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Эпилог · with Dima Bilan2026ANNA ASTI's producer Oleg Sashko once studied on our Podlesny Education course, and this track came from him. The most important thing was to blend the voices of Dima Bilan and Anna Asti harmoniously and keep them as equals in the chorus. That is not an easy task when the artists have such different timbres.
Podlesny Twins made a video breakdown of this mix on YouTube: https://www.youtube.com/watch?v=1IRcpqgAJ08
Madness2025nevejjda produced “Madness” (https://genius.com/artists/Nevejjda).
Пообещай2025This project was sent to me by composer Darya Kuznetsova, who has won a great many Golden Gramophone awards. Pavel Podlesny recorded backing vocals and vocal stacks for the track, which were then blended with Dima Bilan's own backing vocals. Darya Kuznetsova also recorded the female backing vocals.
I mixed the track, and Boris Istomin mastered it. The song had to be ready for radio and the charts. The vocal here is heavily compressed at a 12:1 ratio, and the whole mix is as pop-oriented as possible. I was hugely impressed by Boris's master: he made the track very loud and made it translate everywhere. Podlesny Twins received a Golden Gramophone for this work.
Jealous · with 9mice2026Nikita Chaika studied on my Podlesny Education course, and afterwards we started calling each other from time to time to help evaluate each other's mixes and trade experience. On one of those calls he played this track, and later he handed it to us for stem mastering.
аня2026This was a barter story: we gave the project out as a mixing assignment on our course, and in return did the mastering for free. Of all the projects submitted, we liked fvnni's multitracks most: interesting songs with good source recordings.
By a happy coincidence, after the mastering of “аня” fvnni became popular on Instagram: her tracks started taking off in Reels. You could say we managed to have at least an indirect influence on that, which is nice. Of course, mastering alone cannot affect a song's success that much, but it is great that it all happened at exactly that moment.
HOLLYFLAME himself produced the album “Сделай меня грустным”.
Плевать2022“Плевать” is a joint work of Illuminati Production, Andrey Katikov, and HOLLYFLAME. It was a tricky track to mix and an important job for us: we mixed it at a studio that was new to us at the time, on big ATC SCM100 monitors. The sound on them was huge, and we wanted to keep that feeling in the mix.
The main task was setting up the sidechain of the various instruments from the kick properly.
Снегопад2023HOLLYFLAME produced “Снегопад”. We got it going in the right direction straight away, so only one round of small revisions was needed.
The album “Партизан” became one of the most important projects of our whole career. Work on it began in 2021 and wrapped up in 2025. Most of it was done in person, taking each track slowly and carefully to its final form.
“Живая вода” felt like a potential hit, so we wanted to make it as danceable as possible and bring out the drums and the horns. The main sonic accent here is the brass section. The mix came together very quickly and the artist liked it almost immediately.
“Ветром Снегом Зноем” is the album's closing track. It took a long time because there were so many vocal parts. We wanted it to feel like the intro to an old Soviet TV series about the police. While mixing, we put such series up on a big screen for inspiration and aimed for the strongest possible sense of nostalgia.
The biggest challenge was mixing the beatbox: a dry beatbox is not easy to turn into a convincing drum sound, and at the same time the track had to sit with the rest of the album.
Work on “Музыка рай” went unusually: several tracks were originally written over this beat, and we mixed one of them almost completely. Then the lyrics were rewritten entirely and the meaning changed. The result was the version that came out on streaming.
The hardest part was creating a viscous atmosphere in the style of dungeon synth while keeping the track listenable. We worked a lot on the vocal, experimented with pitch, with the space around the falsettos and backing vocals, and on the master we aimed for a pleasant tube-style clipping.
“Я боюсь” turned out to be one of the simplest tracks in terms of mixing, because the demo was already well put together. Anton did the main mix, and Pavel separately worked on the tricks and effects that give the song its particular atmosphere.
We wanted to create effects that had not existed before. More than fifty variants were made, and three or four remained in the final mix. We like the simplicity of this mix: the voice sounds plain, but good. In lyric-centered rap the main task is to make sure the listener hears every word.
A key is the decision without which the mix does not work, and after which the track comes together and starts sounding the way it should. One key, once found, can close dozens of small revisions.
