Your Source for Electronic Music Production Insights

Nonlinear reverb adds size and weight with a short, shaped burst of ambience. Discover how it works, when to use it on drums, vocals and synths, and how to try it with Logic Pro’s EnVerb.

Sometimes the best thing you can do to a kick is nothing. This post explores how to decide what the kick actually needs, then covers Pultec and dbx processing, high- and low-pass filtering, tape colour, RBass, sample selection and reinforcement—all with one aim: giving the kick its proper place in the mix.

Reason Free gives you 15 classic Reason devices as a free Rack plug-in for Logic and other DAWs. I opened it up, made a track with it and found a few sounds I’ll be coming back to.

Chorus can turn a narrow, static sound into something wider and more alive. Using a sine wave and goniometer, this post compares UAD Studio D, Softube Model 84 and Logic Pro’s Chorus, then explores practical ways electronic producers can use the effect.

The sound of flanging takes me straight back to the dancefloor. Here's how it works, with an interactive demo, and how to use it from full-strength sweeps to subtle movement and tuned bass.

Phase can make a mix feel huge, hollow or weak – especially in the low end. Here’s how I use polarity flips, waveform alignment, Little Labs IBP, Auto-Align and sidechaining to get kicks and bass working together.

Access Analog lets you run audio from your DAW through real analogue hardware over the internet. After using it for six months, I’ve found plenty of bugs, booking conflicts and latency—but also a rare opportunity to hear legendary equipment working on my own music.

Tilt EQ is a simple way to change the overall tone of a sound and help it sit in the mix. Here’s how I use it on kicks and other elements, plus why Decapitator remains my quickest option.

Explore vintage sample CDs without installing specialist software. This browser-based tool extracts ISO9660, Joliet and UDF images, handles BIN/CUE data and audio discs, and converts supported Akai sampler discs to WAV.

Music software used to require learning to code or finding a developer. AI is changing that. Producers can now turn their own ideas, techniques and ways of working into tools – creating software that's increasingly personal to the person who made it.

Top end can be thought of as one thing. The Mäag Air Band shows it isn't. Its five octave-spaced positions let you move from presence and brightness to sheen and air – and 40 kHz might be the most interesting of all.

Mix bus compression isn’t about finding the right settings. It’s about finding the point where the track starts to move as one. Here’s how attack, ratio, threshold, release and sidechain filtering work together to create glue without losing the bounce.