Here’s what we will do in the session

This isn’t a livestream or a class. It’s a real in-studio session in one of Amsterdam’s finest studios Londam – with proper acoustic treatment and top-tier monitors.

You’ll send your track ahead of time. During the workshop, we’ll:

• Listen together in the room

• Show you exactly what could be improved

• And explain how to do it in your own session, step by step

We’ll go deep into:

• Mix balance

• EQ and compression

• Gain staging and stereo width

• How to keep your low end tight and clear

Also, you’ll hear before-and-after examples that show what real improvement sounds like.

Our expertise, your hard work

If you’re here, you’re probably sitting on a track that is 90% done. The sound design is almost there, the arrangement kind of works, but… something’s off.

You tweak the EQ, try another plugin, maybe even ask a friend what they think—and get a safe “sounds cool” response.

Let’s skip the guesswork.

We would like to invite you to our workshop in Amsterdam! It is for producers who want their tracks to actually sound good in a venue. You will hear your track in a pro studio, get honest feedback from certified audio engineer, and walk out with clear next steps to finally finish your music.

The details

📅 Date: Thursday 12 June 2025
📍 Location: Londam Studio, Amsterdam
🕕 Time: 18:00–21:00

What you will leave with (and actually use)

• A detailed list of fixes and tweaks for your track

• New mixing techniques you can apply right away

• Clarity on what’s holding your sound back

• Connections with other like-minded producers

• Access to our Plugin Music community for more support

As a bonus: you’ll also get a custom roadmap (where you are on your music journey).

Example of our work: Nikos – Metaturnal EP, mastered by Mattias Fridell, mixed by Michal Basar

High-end monitoring solution: 2x ATC SCM100, Helios Custom 15” Direct Servo Subwoofer, Trinnov Nova Bundle 4, Orion Studio Rev. 2017

About instructors

Plugin Music School: What made you decide on signing up for lessons at Plugin Music? Did you have any goals in mind?

Vel C.: Once I started out, I was very unsure if I was on the right path, like every other beginner. I was looking for feedback and stumbled upon a Reddit post recommending Plugin Music School as a good place to seek feedback from. So I reached out and met Michal, the founder. I had absolutely no goals in mind, it was more in the lines of “Am I on the right track and should I continue doing this?”. Obviously, I continued.

PMS: Could you share a few tips for beginning producers?

Vel C.: Number #1: Don’t skip steps

There’s an old Serbian saying in the lines of Taking the short path seems faster, but taking the longer path somewhat turns out shorter. Skipping foundation will severely debilitate your progress and become an obstacle for your creativity to break through. Considering I have been into science all my life, I have literally started with physics – what is a wave, amplitude, oscillator, etc. Then what is the signal, where it travels, how it’s processed, and what the outcomes are. I highly recommend learning the purpose of processing, rather than just blindly process because someone on YouTube said so.

Number #2: Filter out and show scepticism

In a world where we are bombarded by information, it’s really important to filter out and be skeptical. Do not trust every source of information. A lot of information out there is faulty. I don’t consider myself an expert, but if I need to add 10 processing plugins on a sample to make it sound good, it feels like polishing… mud. Drop that. In life, I like the less is more approach, or as we would say in business fit-for-purpose. Every time you do something in music production ask yourself Why am I doing this? If you can’t answer that, don’t do it. Explore. This is where we go back to the first step, as it is extremely important to understand the purpose of every step you do. Otherwise, you are prone to unintentional errors.

For beginners, I would recommend learning the concepts of spectrum, dynamic range, and stereo image before trying to do EQ, compression, etc. Again – understand the purpose, then deploy. Do not deploy solutions you don’t understand. Start with basic concepts, then expand. Can’t expand something that is not yet materialised. Critical thinking is your biggest asset that you should keep on developing.

Number #3: Find your formula

The sooner you figure out your formula, the better. As you deconstruct your favourite tracks, you learn about elements you like. Take notes of those. Think about what is the sound you want and try to think of what you need to learn to achieve it. Once you establish a formula, learn to cover most aspects of your musical style. For example, from the beginning I knew I wanted clean production like Alignment, with the Reese bass and harmonics and melodies of Klangkuenstler. Therefore, I have focused on learning the elements I need to create a track combining all those elements. Formula will keep your learning focused. For example, I have no clue how to create hardcore kicks myself, but I never used them so far anyway. Doesn’t mean I won’t learn though. That gets us to Number #4.

