I hope you all had an excellent, exciting & creative weekend!
I for sure did! ♥♩♫♪
I finished my entry for the Steemit Music League Challenge _ S2_R2 hosted by 
https://steemit.com/smlchallenge/@chiefmappster/steemit-music-league-challenge-or-s2-r2
The theme this time, "Dance Anthems“.
I decided to make a house/ deep-house track to get ya'll bouncing on the dance-floor!
As I told you before, I am working on my video making skills. I thought I'd make a lil video for #dtube to go with it, as you obviously see, hehe.
Being a vinyl DJ since 1996, I started with Drum & Bass back then, House was / is another of my favorite genres to spin & get sweaty on the dance-floor with. I love dancing too!!
Some of the most epic dance anthems ( in my ears ) come from this style of music.
Juan Atkins, Derrick May, Carl Craig, Kevin Saunderson & George Morel, are just a few of my heroes in this field.
I can happily say, I‘ve seen them all dj live several times, the heat I tell you!
To create this, I used iMovie for the video, Studio One for making the track & this time I decided to add our analog compressor into the mastering chain for some warmth in the sound! Dunno why I didn't do that with earlier entries, tsss! Can you hear the dIfference? ;)
To increase the stereo width of the overall mix, I always do Mid/Side (M/S) processing.
Here are a few points:
Dynamics:
By separately processing center and side signal components, all important mix elements such as bass drum, bass and lead vocals can be compressed, controlled in their dynamics and made more compact, since these instruments are usually mixed in the mono center.
Dynamic vocals can be effectively stabilized, making the important bass / bass drum range more powerful and present.
On the other hand, of course, the side parts of the stereo file can also be kept more transparent and stable without being to dynamic on the important transients of bass drum, snare or vocals.
A stronger compression of the sides can also bring the effects used in the mix out more clearly.
Frequency image:
To give the important, low frequencies of mostly mono mixed bass drums and basses the necessary space in the mix and thus to make the mix more transparent and balanced, you can use a gentle low-cut filter on the side parts, for example.
Also, the highs of the side signals can be raised without risking too much hissing sharp emphasis on the center lead vocals. Drum overheads, keyboard surfaces, guitar walls and effects can be refined through silky heights, without the lead vocals' S-lute becoming too dominant.
De-Essing:
Using a de-esser on the mid-range signal effectively counteracts annoying sibilants and sharp sibyllants without sacrificing the brilliance and transparency of drum overheads or room signals.
Stereo Width:
The M / S principle helps to control the stereo width of the stereo file very effectively. If you slightly increase the level of the side parts and lower the middle information for it, this results in a seemingly widened stereo base because of the emergence of phantom sound sources. If you overdo this process, it can result in very extreme & usually undesirable effects.
Crazy Cross-Effects:
Playing with the possibilities of M / S splitting of the stereo signal, sometimes can create very crazy effects.
In particular, the combination of compressors and gates in conjunction with cross-routed side-chaining can create a creative sound designs that can "run" from the center to the sides, depending on frequency or dynamics, or vice versa. Attentive experimentation is required here, always with a critical view towards the fidelity of the developing result.
So, enough talk!!
Please have fun & I hope you enjoy what I have created <3 (´ ▽｀).。ｏ♥♡
..if you did..
please feel free to Comment, Upvote, Resteem or even Follow: 
THANK YOU （●´∀｀）ノ♡
@chiefmappster & the panel of judges are also @chiefmappster, then 
@danyelk, 
@beatseb, and 
@derekmiller.