Fedde le Grand

A photo of Fedde's studio reveals he uses the Apogee Ensemble Audio Interface.

"NEW Christmas toys!"

Fedde Le Grand posted a picture of his "hotel set up" that includes the Forte.

Fedde Le Grand's MacBook Pro in his hotel studio setup.

On Fedde Le Grand's right side in this video clip of him working on a new project in his studio, you can see the SPL MTC 2381 Monitor and Talkback Controller on the desk.

Again, it's all about a little touch here and a little touch there - nothing too extreme. I've also gone back to the Brainworx XL, which is good for sorting out the stereo image and getting the whole thing to sound a lot bigger.

When asked how he made the drop synth in "No Good" Fedde Le Grand mentions the Synth Shots sample pack. He goes on to say that when you find some fun samples, put a nice reverb and/or delay plugin on them, then distort them a little bit. That's how he came up with the sound for that particular drop.

When asked what he uses to make his synths sound so big, Fedde Le Grand talks about using distortion plugins, particularly the CamelPhat: http://youtu.be/9yRiHVBv2jo?t=22s

Fedde Le Grand mentions the Dada Life Sausage Fattener as one of the plugins he uses to distort his synths.

Fedde posts about using the UAD-2 SOLO.

In this video "The making of: Michael Jackson - Love Never Felt So Good (Fedde Le Grand Remix)," at 01:09 you can clearly see Fedde using the FabFilter Pro-Q Equalizer Plugin in his Logic session.

In the video "The making of: Michael Jackson - Love Never Felt So Good (Fedde Le Grand Remix)," at 1:12 you can see Fedde making use of the FabFilter Pro-L Limiter Plugin in his Logic session.

At 2:15 in this video of Fedde Le Grand working on his remix of Michael Jackson - Love Never Felt So Good, he can be seen using Sonalksis Creative Filter, adjusting the cutoff frequency.

At 3:42 you can see Sugar Bytes Effectrix running on Fedde Le Grands computer screen in this video.

At 3:49 in this video you can see the Pro-Q 2 running on Fedde Le Grands computer.

The mastering chain usually starts with a UAD 4K Buss Compressor. I try and add a little bit of punch to the mix, but not to go too far.

Then there's a tiny bit of maximising in Ozone 6 to get rid of any extreme peaks, and maybe a de-esser to take control of any harsh frequencies. I've found the de-esser can really help smooth out a mix.

Fedde Le Grand uses the Technics RP-DJ1200 Headphones for both producing and DJing live.

"Thanks again for the headphones guys RT @VMODA http://moby.to/iyuxlu"