Number #4: Prioritise

While I recommend the thorough learning approach above, in order to keep yourself motivated, it’s okay to prioritise. Creating gives satisfaction. I have dedicated most of my attention to aspects I need the most in my genre. For example, I currently struggle with textures because I haven’t used them much or I relied on samples. So it is fine if you don’t know how to do something, as long as you can create a track without that element. You need to create to stay motivated. So it’s about a fine balance of learning and creating. Optimise your learning process to learn what you need the most first, and what creates the most impact. For example, I would always recommend a beginner to start learning how to manage low ends and leads, then drums, then everything else. Of course, this can vary genre by genre.

Number #5: Start a black book

When I used to train street dance, we used to have these black books. That’s where you would take notes of your power moves, so as you freestyle you always have a move in your back pocket during your performance. So essentially, I transferred the same approach to my learning. As I have learned, I have created numerous copies until I figured out how I want my knowledge to be organised. This comes along together as you are figuring out your formula. As I have limited my sources of information to 3 YouTube channels I found credible, I have created my black book into 3 major sections 1) songwriting 2) DAW plugins and their purpose, what each knob does etc. 3) sections for each element in my formula (i.e. kick, rumble, Reese bass, rolling bass, reverse bass, acid lead, trance lead, drum tops); each section started with sound design, then mixing.  The black book serves as a process checklist. How many times have I forgotten to turn off phase randomisation on my rolling bass, which is essential to make it sound good… but opening the black book ensures I am not missing anything or that I have considered everything.

Number #6: Don’t skip music theory

This comes as essential in allowing you to express your creativity. Music is supposed to invoke emotions, and as an aspiring producer and songwriter, you should know which notes and chords lead to certain emotions. Is the phrase a question or a response? You can be the best sound designer, create stunning leads, but if your melody is not good enough, it won’t stick to the ear of the listener. I am not telling you to become a classic music composer, but do learn about range, contour, and different scales. For example, when I wrote Boo I started it out in A minor. Standard key for techno. When I transposed the melody to A minor harmonic, it became 10x spookier. Pink Glasses sounded sad in B minor. Once it was written in B minor dorian, it became hopeful, and I wanted it to be hopeful because that’s the key message of the song. When I wrote Gymbro, I wrote it in G minor and used G minor Phrygian to make it darker. Theory is powerful if you understand it. Not to mention it speeds up the process of idea materialisation because you know where your melody should go, which notes it should reach to raise a question, and where it should resolve.

PMS: How do you find a good balance between music and career/studies/family/friends?

Vel C.: I work in clinical research strategy. Music is a creative outburst I have sincerely missed since my college life, when I had to prioritise my pharmacy studies and give up on street dance due to a tough college schedule. Sacrifices were made to ensure stability and security. I don’t want to neglect the fact that my career has been instrumental in allowing me to afford to learn. This can be a limiting factor to many producers out there. While that was a good decision in general, it leads to the response to finding balance. It’s tough, but it is possible if you want to do so. I am generally well organised and don’t dwell over things I can’t solve. It’s all about time management. And you can always find time. Don’t watch Netflix, watch tutorials. Pick out things you can live without and choose things that keep you motivated instead. 

True friends will always be there, even if you don’t see them over the weekend because you are stuck at home making music. They will understand. I have received tremendous support from my closest friends in following my passion for music, they even tag along during travels and have provided tremendous support during my first release a few days ago. My cover art was designed by one of my best rave friends. My socials are supported by a friend too. So essentially, some of them have decided to be part of this journey, which makes it much easier to create a balance. Family has always been supportive too. I have recently recorded a set in a factory, and my father has been the MVP in securing the venue, organising the transport etc. And he is 65. So essentially, it is all about energy and motivation. If he can do all this with arthritis and spondylosis, so can you at 21. 

All in all, it is possible. Those who say it’s not didn’t try hard enough.

PMS: What keeps you motivated?

Vel C.: Telling stories. Making an impact. Driving change.

PMS: What is next for Vel C.?

Vel C.: I know what the plans are. But does anyone truly know? Anyhow, my plan is to further optimise my production process, close the gaps I need to close, improve the unpredictability of my tracks, and make them even more catchy. Technically, I was fairly limited in the way I built my arrangements. So I want to change that for sure. 

