Attack and release settings look simple, but they decide how a compressor actually feels – how it hits the transient, how it shapes movement, and how much energy the sound keeps. Even a few milliseconds can change the tone completely. To understand what counts as fast , it helps to compare the timing across different compressors. The 1176 is a useful reference point because it lives at the extreme end of speed, but it’s only part of the picture. What Counts as a Fast Attack? In practical terms: Fast attack = under 1ms Anything below 1 millisecond starts to clamp down on the transient. But there are levels within that: Ultra-fast (FET / 1176):  <0.1ms Fast (VCA / Distressor fast modes):  0.1–1ms Medium:  1–10ms Slow:  10ms+ Fast attack means the compressor reacts before or during  the transient. The sharper the attack, the more the transient gets reshaped. What Fast Attack Sounds Like When attack is extremely fast (<0.1ms): Transients get rounded off instantly The sound becomes thicker, more solid Peaks don’t poke out Drums hit shorter and denser Vocals stay controlled and upfront Bass gets fat but loses some initial pluck This is the FET/1176 territory. When attack is simply fast (0.1–1ms): Some transient still gets through More punch and definition The compressor shapes the body rather than the initial crack Useful for modern drum punch and clarity This is where SSL, Distressor (fast modes), and DBX 160 live. What Counts as a Fast Release? Fast release = under 100ms This is where the compressor “lets go” quickly enough to bounce between hits. Breakdown: Ultra-fast:  50–80ms (1176) Fast:  100–150ms Medium:  150–500ms Slow:  0.5–5s+ Fast release gives you: more groove more movement more energy more “breathing” Slow release gives you: smoother gain reduction less movement more consistency more glue How Different Compressors Define “Fast” Every compressor type lives in its own timing world. Here’s how the common ones compare: FET (1176 & clones) – the ultra-fast benchmark Attack:  20–800µs Release:  50ms–1.1s Lives permanently in the “instant grab” zone Famous for density, aggression, and attitude Hybrid (Distressor) – flexible fast Attack:  50µs–30ms Release:  50ms–3.5s Can approach 1176 speed at its minimum attack Has a far wider usable range Cleaner envelope unless pushed into Brit Mode The Distressor sits between modern precision and vintage aggression. VCA (SSL Bus Comp, DBX 160) – punchy fast SSL Bus Comp Attack: 0.1–30ms Release: 0.1–1.2s Great for punch and glue, not transient destruction. DBX 160 Attack: ~1ms Release: ~50–500ms Punchy, “smack” character, but not ultra-fast. Optical (LA-2A) — slow and smooth Attack: ~10ms Release: 0.5–5s Timing is programme-dependent, always musical, never fast. Vari-Mu (Fairchild 670) — shaped, not fast Attack: 0.2–0.8ms Release: 0.3–25s Fast for tubes, but not transient-killing. How Attack Time Actually Changes Sound Using the 1176 as a clear example: 20µs attack: grabs instantly, removes the transient edge, thickens tone 800µs attack: lets the transient hit first, adds punch, keeps excitement These same principles apply across all compressors – the numbers just shift depending on the design. Seeing Attack and Release in Motion Attack and release times are easier to understand when you can see the gain reduction envelope moving. If you want a visual reference, Dan Murtagh’s compression visualiser lets you adjust attack and release times and watch how the envelope responds to transients in real time. For example: Ultra-fast attack (sub-millisecond)  shows the compressor clamping down almost instantly, flattening the transient before it fully forms. Slightly slower attack  allows the initial hit through, with gain reduction shaping the body instead. Fast release  lets the envelope return to zero between hits, creating movement and groove. Slow release  keeps gain reduction held longer, smoothing dynamics and creating glue. The visualiser isn’t modelling specific hardware compressors, but the envelope behaviour matches what you hear when adjusting attack and release on real compressors. https://danmurtagh.com/compression-visualiser/ Simple Timing Comparison Compressor Attack Release Type 1176 20–800µs 50ms–1.1s FET Distressor 50µs–30ms 50ms–3.5s Hybrid SSL Bus Comp 0.1–30ms 0.1–1.2s VCA DBX 160 ~1ms 50–500ms VCA LA-2A ~10ms 0.5–5s Optical Fairchild 670 0.2–0.8ms 0.3–25s Vari-Mu Why Fast Attack and Release Matter Choosing attack and release settings is really about choosing how your mix feels: Fast attack  → control, density, thicker tone Slow attack  → punch, attack, presence Fast release  → movement, groove, bounce Slow release  → smooth glue, stability, consistency Once you know the timing ranges of different compressor types, it becomes much easier to pick the right tool – and the right setting – for the feel you want.

