u/AdamEllistuts

Hey, has anyone done this? If so, why and what are the benefits?

Just replaced my workhorse QC35 V2 and I am SO disappointed with the pads on the new ones. Please tell me we can get replacement pads that are like the old, much, much, much comfier 35s?

Just replaced my workhorse QC35 V2 and I am SO disappointed with the pads on the new ones. Please tell me we can get replacement pads that are like the old, much, much, much comfier 35s?

https://reddit.com/link/1v8yglq/video/szxadn0y1zfh1/player

Can you teach me a thing or two?

Hey guys, I bought a brand-new model from Amazon last month, and I’m mopping every day. The solution hasn’t been used at all. I just drilled a hole in it, so hopefully it works. I just researched this. Very disappointing as I read this had been fixed. I guess I got an old one in stock from Amazon.

I know how overpriced these solutions are, though.

What do you do if you don’t want to use the overpriced solution? Can you just put some flash floor cleaner in the water tank? That’s what I used to do with my x10, although the x10 was awful.

From a weird Arabic vocal sample to this. Here's how. 🎤

Start with something unexpected. Process the life out of it. End up with something that hits different.

The chain 👇

🌀 LFO Tool — movement and rhythm

🏛️ Reverb — loads of it

⏱️ Delay — loads of it

🎚️ EQ — just enough to clean it up

That's genuinely it. Sometimes the best vocal chops come from the most unlikely samples.

Want the full breakdown? Drop an email 👉 tutorials@adamellisdj.com

Save this for your next session 🔖

#musicproduction #trance #electronicmusic #musicproducer #mixingengineer #mixingcourseonline #mixingtips

If your trance plucks sound dry, thin or just don’t have the impact you’re after, this video will show you why. When you’re starting out, it’s easy to think the sound itself is the problem, but in most cases, it’s missing a few key processing steps. I’ll show you the techniques I use to turn a basic pluck into something that sounds full, wide and professional.

Hit me up for tutorial requests
tutorials@adamellisdj.com

Disclaimer: there are many ways to skin a cat. This is my way. There is no right or wrong. If it works, it works.

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Napalm, Creatures of the Night, Set to Sail — all made without a single compressor. Not because it's wrong. Because if you don't understand a tool, don't use it.

But here's what compression actually is when you strip away the mystery 👇

A pluck with a wide dynamic range goes from too quiet to too aggressive. That disrupts the mix.

So I compress it 3-5dB on the bus channel — squash the range, keep the balance, and suddenly it sits perfectly from start to finish.

That's it. No mystery. Just control.

Want to know more? Drop an email 👉 tutorials@adamlsdj.com

Save this for your next session 🔖

#musicproduction #trance #electronicmusic #musicproducer #mixingengineer #mixingcourseonline #mixingtips

Hey guys, I just replied to a post with this video.

As somebody who was once completely caught up in Beatport, charts, rankings, and everything except the actual music, I feel quite strongly about this. Especially when I see some of my own clients making the same mistake I made years ago.

Let me tell you now, Beatport means absolutely nothing.

I see people posting hype chart positions as if they’re a major achievement, when in reality you’re often talking about fewer than 10 sales to reach the top. We live in a false economy where numbers can look impressive without reflecting any real impact.

The only thing that truly matters is DJs supporting your music.

I can’t emphasise that enough.

If respected DJs are playing your tracks, that’s what creates opportunities. That’s what gets your music heard. That’s what leads to future releases, bookings, connections, and long term growth.

Trust me, I’ve been there. I’ve lived it. I’ve chased the charts, watched the numbers, and made all the mistakes.

Forget Beatport.

Focus on making music that DJs genuinely want to play. That’s what matters in the current trance scene.

Drop me a follow for multiple weekly tips like this. Also, please feel free to send suggestions and let me know what you wanna see. I’m open to showing you exact parts of my records and how I do them!!

Hey everyone, does anyone here have genuine experience using Sonarworks SoundID Reference, IK Multimedia ARC, or Audient ORIA Mini?