Through satire, I have explored and voiced so many of my personal struggles – like the body image struggles in Gymbro. Interestingly enough, all topics on Satire are topics I have discussed with my therapist. So probably you will hear more therapy through my tracks – who knows. I already have a sequel to Corporate. The lyrics are there, the melody is there, the album art concept is there. So potentially that will come to fruition first. Another track is also waiting in Ableton which will describe what I think is the feature that should be more prominent in people, that I see less and less in my environment and that makes me sad. Related to a body part. Again, lyrics are there, melody is there, album art concept is there… 

But the overall goal is – consistent releasing and promotion. So hoping you get to see one of these tracks in January/February. On the other hand, I’d like to start performing. So Vel C. will most likely get more engaged with the community so he can be heard by the audience!

Conclusion

Vel C. story highlights the importance of a strong foundation and understanding of all the principles commonly used in your genre, as well as a purposeful approach to both the technical and creative aspects of music production. The balance between music and life may be challenging, but as Vel C. shows, with time management, support from loved ones, and an unwavering commitment to one’s passion, it is absolutely achievable. With an open vision and a drive to keep improving, Vel C.’s future in music looks bright, and his message resonates: success in music, as in life, is about constant growth, resilience, and sharing stories that matter. Thanks to individual and tailored lessons with Plugin Music as well as hours of feedback from Michal, Vel C. has grown confident about his music and is on a mission to share it with the world.

We hope these tips inspire you to create better music and avoid getting stuck along the way. If you do hit a roadblock, don’t hesitate to reach out to us. We’re here to help you finish professional-sounding tracks and achieve your music production goals!

This Friday, Plugin Music School invites all techno music producers to an exclusive opportunity to hear your tracks on a professional sound system before the party begins! In collaboration with Arnaca Records, a label founded by Plugin Music School founder Michal Basar and our new hard techno mentor Luckes, we’re offering local producers the chance to get valuable feedback on their music and meet fellow producers.

What’s Happening?

• Date: This Friday, November 15th 2024

• Time: Party starts at 11pm, but doors open at 9pm

• Location: Club Centraal, Rotterdam

From 9pm to 11pm, we’ll be offering a dedicated time for producers to play their music on the club’s sound system and receive constructive feedback from fellow artists. Whether you’re a beginner or an experienced producer, this is a great opportunity to hear your music in a professional setting and get valuable input before the party kicks off.

Why Attend?

• Get feedback on your tracks: Play your music on the club sound system and hear it in a full, immersive environment.

• Connect with other producers: Meet fellow artists from the Plugin Music School and the Arnaca Records community.

• Improve your sound: Gain insights and feedback that can help take your music to the next level.

Pricing

The best part? You only need to buy a ticket for the party—there’s no extra charge for the feedback session.

BUY TICKET HERE

After the feedback session, the party starts at 11pm, with a great lineup of established artists from the Arnaca Records roster, including Luckes, Alix, Michal Basar, Vel C., Mike Drama, and hard techno celebrities from Colombia, Lourdes and Ledh.

If the door is closed, just call or text us (get phone number via Whatsapp icon on our website). We will be there from 9pm.

Don’t miss this chance to connect, share your music, and grow as a producer. We can’t wait to hear what you’ve been working on!

🚀 Ready for an intergalactic journey? Suit up and prepare to venture into the unknown with us. Make sure your outfit is out of this world – we’re going full-on space mode!

 🎛️ Ever wanted to try DJing or learn how to prepare a live set? Here’s your chance! You can use our DJ setup or jump on Michal Basar’s live setup to experiment and play around. All experience levels are welcome – we’ll be there to guide you!

🌮 Food will be served from 18:00 to 20:00 by our awesome food truck, so make sure to arrive on time!

Details

🌟 Date: 17-10-2024

🏢 Venue: Londam Studio, Ottho Heldringstraat 25H, 1066 XT Amsterdam, Netherlands

📍 Google maps: https://maps.app.goo.gl/8S22gd6Ltzd3JBUW8

🕖 Time: 17:00 – 22:00

📆 Event during Amsterdam Dance Event

Lineup

17:00 – 18:30  Open jam session

18:30 – 20:00  Riigs b2b Skenna

20:00 – 21:00  Shankee Po

21:00 – 22:00  Michal Basar

Get ready for an unforgettable evening of music, vibes, and tacos. See you there.

