Thomas Gold

I work a lot with mix busses in my DAW and I love the Focusrite Console, it just does the job and sounds great. Both modules are easily to adjust and work together perfectly. The sound is fantastic, the EQs don't get harsh or muddy at any point. You can make sounds shine in the mix in seconds; also warming up bass sounds and getting a tight and punchy low end is done quick and easily. Same goes if you want to get a vocal smooth and in-your-face. I like that you can get both - a clean and tight sound - but also a very analogue one. Great to have this in my setup - and it’s fun to work with!

"I just have a kick drum, which sounds like this... and this one is taken from the Stylus remix..." The screen then zooms in on the plugin. (3:19)

In this video at the minute 6:26 he use FATSO Jr./Sr.

At the minute 5:1o we can see Elysia Museq.

"...and then I used the Waves L3, very good, uh, it's... kind of neutral, uh, regarding the sound, but you can do lots of limiting and compression here..."(20:55)

In this video at the minute 5:55 we can see he uses bx_control V2.

In this video at 5:20 we can see Brainworx bx_digital V2

"Love my daily breakfast sausage!! @dadalife #bratwurst"

An instance of this plugin can be seen running on-screen at around 5:08. At 5:10, the camera pulls back and we see a fuller view of the plugin.

"Here I have some... the PSP Vintage compressor, but only to add some warmth to it, some body. You can hear it, that's more bottom there."(5:52)

"And, on the clap, for example, I have only a... the... some, um, low-cuts on there, I often use the Waves Q4, and I have all four low-cuts on, so you can have a steep EQing curves..."(6:04)

In his Instagram photo, Thomas has several of the Komplete 9 installation CDs scattered on his desk. "Installing session in progress!"

At the 7:16 mark of his video with Future Music, Thomas is running an instance of SV-517 on the left screen. The camera zooms in on the plugin so we get a clearer view of it in action.

"There's some EQing on it... it's where I boost the mids a little bit." (10:54) The camera then zooms in on the Classic Q at 11:01, before another plugin covers it from view.

Sylenth can be seen on Thomas' left screen around 14:32.

"I often work with a very very simple sub-bass, you can hear it, it's boring... but it just fits to the bass drum. This time it's a Minimoog sound..." (1:18)

At 1:37 the camera zooms in on the instance of Minimoog V running on Thomas' left screen.

"The reverse bass is from the FabFilter Twin, it's coming in from time to time..."(1:45)

At 1:48, Thomas opens an instance of the Twin on-screen.

"...and it gives more room and space, because I have the Pro 53 here, from Native Instruments, and there's lots of delay! You can hear it. And it give it just some space, some atmosphere..." (6:12)

"...and I have some filtering here, the TBK from Sonalksis again... it's a low cut and a high cut I use it to, uh, for the breakdown sections..."(7:28)

"...but the vocal itself, I use, um, here I used a Waves Renaissance Compressor, just to tame them a little bit." (12:11)

"...and, afterwards, the more sound-effecting tool is, um, the LA-2A from Universal Audio, which is awesome for vocals..." (12:33)

"So first of all I run everything through the multiband compression from Waves, and then the phase multiband, it's very neutral-sounding for me, and I don't put too much compression on it..." (17:02)

"Next one is some, uh, musical compression... it's a single-band compressor, it's the SSL compressor from Waves. One of my favorite tools, sounds absolutely great and it's perfect for this kind of music." (18:51)

"I have, um, a sub bass... which comes from the ES1 again, with some Logic Bass amplifier, with some Guitar Rig on it for distortion..." (8:34)

At 8:48, Thomas opens an instance of Guitar Rig on-screen.

"And then I have a bass in the mid-frequencies just to add more presence to the whole... make it more present in the mix. This is, um, the Jupiter 8. I can really recommend that one. This is a great plugin, sounds really old-school analog, and for basses it's just perfect" (10:59)

"The piano comes from the Ivory, very nice, and sounds really good. Eats up lots of memory, but it's worth... doing that." (12:57)

Thomas opens an instance of Ivory at 13:01.

"First of all, I have a compressor, it's, um, again, Universal Audio, the 1176. Perfect for drums." (15:14)

At 15:26, Thomas opens an instance of the 1176 on screen.

"Then I have a cut at the low end again, and another nice tool is the SSL EQ, I use this quite a lot on this track..." (17:07)

At 17:18, the camera zooms in on an open instance of the aforementioned SSL plugin, revealing it to be the G-Equalizer.

"Here is some EQ, it's the API from Waves." (20:12)

At 20:17, the camera shows the running instance of the API 550A running on Thomas' screen.

"I used some compression from the Universal Audio card, I really like that stuff, Universal Audio's stuff is just great" (9:04)

At 9:07, an instance of the DBX 160 appears on screen. Thomas is using an older, prior version of the plugin listed here.