I know Sonarworks is often seen as the industry standard, but I’d really like to hear from people who have actually used these in a treated room, rather than just going off reviews.

My room is already treated with Blue Frog Audio, including 3 large Floor To Ceeling bass traps, diffusers, and other panels, so I’m not trying to fix a bad room. I’m looking to tighten things up further and improve confidence in the low end, stereo image and mix translation.

From what I understand:

Sonarworks SoundID Reference is software-based and can run as a plugin or system-wide correction.

IK Multimedia ARC uses its own correction system and can run through ARC Studio hardware, so the correction happens outside the DAW.

Audient ORIA Mini uses Sonarworks calibration but stores it in dedicated hardware, which seems like a cleaner option if you want Sonarworks without relying on software while mixing.

Has anyone compared these properly in a treated studio?

I’d be interested to know which felt most accurate, which translated best, and whether the hardware options made a real difference compared with running Sonarworks as software.

A client of mine recently entered a remix competition and, afterwards, despite not being successful, was offered the ability to commercially release a version using the original vocal, melody, and chord progression from an already released track under their own artist name.

This is despite there already being official winning remixes that I assume will receive a full release.

I’m honestly baffled by the situation.

After seeking clarification privately, I was told that these licences are effectively being sold so producers can commercially release versions of the track under their own artist names on different labels.

So you now have a situation where an already released record, connected to established artists and a respected label, can also be commercially released by unsuccessful remix entrants under entirely different artist names. This is in addition to the remix winners. What on earth is the point of running a remix competition if you're going to sell these parts to the losers, with the intention of signing the remixes as their own work?

Let's just say that my questions, although well-framed professionally and polite, were not received very well. So, I won’t go into full details publicly right now, but this immediately raised concerns for me, not necessarily from a legal perspective, but from a professional and ethical one.

From the outside, it felt less like artist development and more like unsuccessful remix entrants being approached with “special offers” to commercially release music heavily connected to an already established release under their own artist names. That may technically be allowed behind the scenes, but I genuinely think there are serious reputational risks that many inexperienced producers may not fully understand until much later.

The whole situation felt very strange to me, and the tone of the email sent to my client only added to those concerns. At best, it feels deeply unprofessional. At worst, it raises serious ethical questions.

If you are ever offered the ability to commercially release a remix, topline, vocal, melody, or derivative version of an already released track under your own artist name, please make sure you are fully transparent with any label you approach.

If the track is already publicly associated with another release, artist, or label, you should clearly explain that connection upfront rather than allowing a label to assume it is a completely original standalone work.

Even where permission has been granted, misunderstandings around remakes, derivative works, vocals, and recognisable melodies can still create reputational problems, damaged relationships, and unnecessary stress for producers later on.

I’ve personally experienced how badly situations like this can spiral, even when there was no ill intent involved. Years ago, I found myself involved in a remake situation where I genuinely believed I was doing things correctly, but I failed to communicate things properly, and I take full responsibility for that mistake.

The fallout from that situation affected me for a very long time professionally and personally. It damaged relationships, caused huge amounts of stress, and impacted parts of my career in ways I never expected at the time.

That experience taught me how important transparency is in this industry and how quickly misunderstandings can affect careers, reputations, and personal relationships, even when there is no malicious intent.

There are many inexperienced producers out there who may genuinely believe they are doing everything correctly without fully understanding how situations like this can be perceived later by labels, listeners, and other artists.

This post is not about attacking anybody or accusing anybody of wrongdoing. I’m simply trying to encourage producers to protect themselves, communicate openly, and fully understand exactly what they are signing and releasing before putting music out into the world.

Purchasing original vocals, melodies, and chord progressions from an already released record and then releasing them under your own artist name, even with permission, is completely absurd to me.

If somebody is respectfully remaking a recognised classic record with full permission and clear transparency, that is a completely different conversation. The scene has seen that happen many times over the years. William Barber’s “Adagio For Strings” is a good example in which the tracks were presented openly for what they were, rather than passed off as unrelated standalone originals. Tiesto, Ferry and many more have done this.