The mix of “Танцы на снегу” came together only after we put iZotope Exciter on the master, running at almost 100%. Normally we never use saturators on the master bus that aggressively, but without the explosion typical of baile funk this mix did not work. Neither a clipper nor any other tool gave the needed effect at the start of the chorus.
Baile funk largely took shape in the poorer neighborhoods of Brazil, where producers deliberately oversaturate their tracks. That is where the signature sound comes from, and it is impossible to get it through careful processing alone.
This was one of the hardest tracks on the album to mix: while it was being made, the beat changed genre and the vocal takes were re-recorded. In total I mixed four different versions of “Быть орком”.
Dmitry Husky is an unusual artist: when other people rework material many times, the final version often ends up strained. Dmitry, on the contrary, is exactly the kind of artist who brings an idea to completion through several iterations. For a long time we could not find the right character for the bass, but careful saturation and Melda PolySaturator helped find the harmonics it needed.
We started mixing this track together with Dmitry in Saint Petersburg at the Mix Room studio. The idea was to make a bright trap track. We drew on the sound we had already found for “Колобок” and aimed for the same bright, overcooked character.
The track uses the same sample as “Танцы на снегу”. That ties the album's sound together and makes it more interesting to listen through.
Mixing “Контроль” began at Dmitry's studio in Moscow, where I did a rough mix of the project in FL Studio. It did not come out perfectly right away, because I had hardly ever worked in that program before. This is one of the last tracks we mixed for the album.
Once the idea of the mix had been assembled in Moscow, I finished it in my usual Studio One in Saint Petersburg. After several rounds of revisions the track was done. The goal was to make a live banger that people would dance to.
“Колобок” was the first track I mixed after the Mix With The Masters seminar with Andrew Scheps in 2023. I made the first version on headphones in a wooden house in the Leningrad region, where Dmitry was holding his camp. Then we finished the track at the Mixroom studio.
The shouts of “Они хотят меня сожрать” sound especially interesting. Andrew Scheps often uses SansAmp on various instruments, and I decided to try that technique. Although he did not put SansAmp on vocals at the seminar, I used it exactly there and got an expressive overdrive.
Another difficulty was a very top-heavy bass that took up almost the entire frequency range. The main task was to tame it while keeping the power of the track.
While working on “Лимонка”, Dmitry gave no references, so I chose them myself. I wanted a dry sound in the style of Pharrell Williams and N.E.R.D., with clean transients and expressive percussion. I think it worked.
The main difficulty was making a large number of ad-libs, shouts, backing vocals, and different sections of the song get along. There were many ways to arrange them, and the tenth version went to release.
This track was very hard to mix: the sample takes up almost the entire frequency range, a massive bass sits right next to it, and the guttural vocal potentially conflicts with both the bass and the sample. We only managed to resolve that conflict in the third year of work.
There were many project versions: we passed them back and forth, exported individual stems, EQ'd them, and re-recorded the vocal. The chorus sounded right straight away, powerful and loud. The main difficulty was in the verses. A fun fact: Anton recorded the whistle for the last chorus.
We mixed the first version of “Душа” in 2021. The job was closed then, and Dmitry was happy with everything. We came back to the track in 2025: in the meantime we had grown a lot as engineers, and the old mix no longer matched the rest of the album.
Mixing “Душа” is a world of its own: it has an enormous number of sections and instruments, and the amount of work is unlike any other track. In total we spent several weeks on it. I especially like how we managed to place the trombones close to the listener in the space while making them sound slightly eerie. The priest's singing at the end of the track also stuck in my memory.
I split “Ангел учится летать” into two parts. The opening is classic baile funk: reggaeton-flavored and slightly viscous. Here the attention goes first of all to the drums and transients. A soft clipper sits on the track's main bus and toasts the sound nicely.
In the second part the drums disappear. As a child I saw a TV ad for Dior Fahrenheit set to very beautiful music with a pad that scattered across the space. Only years later did I find that piece: “As Falls Wichita, So Falls Wichita Falls” by Pat Metheny and Lyle Mays. Around the fourteenth minute there is an astonishing moment that feels like heaven. The ending of “Ангел учится летать” resembles it a little, and I tried to bring the sound closer to that association, which had left a deep mark on me.
