“One important effect I used on many of the synths was the DrMS spatial processor plug‑in. It gives you three‑dimensional control over your audio, but different from any of the other plug‑ins out there. You can place things wide outside of your speaker plane, and still have them mono‑compatible. [...]

You can also mess with the two bottom parameters on the DrMS, Focus and Field, and get some very unique digital witchcraft that allows you to smudge up your audio so it either gets out of the way of other things, or brings it more into the foreground. The former was particularly helpful, because with a lot of synths I did not want to have too much focus on them, because you risk them getting in the way of more important parts, like the vocals.”