What I’m talking about here feels entirely different.

This involves producers being offered the opportunity to commercially release versions built around an already released modern record, using the same recognisable vocal, melody, and chord progression, under their own artist names, after losing a remix competition.

To me, that crosses into very uncomfortable territory, especially when these offers appear to be made repeatedly and without strong emphasis on transparency towards future labels.

The fact that these parts are seemingly being offered out to multiple unsuccessful entrants at the same time (at a cost of $100) only makes the situation even more questionable from a professional and ethical standpoint.

I also can’t help but wonder how said label owner would react if they later discovered that a track they had signed was essentially a derivative or alternate version of another release on a major label from only a few months earlier, especially when official remixes of that same track already exist publicly.

You could realistically end up in a situation where the official winning remixes and versions from unsuccessful entrants are all being commercially released around the same time across completely different labels under different artist names.

That is exactly why transparency matters so much in situations like this.

Otherwise, it has the potential to become a professional issue for newer producers who may not fully understand what they are stepping into.

Aside from creatively diluting the original work, I genuinely think situations like this create unnecessary confusion, reputational risks, and long term problems for newer producers who may not fully understand how these releases can later be perceived by labels, listeners, and other artists.

From my perspective, business practices like this also raise serious questions about how much value is really being placed on the integrity and identity of the original music versus the financial opportunities attached to repeatedly monetising it.

I want to warn people about the potential dangers of situations like this, because I would never want other producers to go through the same problems I experienced.

Just be careful and protect yourselves properly.

We’ll see what happens the next time this kind of offer appears. From what I’ve seen, remix competitions often accompany many of these particular labels' releases, and at some point, people naturally start asking questions about the true agenda behind the constant remix competitions.

I’m not going to publicly name the label or artist involved for now because I’ve already raised my concerns privately and explained that, in my opinion, offers like this should come with very clear warnings and proper transparency moving forward.

That said, I will absolutely be keeping an eye on how these remix competitions and licence offers are handled in future, because I genuinely do not think inexperienced producers should be encouraged to sign remixes so heavily connected to existing releases to labels under their own artist names without full disclosure and transparency from the start.

Even though I personally disagree with these kinds of arrangements and see them as heavily financially motivated, I ultimately cannot tell somebody else how to run their business. My only goal here is to make producers aware of the possible risks and consequences before they involve themselves in situations like this.

Lastly, I'd like to add that I’ve made mistakes throughout my career. I’ve approached situations in certain ways without fully understanding the bigger picture at the time, and only later, with hindsight, did I realise some things could and should have been handled differently.

There are multiple situations I wish I could go back and change, which is exactly why I’m not publicly naming or attacking anybody involved here. Nobody is perfect, and people learn through experience.

I’ve simply made it clear privately that I’ll be paying close attention to how these kinds of offers are handled moving forward, because I believe situations like this require far more transparency and a more ethical approach, especially when inexperienced producers are involved.

Ultimately, my client came to me feeling extremely uncomfortable and concerned that they might be being taken advantage of financially (there is a language barrier). If that were me, I would want somebody to raise those concerns directly so the situation could be addressed properly.

Hopefully, this labels approach to business practice will change, but we shall see!

https://preview.redd.it/64hcx3qepb1h1.png?width=1320&format=png&auto=webp&s=d8d26ee415c60204b77e0ad05e5dd86b9c4ae258

Hey guys, I've got a few hours free after a client had to cancel at the last minute, so I figured I'd offer some free feedback!!

Drop me a SoundCloud link to tutorials@adamellisdj.com (this email is right)

Feel free to send me anything as long as you give me some context, maybe tell me what you're struggling with or if you just need some reassurance, and I'm happy to help.

Please make sure the link works before you send it over.

I’ll give you honest, constructive feedback focused on what can be improved. If you’re open to that, send it across.