Thanks guys! Very much appreciated.
Would love to hear about your process man - like what kinda plugs you use and how you mix/master your work.
Sure thing! Brace yourself lol…
This is always kind of a tricky question since there’s so many factors that weigh in (and having made music for 20 years it can be kinda hard to narrow it down - to see the forest from the trees if you will - as a lot of it is just a blend of intuition and guesswork) but I’ll gladly share a few thoughts. Don’t mean to jump on a high horse or anything though, I’m still learning every day myself (and to be honest, working with cheapo gear - apart from my Rhodes electric piano) just a few things that spring to mind.
First of all, while it sometimes seems that 90% of those how-to-get-mixes-right -discussions are about technique and tools, I’d say 90% is just arrangement. Like really putting some effort to find the sounds that work together and notes that complement each other instead of clashing etc. - like a photograph with a carefully selected subject, shot in great light with a steady hand, versus trying to photoshop a quick snapshot afterwards into a Life-mag cover. A mix can work amazingly well with no processing at all - if everything has it’s natural place, it just clicks together. But having said that, yeah, for sure, there’s a buttload of plugins and tweaking with tens of hours of frustration and trial/error in between for most tunes haha. 
The last track on this release ‘Scenes’ though, was done really quickly and didn’t really need any mixing afterwards, it was pretty much instantly there and sounded good (I got lucky) while with most of the other tunes, it took quite a while to get it right and find the balance (and on the other hand, with ‘Leisure Song’ I somehow never got it sounding quite up to par with the rest I think - speaking in a strictly technical sense - but I don’t stress about it too much as it’s the same with every release).
The sound I’m personally aiming for with my music first of all (but which is certainly not for everyone I realize) is something you can play LOUD when needed… I don’t really care that much if a master is loud or quiet in itself (quite the opposite in fact, I personally hate that overly limited sound which goes up to the point of distortion, even though it might sound impressive at first) but I feel you have to be able to crank up the volume of your system without getting any of that crowded, boomy or nasal feeling (fellow Renoise-user Datassette is a master in this regard; his mixes leave me speechless, and to be honest, a bit depressed haha). It still has to remain ‘creamy’ in lack of a better word. This approach might make music sound like ‘lame elevator music’ when played quiet in the background, at least for some, but ah - just turn it up… I don’t think this even has to do with genre, really (Led Zep records are awesome at sounding good at high volumes imo - while some stuff of the same era and genre, not so much…) but it is - of course - a matter of preference at the same time. Some people like their music more ‘spiky’ so to speak, and that’s ok.
Anyway, looks like I’m drifting here. Sorry. To mention a couple of really useful plugins in specific, I’ll pick Waves Trans-X Multi and Fabfilter EQ’s. I love having these side by side with a frequency analyzer - cozy! There’s a lot of sounds that initially have transients in “the wrong place” for a given track (sort of, err, macro-crowding the mix…) and sometimes an EQ dip is no good since it changes the character - Trans-X Multi is beautiful for taking care of those lil’ buggers. A percussion track might have an awkwardly clashing clicking feeling in the mid-range, messing with the punch of a snare for example - it’s real easy to get rid of that with Trans-X Multi (well it’s what I’m using, I’m sure there are other multiband transient controllers too - the Izotope pack has one, now that I think about it) while Fabfilter EQ’s are just easy and intuitive to use for me. Other EQ’s will do the trick as well, though, whatever feels right.
I will also mention U-He Satin (tape saturation emulation) because, well, it sounds amazing. It also has some other effects, I used it for the chorus in that Rhodes on ‘No Rush’ for example and also gently in the master channel for each track.
I also added a touch of tube distortion here and there (TL Audio Ebony A2 with replaced tubes), not much but it can be heard on a few things, brings a little edge.
The record was mastered by Ebony Cuts in Hamburg, which I can whole-heartedly recommend. You wouldn’t believe the amount of times I’ve gotten horrible, overly bassy and distorted masters in - but this guy really really worked wonders and had a great understanding of the music.
One more thing: getting cheapo 9€ speakers from Lidl was a huge help here - they are super revealing in terms of easily distorted frequencies and stuff, so if you can get a mix sounding great on those, it’ll pretty much work great anywhere. 
I also always check mixes played with the channels the wrong way around, pitched way too low and high - and for instance while walking in a noisy, urban atmosphere with cheapo head-plugs, somehow this all helps with perspective, which can be lost so easily upon working on something for hours and hours. It can reveal stuff that you would never have thought of otherwise, but after hearing it once - boom - it’s a 5-minute-fix.
PS. I can’t post this without mentioning… Renoise Signal Follower! It’s an unbelievable tool for a million different uses, especially creative un-crowding of mixes… Sure you already knew that though. 