In one power-packed session, you’ll learn everything you need to know about crafting electronic music. We’re talking basics, genre exploration, studio tricks, making money from your passion, and even live performance tips. It’s a crash course that’ll level you up in your music career.

Our way of work is question and answer oriented. Be sure to come with a bunch of questions related to your music needs.
What if we do not cover it all? Stay in touch, we will guide you towards your goals. Also after the workshop.

Details

🌟 Date: 19-10-2023

🏢 Venue: Londam Studio, Ottho Heldringstraat 25, 1066 XT Amsterdam, Netherlands

📍 Google maps: https://maps.app.goo.gl/fmLjTamQM7onxdLNA

🕖 Start: 15:00

📆 Event during Amsterdam Dance Event

Program

15:00 – 17:00 (THE Workshop)

17:00 – 22:00 (Party & Tacos)

🎵 Get ready to groove to the beats of Amsterdam’s very own Londam Records, in a special collaboration with Plugin Music. 🎶

🌮 Delicious catering featuring mouthwatering tacos will keep your energy high as you immerse yourself in the world of electronic music.

🎚️ Be prepared to eat and dance to the electrifying sets of DJs, known for their mind-blowing productions and killer beats:

Skenna, Riigs, Michal Basar, Shankee Po, Gareth Cole, Frømme, Luckes

Details

🌟 Date: 19-10-2023

🏢 Venue: Londam Studio, Ottho Heldringstraat 25, 1066 XT Amsterdam, Netherlands

📍 Google maps: https://maps.app.goo.gl/fmLjTamQM7onxdLNA

🕖 Time: 17:00 – 22:00

📆 Event during Amsterdam Dance Event

Program

17:00 – 22:00 Party and tacos

It is a great opportunity to meet, connect and eat – right before we jump for all the night events. Don’t miss this epic celebration of electronic music and party vibes. Get ready to experience the future of sound in Londam headquarters!

See you on the dance floor in Londam studio!

It’s been 10 years since Plugin Music School began teaching aspiring music producers to make their best electronic music. We’re celebrating our 10th anniversary with a special series of captivating contests and exclusive giveaways. Get the goods before they’re gone!

Techno With Vishal Unni, moderated by Michal Basar

Guest – Vishal Unni

Established music producer and DJ based in Bangalore India is specialized in deep techno. He has been releasing music at records labels like well-known Qilla Records, Aedi Records, or Techgnosis.

He is also a full-time 101 mentor shaping his methods to teach music in a very effective way. The same goes for Michal.

Moderator – Michal Basar 

The founder of Plugin Music is based in Rotterdam, where is also located the headquarter of pluginmusicschool.com

Michal is a mixing engineer and mentor. His background is in performing live, organising parties and educational events. 

What is mixing?

Mixing is the process of blending individual tracks in your project using tools like volume, EQ, compression, and effects to create a coherent and balanced sound. The rendered version of your track is called a mixdown, and it’s the mixing engineer’s goal to make the track sound as good as possible before handing it to a mastering engineer.

Mixing is about creating balance and harmony between the different elements in your track. Balance is the contrast between the loudness of instruments or sounds in a track and the elements of the groove—what sounds are in your face and which are in the background. It’s also the balance of high and low frequencies to shape the tone and overall feel of a track.

Having a balanced distribution of frequencies in your track is one of the elements that give your track that professional character. Roughly speaking, you want something resembling the Nike “swoosh” to get your mix to sound like a professional techno producer. Another key part of professional mixing is taming any harsh and unpleasant frequencies and carving out space for every instrument in the frequency spectrum.

Check your references

Painters often use photos and objects as references to get their proportions right and not miss any details they want to include in their paintings. Referencing in techno music works the same way. Almost every professional producer and engineer uses reference tracks and here’s why you should too.

Without a reference track, you’re making mixing decisions blindly if you don’t have a baseline to compare your mix to. Try drawing a person’s face from memory without looking at a photo. Pretty hard, right?

Unless you’re a gifted artist, your portrait probably looks like Mr. Potato Head, and that’s expected. You probably don’t want a Mr. Potato Head mix, so use reference tracks! A great place to start is using your favourite techno tracks as references.

Anytime you listen to a techno track and notice it has a thumping low-end or love how the hi-hats sit crisply on top of the mix; add it to your collection. You’ve got to listen to a lot of techno tracks made by pros to learn how to make techno like them.

