When I really need one, Transient Master from NI works great. ...the whole concept though was made by SPL back then, so they know it the best, but if you have Komplete for example, NI one works as good.

...also BitterSweet from Flux works great. Less control, but it's free.

...though it doesn't work in my case too much, I have to admit it makes things easier. I was lucky enough to exchange some stems with tyDi the other day, and he too used quite strict groups. It was strings, piano, bass, drums, synths, fx and vocals.

I use reason, so i can't just move all the sliders at once, so i just make that ratio adjustment with the group.

...yeah, that would probably force me to group more too.

The biggest thing is having some form of organization that you understand and can articulate when ever it's needed.

True. I got used to certain order in which I arrange tracks after each other. That way, when I search something, I know where to approximately look at. Probably not so neat, but I guess nicely quick way.

No, really. People totally underestimate fletcher-munson curves.

Here's a trick: Pick bunch of reference tracks (so in your case your favorite LOUD AF tracks), lay them down in your DAW, shift them so the loudest parts play at the same time and then solo one after another to check the difference. ...but! Instead of looking only at volume or RMS measurement, fire up spectrum analyser. ...then compare those tracks with your music. I bet you'll see huge portion of high-midrange information that's probably missing in your tracks (as you made the BASS so loud).

It's really common mistake. I fight it too to some extend. At certain point you just realize how harsh those loud tracks sound anyway, so you stop trying, lol. Skrillexe's Bangarang for example. So much highs. Such a cool track otherwise...

Simply said: I'ts all about balance.

You have your notes in the scale, start on a different note, but play all the notes in the scale that correspond to the scale key, and end where you begin.

That's another way to say things in a more uneducated manner.

Ha! That's the way I understand it!

I'm not the best sound designer when it comes to creating new drum samples, but here's a quick little example based off what I just told you, and the snare is deconstructed here.

Nice!

I don't think bounce-reverse thing is slow at all. Think about what they had to do for similar effects back then. Record vocal to a tape, play it back through reverb, record that to another tape, play it reversed, record that to another tape and then mix that in with the rest.

If you're going to promote your music then at least make sure you're clear what you want to sound like.

...and make sure you actually sound like it.