In this User Story, we’re introducing you to Dirk Steyer. Dirk is a music producer and the driving force behind the EBM/Industrial project Accessory. He is a certified audio engineer, works as a mastering engineer under the name Acsy Sound, and also teaches DAW software as an independent lecturer at the Sonic AudioSchool in Chemnitz.
For more than twenty years, he has been working in mastering and supports artists worldwide, including labels such as Out Of Line Music and EK Product.
Over the past few years, Dirk has consistently developed his studio toward a fully analog mastering setup. His focus has been on creating a workflow that combines musicality, precise control, and a highly tactile, hands-on user experience.
Here’s why SPL plays such a key role in his setup.
SPL Mastering Gear
Mercury
“The Mercury is the point in my setup where I switch from the digital platform to the analog chain. The big advantage for me is how quickly I can switch between different inputs. Whether it’s AES, SPDIF or USB, I can select another source instantly at the push of a button. And then comes the ‘aha’ moment: as soon as I switch over to analog processing, I immediately hear how cleanly the Mercury operates. Clear, precise, and lively – without adding any coloration. That’s exactly how a converter should sound to me.”
Hermes
“The Hermes is what truly makes my analog workflow flexible. I can connect up to eight analog processors, arrange them freely, and change the signal order within seconds. The two parallel mix paths have been a real game changer for my analog chain. They allow me to process a signal more aggressively while blending in only a portion of it, so the punch and the core tone remain intact. In combination with the Gemini, I can even work in analog M/S.”
Gemini
“With the Gemini, I can perform M/S processing in my analog chain just like I’ve been used to doing digitally for years. I can target the center or the sides precisely and adjust the stereo image as needed. This opens up a completely new level of sound compared to traditional stereo mastering. Being able to solo the mid and side channels makes the process much faster and easier for me. Paired with the Hermes, I can choose exactly which processors to include in the M/S path.”
IRON
“The IRON is my go-to compressor for everything, and so far there hasn’t been a single mastering session where it didn’t fit perfectly. The build and tactile feel are solid, and sonically it stays clean and full-bodied even under heavy compression. The signal never loses presence or punch. Instead, the track gains a kind of cohesion that’s hard to describe but immediately noticeable. It just sits around the track perfectly without breaking anything. The various tube-bias, sidechain, and rectifier combinations make it extremely versatile for me and provide a truly rich and dynamic sonic foundation. There’s really no track where I don’t use the IRON.”
PQ
“The PQ is the EQ for me. I use it on every track, just like the IRON, usually right at the start of my processing chain. It can make very precise corrections, but it can also apply broader tonal shaping that instantly brings a mix to life. It hits exactly what I need in the midrange, and even larger boosts sound stable and clean. The PQ is one of those units where turning the knobs just puts a smile on your face. Before the PQ, I didn’t use any other analog mastering EQs – and honestly, I don’t want to.”
PASSEQ
“The PASSEQ is the perfect complement to the PQ for me. I use this processor especially for shaping the low and high end. The bass gets a very musical roundness without becoming muddy or losing punch, keeping the signal stable, which positively affects the entire track. In the high end, the PASSEQ delivers a controlled sheen that never gets harsh and can be finely adjusted, especially thanks to the variable Q on the highs. This allows me to dial in the track’s ‘air’ very precisely without overemphasizing the highs. For me, the PASSEQ is that small but crucial extra touch that makes a track truly complete.”
Phonitor 3
“For monitoring, I rely on the Phonitor 3 in the Expansion Rack. In this setup, it creates a seamless and ideal monitoring environment in my studio. Whether I’m listening through headphones or studio monitors, I get a crystal-clear, detailed picture of the master. The Phonitor 3 Expansion Rack also lets me connect up to three different audio sources and route them to four monitor paths, making it incredibly easy to A/B tracks and check the mix across multiple systems. This gives me full confidence when making mastering decisions.”
If you’d like to find out more about Dirk and his work, you can visit his website and social media channels:
Website:
www.acsy.de
Facebook:
www.facebook.com/acsysound
Instagram:
www.instagram.com/acsy.sound
Photos by Anna Steyer:
www.annasteyer.de