By comparing your mix with a reference, you’ll be able to answer questions like:

• How loud should I set my kick?
• Why does my low-end sound boomy?
• Why aren’t my hi-hats punching through?

Put referencing tracks into practice

Try this exercise on your next project.

Drop an audio file into your project as your reference track (use a high-quality lossless format like .wav or .flac, if possible.) Next, adjust the volume to where it’s playing at the same level as your mix.

Remember: matching the volume of your track with your reference is crucial!

Open up a frequency analyzer and check if your sounds are hitting close to the same volume across the frequency spectrum as those in your reference track.

Say that you really like how the drums groove in one of your reference tracks. You’ll want to look at the levels and frequencies where your kick, snare and hats are hitting and adjust them to match your reference. Switch between listening to your track and your reference by soloing each to hear the differences and make any changes needed.

Tune your sounds

Tuning your sounds when producing can save you a ton of time when mixing. When you tune your sounds, your mix naturally plays tighter, because you’re making sure that sounds are sitting on top of one another, creating a feeling of oneness, rather than a clash of sounds fighting one another.

This is why using your DAW’s tuner or spectrum analyzer to check frequencies is so important. Transient sounds like kicks, snares, percussions and hats often don’t have a distinct pitch, so if a tuner doesn’t work, you can try an EQ with a visual spectrum analyzer to look for the biggest frequency peaks.

Then check for clashing frequencies among sounds. If two sounds occupy the same frequency band, try pitching one of the sounds up or down to give them room to breathe.

For example, if your kick is peaking at around 55Hz—your bass will complement the kick if it’s pitched an octave or two above, at 110Hz and 220Hz. If the fundamental was 55Hz, you could end up with a muddy low-end.

Like every rule in producing music, this one can be broken. Some producers don’t tune their instruments at all. Instead, they listen for frequency masking—where one sound blends with another in the same frequencies so your ear can’t make out which sound is playing. It’s a great skill to have, and we recommend you train your ear to listen for masking while also using tuners and spectrum analyzers to be sure.

Create a groove that makes you want to move

A groovy track is a dynamic one. Listen to the best techno tracks—notice how the track’s energy rises and falls, sounds move toward the inside of your speakers, then outside. There’s a contrast between sections and individual sounds creating a feeling of movement and progression, not just relentless pounding from your speakers throughout the track.

How to add dynamics to a techno track

An easy way to add dynamics is to vary the volume of instruments over time. You can’t have a loud part if every part is the same loudness, so try lowering the volume on tracks once in a while.

Another way to make your sound organic is by changing the velocity of notes in your midi tracks. Also, go easy on compression because too much can kill your track’s dynamics.

Another good place to start is using sidechain compression on your tracks. Sidechaining can create a pumping effect and give them some bounce.

What sidechain compression does is lower the volume of a sound, but only when another sound is playing. Sidechain compression is a great technique to control the loudness of instruments playing at the same time.

In techno music, since the kick is the most important to the track, it’s often the main sidechain input. However, techno wasn’t made by people following the rules so you should try out different sidechain inputs like a synth lead into a pad, or a vocal into a lead, and so on.

By sidechaining the lead to the kick, every time the kick hits the compressor activates, lowering the volume of the lead. As always, have fun with it and try different sidechain inputs to see how they can add dynamics to your track.

Place every instrument in its own space in the frequency spectrum

Every sound should have its own area in the frequency spectrum. The idea here is to create a good tonal balance between sounds by spreading energy evenly along the frequency spectrum. Decide what frequencies are most important for a sound and carve away unnecessary frequencies, so there’s no obvious clashing between sounds.

For example, you can freely cut low frequencies (<500Hz) on your hi-hats, or shelve high frequencies (>3000Hz) on your bass. They might not sound as rich on their own but listen to how they retain their character in the mix while allowing other instruments to cut through the mix. Cutting unnecessary frequencies from a sound that you can’t hear anyway will give you a clearer mix.

It’s up to you if you want to cut specific frequencies or lower the volume of the instrument, or both. Try each out and hear what works better. Reference tracks come in really handy here – use a reference to compare its frequency balance to your mix.

Get rid of resonant frequencies

A resonant frequency is a troublesome, harsh-sounding frequency. When boosted with an EQ, these sound especially grating. You’ll want to cut those frequencies to stop your track from clipping or distorting in the mastering phase when the engineer pumps up the gain using limiters and other mastering tools.