By the time we got to this track we had already found the toasted, powerful sound of “Я объявляю вам войну” and “Колобок”. Here it was important to bring out the very loud backing vocals with the dog howl, “у-у”. In the demo they were pushed forward, and that shock balance had to be preserved in the mix.
We paid a lot of attention to the overdriven percussion. Dmitry gave no references, but for some of the engineering decisions I drew on “Power Is Power” and other tracks from the Black Panther album.
The intro was made quickly and in one breath, right at the studio. Dmitry Husky himself and Yama Nora handled the production, so what we mostly had to do was the stem mastering.
Бог войны2022“Бог войны” was the first mix for Dima in many years, after the album “Хошхоног” and the track “Песня для К”. Here it was important to create the feeling that the lyrics are being delivered by a soldier out in the fields. So for the space we used an impulse response of a forest and open terrain rather than an enclosed room, as we usually would.
The track has a lot of spatial effects and reversed reverbs. A certain funereal feeling comes from the kick, which sounds loud in stereo, almost like a shaman's drum.
Заложник2025“Заложник” is interesting for its spatial effects. While mixing, I kept feeling that the female vocals were coming from somewhere behind me. It produced a strange, eerie effect: I wanted to turn around, as if someone were calling me.
This track was a real pleasure to mix. We like songs where the transients can be brought out: good work on them makes a mix translate better. Here strong transients came together with interesting, immersive spatial effects.
Птицы2020“Птицы” was the first track we mixed for Husky, in 2020. The work took almost a week. We made the mix very saturated and tried to keep the sonic character of Dima's previous albums. Only one small revision came back from the artist, which pleased us a lot.
Сколько стоят деньги?2024Here Dima came to us directly. The main task was expressive transients, because the track is very punchy and powerful. We like how we managed to shape the vocal timbre, get rid of parasitic resonances, and make Dima's voice very clean, in contrast to how it sounded on the early albums. We wanted to refresh and modernize Husky's sound without killing its character.
Ещё люблю2025Andrey Katikov produced “Ещё люблю”. It was our first job with Klava Koka. It was especially good that we managed to deliver it fairly quickly: the first version went in the right direction straight away.
We received a Golden Gramophone for this track.
Журавли · with JONY2026Artyom Kassa produced “Журавли” (https://kaccamusic.com/). He also mixed Klava Koka's part, and Alex Davia mixed JONY's part. We did the stem mastering.
The main work was on the chorus. It was important to make sure the artists' timbres, layered on top of each other, did not create an excess of energy in the upper mids. For precise, detailed control of the resonances we used SpecCraft, Soothe 3, and Mastering The Mix Resonance. We also checked that frequency range on the studio's Auratone Cube, which exposes these problems particularly well.
СПЛЕТНИ. ШУМ. ЛУК.2025Artyom Kassa produced and mixed “СПЛЕТНИ. ШУМ. ЛУК.” (https://kaccamusic.com/). We came in at the stem-mastering stage.
Тысячи зим2026Artyom Kassa produced and mixed “Тысячи зим” (https://kaccamusic.com/). We came in at the stem-mastering stage: we pulled the track together into a single whole, added density and loudness, and brought it to release-ready condition.
I especially like how the epic drop turned out in the end.
Стоп Игра2023Andrey Katikov produced the project. The main task was to keep the mood of the original demo and add a rich, soaring atmosphere to the mix.
Хиона2022Andrey Katikov produced the project. It was very important to make the song personal, spacious, beautiful, and clean in terms of engineering and EQ. For me the main measure of this job's success is that “Хиона” became the favorite track of LSP's parents.
Шиншиллы2025Andrey Katikov produced this track. We mixed it for LSP, whom we had already been working with for some time by then. The song made the top 5 of the chart. What makes it most interesting is its powerful, pumped-up, loud sound.
Неужели это все любовь · with NAVAI2025Gera Bagirov handled production, and NAVAI sent us the project directly. Working with several artists is always interesting: the transitions between different timbres need to be as smooth as possible.
