s good, it is good and you will get a release…period!

8. Like any regular job… start from the bottom (and work your way up)
In the real world, with any given job, you know you can not walk into a building and head straight over to the CEO chair, assisted by that lovely big breasted secretary and start earning those Benjamins (when you live in the US) or Euries (when you live in Europe). No sir, you just start out like everyone…in the basement.

Same story goes for any aspiring artist who just started to produce his/her first number 1 tune. If nobody knows who you are and you haven’t got a track record which says ‘Hi, my name is Lutzenkirchen’ you can not expect to be picked up by the big labels from the start of your career. Learn who is who in the bizz and start selecting the labels that reflect your musical style and who seem to be doing well regarding promoting their releases and artists. Get some records out there and become visible to the world and other labels who always tend to have one eye open for new talent who produce on a regular basis.

9. Promo does not equal Spam
Being visible to others and connecting with key figures in the scene is the key to bring your persona and music to the attention of others (fans, label managers, promoters etc). So promo your own ass off too cuz it’s not just the labels that need to promote your music. YOU, need to promote your music too. Wether you’re release is already signed to a label or is ready to be signed you must interact and become visible in your scene (be it Minimal, Techno, Dubstep or whatever style you fancy).

But….don’t become a zombie spammer, posting every fart you create, therefore irritating the hell out of everybody. Post interesting content about yourself and others and have something genuine to say. Spam kills your friends (and fans) faster then you can say ‘go-buy-my-record-on-beatport-cuz-richie-hawtin-is-playing-it’…..which is really not very interesting to anybody anymore nowadays.

10. and finally….doing something is better then doing nothing at all.
Simple and plain….just do it!

Focus on what you want cuz there’s too much information on the net, people’s attention span is short and simply posting something on Facebook every now and then will help you only so much (but not enough). Get rid of Myspace (go fuck yourself Rupert Murdoch) and everything that takes up too much time in return for nothing and focus on your own website in combination with facebook, twitter, soundcloud and youtube (the Big Five-O at this moment).

Use various forums to seek other fellow producers for tips and tricks and post your DJ sets and releases regularly in groups on forums, soundcloud and facebook. Connect with people, watch and learn from the pros bust most of all…have fun and enjoy making music…cuz if you’re doing it for The Fame, and want to live the life of the rich and famous..well…then you’re probably better off downloading the Lady Gaga album by the same name 😉



PS Feel free to comment and give tips and suggestions…
…we learn from each other, not just from our mother (Murderdoll)

PS 2 still feel like sending us your demo? Cool! Drop it right here

Even major labels understand the need for the artist website!
Oct 2011 24

There’s loads of stuff in this article that you should check out as it’s major label digital music marketing people telling you what they do!

I’m currently working on a new blog post about the use of various social media and why you need a proper website but you should definitely check out this article on

“Snowden said he thinks of fans acquired through a Facebook page or Twitter profile as being at the beginning of the process. Ultimately, he wants to bring those people to the artist’s website, get them to join a community there, and become a customer who buys CDs or digital downloads..”

If even the majors get it, you should to.

Read the whole article here.

If you don’t have your own artist website at the hub of what you do, fix it!

[as seen on]

Q&A with mastering guru Rob Small
Nov 2012 14

Where some label nowadays feel that mastering a release is overrated, it should in no way be overlooked as something not worth spending some time and money on. It definitely can lift a record into a proper level of musical sweetness and blow up big on a dancefloor.
Our mastering guy from the UK is no other then Rob Small who not only masters for a wide variety of dance labels, but also produces some pretty damn good records too.

Check out this interview we did below and for more info you should definitely check out his website and facebook.


Where are you from and how did you get into the music business?
– I’m from Leeds, which is a vibrant city in the North of the England.

Music has always been of interest to me. To be honest I think that I pretty much wanted to be a part of the Electronic Music culture in some form ever since I left school. I never really had much interest in anything other than computer games, sci-fi films and music. I know that sounds incredibly geeky, but it’s the truth!

Where did you learn the craft of mastering records?
– This is something that I get asked quite a lot. Usually I’m asked “Where did you study audio engineering?”, or “Who taught you how to master records?”, when in actual fact neither questions apply to how I learned the audio mastering process. I learned everything from working extremely hard, and trial & error.

First and foremost, I need to point out that me mastering records wasn’t my original intention when I first started producing music. Basically, I produced a lot of tracks when I was younger, but I didn’t have much money to spend on getting my tracks professionally mastered primarily due to me not making any money from my tracks and having very few paid dj gigs at the time. So, ultimately my best interest was how I could make my tracks sound bigger. I would compare my tracks to the tracks that were produced by artists that I loved, and would often say to myself “How the f**k did these guys get their tracks to sound so good?!”. I learned about frequencies, processing, mixing down, paying attention to detail, and started to play around with various mastering plugins on my own tracks but at the same time I also sent my tracks to various mastering houses to hear their versions of the mastering. Some of them weren’t very good, whereas others were excellent – but very expensive. I set my standards for the excellent sounding masters and made the decision to stop going out partying, save some money and learn how this final process worked. Again, I did this as I really could not afford to pay for every one of my tracks to be mastered and I was worried that some labels did not have sufficient in-house mastering when I signed to them. So I wanted to eradicate the need of a mastering engineer thus saving myself some money and also make it so the label would not need to alter the sound of my track.