Every track has two versions: the one that happens, and the one you build. There’s a point when you first write a track where everything just sits right. The balance works. Nothing feels forced. There’s movement, intent, and momentum – even if technically it’s rough. I saw a post on Instagram recently suggesting that when a track feels right at that stage, you shouldn’t mix it . That the early balance captures something unfiltered – a feeling delivered in real time – and once you start “fixing” it, that feeling can disappear. Personally, I’ve felt this many times. And I’ve also experienced the opposite. Rather than framing this as right vs wrong , it feels more useful to ask a different question: what kind of track are you holding? The Power of the First Balance The first mix isn’t really a mix at all. It’s instinct. Levels are set because they feel right, not because they’re correct. EQ choices are minimal, or absent entirely. Nothing has been shaped into compliance. What you’re hearing is a snapshot of a first pass – a reaction, not a construction. That’s why those early balances can feel so present. They haven’t yet been filtered through second-guessing, expectation, or fatigue. They exist because the track arrived  that way. I’ve had situations in the past where we’ve spent time refining mixes, only to return to the initial pass and realise that was the one to build from. Not because it was perfect, but because it was truthful. Once that immediacy is gone, it’s hard to recreate purely through technique. The Other Truth: Taking a Track the Distance There’s another side to this that’s just as real. Some tracks don’t fully reveal themselves until time has passed. A great mix can take days. Sometimes a week. Sometimes longer. You step away. You return. You listen without reacting. At that point, you’re no longer capturing – you’re shaping. This kind of mixing isn’t about preserving a moment. It’s about clarity, translation, and intention . The questions change: Does this hold together across systems? Does the emotional arc survive repetition? Is the low end honest? Is space doing something useful? When this process works, the finished mix isn’t a compromise. It’s a completion – something more deliberate and more durable than the initial sketch. Instinct and Intention in Art This tension between immediacy and refinement isn’t unique to music – it’s how art has always worked. Jackson Pollock  worked entirely in the moment. Gesture, movement, presence. The act itself was  the work. Leonardo da Vinci , on the other hand, could spend years – sometimes over a decade – developing a single piece. Sketching, revising, returning, refining. Both produced extraordinary work. Neither approach is superior. They’re simply different relationships with time. Music behaves the same way. Some tracks collapse under polish. Others don’t truly exist until they’ve been worked. Mixing as Revelation I’ve often felt that mixing has more in common with sculpting than building. The idea that the form is already there, and the work is simply about removing what doesn’t belong. That’s often how mixing feels. Less about adding. More about listening. Letting the shape reveal itself over time. The Real Skill The mistake is turning one approach into a rule: Never mix – you’ll kill the vibe. Always refine – rough mixes are lazy. Both miss the point. The real skill – and this only comes with experience – is recognising which track you’re dealing with . Is this a moment that needs preserving? Or is this a sketch asking to be completed? Often the smartest move is simple: Save the first pass. Treat it as the emotional compass. Build towards it, not away from it. Sometimes you leave it exactly as it is. Sometimes you take the long road. Both are valid. I don’t think it’s about choosing one approach over the other. It’s about learning when to stop – and when to keep listening.