This was our first job with MACAN. The song spread widely on TikTok and Reels, and we were glad to see it.
The album came to us through Andrey Katikov. We had worked with Alisher for a long time by then, starting with the track “Грустно” with Magic Man and the album LAST ONE. Work on ALISHER began with “ДОМ (Лондон, Прага, Ницца)”. The deadline was tight, so one day we woke up at seven in the morning and worked until one at night. The mix was approved, and we got the chance to mix the whole album.
Alisher pays close attention to mixing: we discussed revisions on Zoom calls and went through options together with the artist and the producer. The music was recorded live, so it was important to handle the material carefully on the technical side. In total, mixing the album took about a month.
Interestingly, the album was recorded at the same time in a single room at a studio in Georgia. The instruments naturally bled into one another, which gave the music a cohesive, live character. When an album is recorded in one room, with the same instruments and in a single style, it helps to carry successful drum processing and sends from track to track, and the album sounds more of a piece.
We used techniques from Andrew Scheps that I learned at a Mix With The Masters seminar: parallel processing and parallel drum compression. For the vocal space we used a lot of mono chamber reverbs, including Hitsville Chambers from UAD, to give the album an old-school character. The melodic instruments were panned wide, so their parts read clearly. I especially like how that sounds on “КРАСНЫЙ ФЛАГ”.
LAST ONE was the first album on which we worked with Alisher in full. Andrey Katikov produced it: his jazz training and Berklee approach left a strong mark on the production. I really like the rich, luxurious character Alisher and Andrey arrived at. It was our first serious experience with Alisher, and we tried to treat every track as if it were the last.
Грустно · with Magic Man2023“Грустно” was the first Alisher track we mixed. Andrey Katikov produced the song and took part in the process. We spent a long time searching for the sonic character and put as much of ourselves into the project as we could.
The track came out only several years later, but it was this job that opened the door to continuing our collaboration with MORGENSHTERN.
Последняя Любовь2024Andrey Katikov and Palagin produced the track. It was clear right away that this was a potential hit, so we went through the mix in detail together with the artists. The demo already sounded wonderful, and our task was to make it even better.
Before mixing, we separately worked through the guitar sound with a colleague at our studio to get the best possible result.
The track reached number one in many countries and stayed in the charts for several months, becoming one of the main works in Alisher's career and in ours. It was especially interesting to watch a rock song become a hit for an artist who until then had been seen first and foremost as a hip-hop act.
Work on the album “Фриковая дама” began after we mixed “Грустный эконом” for NAVAI. NAVAI called me right after our boxing session and told me the backstory of the album and the relationship it was built on. That conversation gave me a lot of inspiration for the rest of the mixing.
We mixed the album in just two months. It was a new sound for NAVAI, slightly rock and punk, so the project was an experiment for him and for us. There was a lot of searching: some tracks were closed very quickly, others had to be redone. A large team of producers and instrumentalists worked on the release, and Gera Bagirov handled the album's production.
We finished “Фриковая дама” in Moscow. The final listening session for the master versions took place at Bahh Tee's studio together with NAVAI's team and rapper Azizi Gibson.
Сколько времени потратил зря2025“Сколько времени потратил зря” is an excellent track, which Boris Istomin then mastered. We consider it one of our best mixes for NAVAI. The artist approved the work very quickly.
It is a track in the classic NAVAI style: clear in terms of production, with a clearly defined goal for the sound.
Do for love · with Hloy2025Ollane himself produced “Do for love”. We mixed it at the Hajime studio, on the big ATC monitors.
The demo already sounded very finished, but we managed to open it up even further. The artists liked the mix almost immediately, and we delivered it within a couple of versions.
Мотивы · with Endspiel2026“Мотивы” was our first job with Endspiel and our third with Ollane. Working with Hajime is always a very interesting experience.
Essentially, we did stem mixing here: some of the tracks already arrived processed, but there were still a lot of them.
Let It Be2025A simple, pleasant track in a Western style with the band's signature live drums. They were recorded beautifully, so they opened up in the mix right away. I personally passed on my respect to the engineer who recorded them. Igor Ten produced the track.