I have had a few successful releases over the years, some of which have received high chart positions on Beatport. As a result of this I managed to receive quite a lot of paid dj gigs which funded my studio that now consists of a powerful Apple Mac computer, high-end software, some outboard hardware, and also funded books and extensive tutorials. For quite a while I became a little reclusive and I put my social life on hold. My time was spent reading, studying, building a studio, producing, comparing, and studying even more (which actually became quite an obsession) until I was asked by some local producers to master their records as they really liked the sound of my own tracks. I agreed to master their material but they would have to pay me for my time to which the producers happily agreed. I didn’t have a website, Facebook page, any sort of promotion or advertising but the word of my mastering work and it’s quality travelled like wildfire and within a year I was receiving mastering requests from literally people from all over the world! I knew that I had a responsibility to make the best work possible for these labels and artists so I continued to study & learn, and now I’m here talking to you 😉

Since then I have had my website designed, promoted my business and have mastered over 3000 tracks for some of the worlds leading electronic artists & labels, and my client list keeps growing.

Why do you think artists still need to have their tracks mastered by an expert, even with all the plugins and tutorials available these days?
– Professional mastering is not only a sales criterion, but it’s also a way of helping your tracks stand out when submitting demo’s to labels. It show’s that you’re taking your music seriously and that you’re making an effort with the sound of your material. Some of the new mastering plugins are great, but can have disastrous effects on one’s tracks if not used properly and the presets on them are just terrible, especially for electronic music, and in truth they just don’t sound like some of the hardware that they supposedly emulate or try to recreate. It’s nice to use both high-end plugins & outboard gear combined, but for compression & limiting you really can’t beat hardware. A mastering engineer will have worked on hundreds of tracks and will be able to hear things that the producer can’t. The engineer will know what frequencies to trim, boost, compress and will also remove things that shouldn’t be there. Not to mention the engineer having a properly calibrated monitoring system & acoustically treated studio that is designed for the job. Some producers make tracks in the corner of their bedroom with bad acoustic surroundings. All the plugins in the world can’t help that so it’s best to get fresh & experienced ears around your music and get some professional help & advice. Producing music & mastering music are two completely different things which can easily be confused and put under the same category. Producing is one thing, and mastering engineering is something different entirely.

How do you stand out in the sea of mastering possibilities?
– There are a hell of a lot of unbelievably good mastering engineers out there with pretty much endless possibilities. My way of standing out is by being as professional and friendly as possible, building up a great relationship with the client, offering advice on how to improve mixes prior to mastering, keeping my rates low but not too low as to compromise the quality of the work as there’s usually a correlation between price & quality with most mastering engineers, sticking to a strict schedule & delivering files on time, and offering fantastic aftercare. I’m not in this to make a quick buck as my clients will agree with. I take a lot of pride in what I do as I respect the client for putting their faith in me to master their tracks and essentially putting the finishing touches to their art. I know of some guys that simply download the latest cracked Waves bundle or Ozone plugin, slam some eq, compression and limiting on the tracks in Logic, ask for a really low fee and fool the client into thinking that their tracks have been professionally mastered for a great price. That is not mastering, that is merely boosting the volume of a track. These guys won’t last long and should really have more respect for people.

Can you name some labels that you work for?
– Inmotion Music, Artform, Outland, Strom (of course), ALiVE Recordings, Memoria, Cream Couture, Blockhead, Waveform Recordings and about 50 more 😉

You also produce music yourself. Can you tell us something about that?
– I’ve produced nearly 100 House & Techno records now. Most have been released, some haven’t. Some of my releases have hit the Beatport charts numerous times, and have been released on the same EP’s & compilations as Martin Landsky, Steve Bug, X-Press 2, D’Julz, Hakan Lidbo, Umek, and Shur-I-Kan amongst many others. My tracks mainly appeal to the older generation of dj’s as they’re quite ‘Out There’ and have sound characteristics of music that I grew up listening to. The support on my releases over the years has been overwhelming and producing music is something that I love. I’m producing more for myself now. By saying this I mean that my productions are less contrived and more based on idea’s that I want to express and experiment with, and not a House loop with some skippy snares, white noise and a booming bassline.

What was your recent remix/release and how did that come about?
– I have a forthcoming release of an original track on a somewhat legendary UK Deep House imprint called ‘3am Recordings’. The label is run by a close friend of mine called Al Bradley. They are around 10 years old now and I work closely with them as I’m not restricted with my sound and they’re very easy to get along with. This release is called ‘Fear & Loathing’, and comes with 3 additional remixes. One of which is by Jamie Anderson who is not only one of my biggest inspirations but is also a friend.

You can preview the track here:

My recent remix was a Deep House cut on Starlight Unlimited. This was originally a remix that I made a few years ago that I thought was never going to be released. It was released a couple of months ago and was surprisingly successful throughout the summer after hitting the Deep House chart on Beatport. I also have various material to be released on Artform, Younan Music, and I’m working on new material for my own label that I co-own with Ross Richards, called ‘Tug Underground’.

Any final words of advice for artists on how they can improve their tracks before mastering?
– Please go easy on the processing! An over processed premaster tends to result in an over processed final master. Try not to clip your mixes and keep the channel’s of your DAW well below 0dbs and out of the red, that is unless you’re wanting that distorted sound. Also, trim away frequencies that are not needed in the mix. For instance; trim away everything below 150hz – 200hz on your Hi-Hats as this is a frequency range that is not needed on this instrument. By removing a frequency that is not used on the specific instrument you are in actual fact freeing up overall headroom, thus creating more room to make your master more punchier and louder (if needed). Premasters that are not properly mixed using correct frequency attenuation and exported with the correct overall ceiling room in not only individual channels in the mix but also on the master output usually tend to break up & distort quite easily in the mastering process and are restricted from being made louder. Try to use the best plugins you can afford and have the maximum processor & memory in your computer to handle such plugins. Finally, and this is something I encounter every day – switch off the plugins on the master output channel if you’re sending your track to be mastered! Leave some room for your engineer to do his work and make sure your transient peaks are present and not flattened off by heavy compression & limiting.

– Rob Small Mastering –