There are a lot of sample packs around now. Too many, really. Most of them are perfectly usable – but not many of them stick. Goldbaby  is one of the few names I’ve kept coming back to over the years, largely because the quality doesn’t date and the sounds don’t fight you. A practical background, not a marketing one Goldbaby is run by Hugo Tichborne , based in Auckland, New Zealand. He’s worked professionally in audio for over 30 years, including more than a decade in film and TV location sound. Goldbaby started in 2006, after an injury stopped him doing location work. With a studio full of synths, drum machines, samplers, tape and vinyl – and a long history of using samplers since the early 90s – he began sampling his own gear. Not because he saw a gap in the market, but because he was underwhelmed by what was already available. That difference matters. Sounds that feel finished What I’ve found with Goldbaby packs is that things tend to fall into place more quickly. Levels are sensible. Tonality is consistent and transients behave. You’re not constantly fixing things before you can start working. A kick from a Goldbaby pack usually sits where you expect it to. Same with snares, hats, and percussion. You still shape them – but you’re shaping something solid, not rescuing it. That alone saves time. Character without exaggeration There’s a clear love of vintage gear running through everything Goldbaby releases – drum machines, samplers, tape, vinyl, older converters – but it’s never pushed too far. The character is there, but it isn’t forced. That means the sounds work across genres and tempos without locking you into a specific aesthetic. You can take them clean, or push them hard if you want. They respond well either way. Trusted beyond the sample world Goldbaby has also created content for companies who build the tools many of us use every day, including: Native Instruments Elektron Ableton ISLA Instruments iZotope XLN Audio That sort of work doesn’t happen by accident. It’s usually a sign that someone is dependable and understands what producers actually need. Why I still use them I’ve collected a lot of Goldbaby packs over the years, and they’ve aged well. That’s probably the main thing. They don’t sound dated. They don’t feel like trends. They just work. If you’re building a sample library you’ll keep reaching into – rather than scrolling past – Goldbaby is well worth your time. Not flashy. Not bloated. Just solid, well-recorded sounds made by someone who knows why they matter. Goldbaby has a handful of free packs as well. If you’ve never used them before, it’s worth trying those first and seeing what you think.

When you’re starting out, getting your sound  can feel overwhelming. There are endless plugins, constant advice, and a feeling that everyone else knows something you don’t. I’ve written before about getting your sound – this is an extension of that idea, aimed at beginners who want to make progress without drowning in information. Here’s the truth: You don’t find your sound by trying everything. You find it by learning a small number of tools properly . Start by Finding What Works – and Stay There for a While Getting your sound starts with simple, repeatable decisions. Get your settings. Find your place. Find that reverb that always works. Find that filter that does the job every time. Use that desk and that compressor that give you a result you trust. At the beginning, variety isn’t the goal – familiarity is . Understanding the basic fundamentals of mixing matters far more than chasing advanced techniques. There’s more information available now than ever before, and it’s very easy to drown in it before you’ve even learned to swim. One Compressor You Understand Is Enough to Start Knowing a compressor that does the job every time is a very good thing. I often mention MJUC , because it works. It’s musical, forgiving, and it helps beginners hear what compression actually does . Learn: what attack does to a sound how release affects movement why less compression often works better than more Once you understand one compressor, others make sense later – like an LA-2A  on bass or a Distressor  on vocals. Switching tools too early doesn’t speed things up – it slows learning down. Start Mixing with a Channel Strip (Desk Emulation) If I was starting again today and wanted solid results quickly, I’d tell myself this: Pick a desk emulation and learn it properly. Something like the Brainworx SSL E   is a great place to begin. It gives you: a reliable compressor a gate/expander an EQ that’s easy to hear high-pass and low-pass filters subtle saturation Using a channel strip across all your tracks ( I don't include FX returns or the master bus) helps everything feel connected . You’re not stacking plugins – you’re mixing through a system . There are plenty of channel strips out there. Find the one that suits the music you’re making. If the SSL sound isn’t right , an API-style desk is cleaner and more modern sounding, while a Neve-style desk is thicker and more coloured. The idea stays the same. Reverb for Beginners: Keep It Simple Reverb is one of the easiest places to get lost. You don’t need lots of spaces to start mixing. A good beginner setup is: one Room reverb one Hall reverb Learn how they behave. Listen to what happens when you use just a little, and what happens when you use too much. Reverb isn’t about effects – it’s about placing sounds in space . Learn from the Producers You Already Like This might sound obvious, but it really helps. Look up the producers making the kind of music you want to make. Read interviews. Watch studio walkthroughs. See which compressors, EQs, reverbs, and desks keep coming up. Patterns appear. If you can, hire a local studio for a few hours. Hearing compression and reverb in a real room changes how you understand them. Each experience becomes a small pocket of information . Over time, those pockets form a clear picture of what actually works. Beginner Starter Setup (Enough to Get a Great Mix) If you’re just starting out, this is all you need – for now. Channel Strip: One desk emulation you use on most tracks Compressor: One main compressor you understand Reverbs: One Room, one Hall Delay: One simple tempo-synced delay Reference Tracks: Two or three tracks in your genre Don’t add new tools until the ones you have feel familiar. You are your sound (even when you think you aren’t) It’s also worth saying this, especially for beginners: You are your sound. The instruments you choose matter, yes. So do the tools, the desks, the compressors. But underneath all of that, there’s something else going on. You have a kind of internal DNA – a way you phrase things, a way you balance sounds, a way you lean towards certain tones or movements. Over time, that becomes ingrained. It shows up whether you mean it to or not. I’ve been told many times over the years, “I can hear it’s you.” And often that’s been in response to something I felt was completely new or different. That’s the interesting part. Even when you change genre, try new instruments, or do something that feels outside your comfort zone, that DNA is still there on some level . It’s in the decisions you make without thinking. The things you push. The things you leave alone. For beginners, this matters because it takes some pressure off. You don’t need to invent a sound from scratch. You don’t need to force an identity. Your sound isn’t something you bolt on – it reveals itself over time  as you learn the fundamentals, make choices, and repeat what feels natural to you. The tools help. The knowledge helps. But you  are the constant.