Грустный эконом · with NAVAI2025Our first job for PIZZA and NAVAI, and the start of a collaboration that has lasted many years. Igor Ten, a producer we had previously worked with on Gayana's songs, handled production, and we did the mixing and mastering. The project was special for us because we had listened to both artists for many years and finally had the chance to work on their music.
Заново2025We wanted to make this track very romantic, the kind people could dance their wedding dance to.
Золото2026Igor Ten, PIZZA's producer, whom we had previously worked with on Gayana's songs, handled production, and we did the mixing and mastering. The mix was approved on the first pass: what you hear on streaming is the very first version, without a single revision.
We tried to keep the classic PIZZA sound while making it slightly more modern.
Наплевать на всех · with Leonid Agutin2025For me this was an extremely important job: Leonid Agutin is a legend I had always wanted to work with. What mattered most was not to fall flat on my face.
Ночи напролёт · with Dose2025We had worked with Dose for a long time, and this track came from Igor Ten, PIZZA's producer. It became one of the most played tracks on radio that year, which we were very pleased about.
Скорость пульса2026Igor Ten, whom we work with on PIZZA projects, handled production. Unfortunately, I no longer remember any other details of this job.
Сны2026The job was not an easy one, because the live drums had to be mixed.
I wanted to bring the sound closer to the indie aesthetic of the band Jungle. That was not a reference from the artist but a direction that inspired me personally. I really like the track, and the final mix too: I would confidently put it among my five favorite pieces of work.
Surprise2024Rhymefest is a co-writer of Jesus Walks and New Slaves for Kanye West. We mixed the song from his new album at the invitation of Mikalai Skrobat.
11 pm in Berlin2025We have worked with T-Fest for a long time: he sends the track himself, and then the two of us search for the sound together, with Zoom calls, trials, and joint decisions.
Here it was especially important to get the vocal timbre exactly right: densely processed, yet beautiful and musical.
72 Barz Freestyle2026In this mix it was especially important to convey the real, unpolished energy of a freestyle.
Heaven · with Kyol2024It was important to join T-Fest's voice with Kyol's densely processed vocal into a single whole. An interesting task: tracks like this teach you to create a Western sound and show how a heavily processed vocal can sound beautiful if you pay attention to every detail.
Встретимся завтра · with катя милтей2025The project came directly from T-Fest. Working with him involves a lot of joint searching; together we bring the song to its precise character.
The main task was to blend the voices of T-Fest and катя милтей (Katya Miltey) harmoniously while preserving the individuality of each timbre.
Давай сконнектимся2025We have worked with T-Fest for a long time; the track came straight from him.
In mixes like this it is especially important to get the balance of the vocal stack right. The track reached number three in the charts of several countries.
Иногда2024We searched for the sound of this song together with T-Fest: Zoom calls, trials, and looking for whatever opens it up best.
Разбуди меня2024The key task was the hypnotic sound of the drop.
Соври мне2024The main focus here was on the vocal timbre and the space around it. When almost nothing in the arrangement gets in the vocal's way, it is especially important to bring its sound, practically solo, to the highest possible quality.
A track from the album EPISODE. Produced by Khanafi, moondji, and nevejjda. We worked partly at the Hajime studio and partly at our own base in Saint Petersburg. On the outro of “Ждать” we also took a hand in the production.
A track from the album EPISODE. Produced by Khanafi, moondji, and nevejjda. Part of the work was done at the Hajime studio, part at our own base in Saint Petersburg. On the outro of this track we also took a hand in the production as the situation called for it.
Zavet and Kai Angel are the same artist: in recent years he changed his name to Kai Angel. Podlesny Twins mixed and mastered the zavet-era releases, including the album “gotika”.
Zavet and Kai Angel are the same artist: in recent years he changed his name to Kai Angel. Podlesny Twins mixed and mastered the zavet-era releases, including the album “gotika”.
Zavet and Kai Angel are the same artist: in recent years he changed his name to Kai Angel. Podlesny Twins mixed and mastered the zavet-era releases, including the album “gotika”.
Zavet and Kai Angel are the same artist: in recent years he changed his name to Kai Angel. Podlesny Twins mixed and mastered the zavet-era releases, including the album “gotika”.