It’s worth spending time looking for all those frequencies. Some of them you won’t even hear while listening to your track because other sounds are masking them. That’s why you should always check for resonant frequencies with each track in solo mode.

Where to look for resonant frequencies?

Every mix is different, so there aren’t any specific frequencies that will always be problematic, but we can give you some pointers.

Low End

For the low end, 200-800Hz is a good place to check because many melodic elements will have their fundamental frequencies in this range and too much buildup here can create a muddy mix.

Mids

Look out for the 1-5kHz as the human ear is most sensitive here.

Highs

Hi-hats and cymbals, especially the popular 909 kits often have resonances in the 6-9kHz range.

While a professional mastering engineer can partly fix these problems, sometimes they can’t fix them completely. Getting rid of resonances in the mixing phase can save you time and money in the mastering phase.

EQing

• Make your track brighter and make space for frequencies.
• Boost higher frequency sounds with a high-shelf EQ. Remember, even dark techno and metal tracks sound open and bright when mixed and mastered. Listen to a reference track but don’t overdo it.
• Check again and again for harsh resonant frequencies that wear your ear out.
• Steer clear of mud. To add more definition to your mix, clear up frequencies around 200-300hz. Too much content in this range can cause muddiness. Pay extra attention to this area and cut out everything you don’t need. Keep in mind, that you can sometimes leave content here to keep the character of sounds intact. Find a balance between cutting problematic frequencies and keeping the sound authentic.
• Another problematic area is around 3000 Hz. Experiment with cutting frequencies here too.

These tips will help you even if you mix music on the cheapest of headphones or monitors.

Learn how to mix techno like a pro

We covered a few techniques producers use to make professional-sounding techno tracks. By applying these principles to your mix, you’ll be on your way to producing more polished, professional-sounding tracks. While it’s a long journey learning how to mix techno music, keeping these concepts in mind when you mix will give you a head start.

Sometimes you don’t know what’s missing from your mix. That’s where a trained set of ears can save you a lot of time and headache in figuring out how to fix it. You can reach out to producers and engineers you know, post on Reddit or Discord feedback threads or book a session with a professional mixing engineer to get tailored feedback (the first one’s free!).

If you think we should cover a topic you want to know more about, f0llow us and send a DM on Instagram.

Already a pro at mixing?

Aside from music courses and educational content, we provide industry-standard mixing and mastering services.

Submit your track to our in-house legendary mastering engineer Mattias Fridell.

Recap

There’s a lot to unpack about mixing in here, but let’s sum up what we’ve learned so far.

Ear Fatigue

• Take regular breaks to reset your ears
• Mix at the same volume level
• Split up your mixing sessions

What is mixing about

• Mixing is the process of blending individual tracks in your project using tools like volume, EQ, compression, and effects to create a coherent and balanced sound
• Fixing any harsh and unpleasant frequencies
• Preparing your track for mastering

Sound quality

• Every step of production is important

Check your reference tracks

• Use a reference track to check the overall balance and clarity of your mix
• Matching the volume of your track and reference is crucial
• Use a frequency analyzer
• A/B test often

Tune your sounds

• Fine-tune instruments so your mix sounds tight

Create a groove; add dynamics

• Change up the velocity of sounds in the sound design phase, before reaching for a compressor
• Use automation to bring life and movement to your mix
• Use side-chain compression

Place instruments in their own space

• Place every instrument in its own space in the frequency spectrum using EQ, reverb, volume, and stereo imaging tools
• Never, ever, EVER, clip the master channel!

EQing

• Clear mud around 300Hz
• Use EQ to create space for each instrument and fix any harsh frequencies
• Give your track brightness with enough high-end frequencies to avoid a dull mix

About mentors:

Vishal Unni

Established music producer and DJ based in Bangalore India is specialized in deep techno. He has been releasing music at records labels like well-known Qilla Records, Aedi Records, or Techgnosis.

He is also a full-time 101 mentor shaping his methods to teach music in a very effective way. The same goes for Michal.

Michal Basar 

The founder of Plugin Music is based in Rotterdam, where is also located the headquarter of pluginmusic.nl.

Michal is a full-time mentor and mixing engineer. His background is in performing live, organising parties and educational events. He has been releasing at Mai Lei Bel records and recently, as a self- releasing artist.

Listen to the music from our mentors