Zavet and Kai Angel are the same artist: in recent years he changed his name to Kai Angel. Podlesny Twins mixed and mastered the zavet-era releases, including the album “gotika”.
Zavet and Kai Angel are the same artist: in recent years he changed his name to Kai Angel. Podlesny Twins mixed and mastered the zavet-era releases, including the album “gotika”.
Paranoia2020Zavet and Kai Angel are the same artist: in recent years he changed his name to Kai Angel. Podlesny Twins mixed and mastered the zavet-era releases, including the album “gotika”.
The album came from Andrey Katikov. We have worked with him since 2020, back when he was head producer at Illuminati Production. Our part of the job was mixing the album.
А дождь пройдёт2025The revisions here were surgical, and there were not many. The job left a very pleasant feeling.
Бабки · with OG Buda2026By this time Andrey Katikov had gone from producer at Illuminati Production to an artist in his own right. The most important thing was to create a sense of explosion in the chorus on the word “бабок” without making it hurt the ears.
Болен2025Andrey Katikov, whom we have worked with since 2020, handled production. What interested us most were the parts by world-class drummer Aaron Smith. The source tracks were recorded so well that mixing them was a pleasure.
Одинокими · with LSP2025The track is very varied, so it was especially interesting to highlight the space differently in its separate sections.
Остаться собой2025My part here was stem mixing. The track was already beautifully balanced at the demo stage, so the work went quickly and easily.
Прости2025Here we were looking for a direction: the first version was a trial of character, and in the second we arrived at a sound everyone liked.
Ты мой рай2026We wanted to give the track a pop sound while keeping the liveliness of Andrey's song. Songs this beautiful, with vocal stacks like these, are a pleasure to mix.
We have worked with Timofey since 2020, starting with the album “Зеркало”. He pays close attention to mixing; we fine-tune many of the details together on calls.
We have worked with Timofey since 2020, starting with the album “Зеркало”. He pays close attention to mixing; we fine-tune many of the details together on calls.
We have worked with Timofey since 2020, starting with the album “Зеркало”. He pays close attention to mixing; we fine-tune many of the details together on calls.
We have worked with Timofey since 2020, starting with the album “Зеркало”. He pays close attention to mixing; we fine-tune many of the details together on calls.
We have worked with Timofey since 2020, starting with the album “Зеркало”. He pays close attention to mixing; we fine-tune many of the details together on calls.
новый день2025We have worked with Timofey since 2020, starting with the album “Зеркало”. He pays close attention to mixing; we fine-tune many of the details together on calls.
On the acoustic guitars we tried a bitcrusher, a technique we brought back from Mix With The Masters.
On “Phoenix” I mixed the vocal and the first beat. Later the artists decided to replace the beat, and the final joining of the vocal I had mixed with the new instrumental version was handled by engineer Nikita Chaika.
I especially like the Dr. Dre-style sound of the drums. I tried to use his techniques both in the work on transients and in the master processing with SSL compression. There is minimal space in the track: the sound came out American, in the aesthetic of the early 2000s, with a lot of bounce.
I finished the last revisions on the album, including “2017”, on headphones at the La Fabrique studio in Provence, during the Mix With The Masters seminar with Andrew Scheps.
We made “LMFAO” in the aesthetic of the early American 2000s: minimal space, bright transients, and a bouncy sound. In the work I drew on Dr. Dre's techniques, including his approach to drums and to master processing with SSL compression.
I finished the final revisions on headphones at the La Fabrique studio in Provence, while at the Mix With The Masters seminar with Andrew Scheps.
DEVO4KA · with glaive2023What made the track interesting is that it is a feature with an American artist. The main difficulty was the kick: we wanted it as punchy as possible, with a dirt that works for the track. I even took a lesson from electronic musician Sergey Vospi so he could help synthesize the kick that would work best in this track.
For detailed sound design I brought in Ain Rei. Originally there were more than a hundred effects, but after revisions about fifteen remained, including the vocal chops. A whole team worked on the song.
The mix sounds dirty, and I still like the result, because that dirt is deliberate. glaive's vocal was recorded fairly overdriven to begin with, but in the mix we managed to seat it organically.
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