Looking for the best electronic music production software ? Choosing the right DAW (Digital Audio Workstation) can shape your entire creative process. Whether you’re producing house, techno, ambient, or experimental electronica, your DAW affects how you write, sound design, and mix your music. With nearly 30 years of experience using Ableton, Logic, Cubase , and Pro Tools , I’ve seen how each DAW carves out a different path. Here’s a breakdown of what makes each one unique-and which might be best for your workflow. My 30-Year Journey Through Electronic Music Production Software Cubase (1993 – Early Days of MIDI) I started sequencing in Cubase in 1993, back when it was MIDI-only and still focused on early studio workflows. It had a clean feel and solid timing-perfect for the kind of structured electronic music I was making. Logic Pro (2000 – Transition to Mac) When I moved to Mac in 2000, Logic (then owned by Emagic) was the obvious step for serious MIDI and audio production. The learning curve was real, but its tight structure eventually won me over-especially for more technical arrangements. Ableton Live (2003 – Creative Experimentation) In 2003, I started using Ableton Live (then on Version 3) via ReWire with Logic. It introduced a new way of thinking about music-non-linear, idea-driven, and fast. Version 3 at the time felt revolutionary. Pro Tools (2006 – The Mixing Era) Around 2006, I began using Pro Tools - the industry standard in commercial studios - while teaching at Point Blank. It had excellent audio fidelity and precision but lacked strong MIDI tools. Which DAWs I Use Today for Electronic Production These days, I use Logic  and Ableton . I love Ableton’s creativity and spontaneity-but I keep coming back to Logic for sound quality  and MIDI arrangement . Tools like Cthulhu  and Scaler  expand Logic’s creative potential even further. How I Compare DAWs Before we dive into each one, here’s what I look at: Workflow & Usability  – Is it intuitive? MIDI Editing  – How powerful are the composition tools? Instruments & Sound Design  – What’s included out of the box? Mixing & Mastering Tools  – Can it compete with pro studios? Performance & Stability  – Can it handle large projects reliably?   Electronic Music DAW Comparison: Pros, Cons & Best Uses Ableton Live Pros: Unique Clip View  for live performance and spontaneous idea generation. Arrangement View  has improved dramatically, making linear composition more intuitive than in earlier versions. Excellent MIDI editing and automation tools. Built-in instruments like Operator , Wavetable , and Drum Rack  offer deep sound design potential. Max for Live enables custom devices, generative tools, and modular-like experimentation. Cons: While versatile, the mixing workflow  can feel less refined compared to Logic or Cubase. May feel limiting for classically trained composers or those used to score-style arranging. Best for:  Live performers, experimental producers, beatmakers, and anyone who values speed and creative flexibility. Logic Pro Pros: Massive library of stock instruments and effects , including Alchemy , Retro Synth , and Drummer . Excellent for composition, arrangement, and scoring - particularly within the Apple ecosystem. Powerful MIDI environment , including the Step Sequencer  and Scripter  plugin for advanced MIDI manipulation. Smart Tempo and Flex Time streamline tempo alignment and editing. One-time purchase - no subscription. Cons: Mac-only. While Logic’s MIDI is feature-rich, some find it less intuitive than FL Studio or Ableton for fast idea sketching. Best for:  Composers, sound designers, and producers who value deep arrangement tools and stock content. Cubase Pros: Industry-leading MIDI editing  via tools like the Key Editor , Expression Maps , and advanced automation lanes. Exceptional for orchestration, film scoring, and complex arrangements. Flexible and professional mixing console  with deep routing. Excellent audio engine and support for surround/multichannel projects. Cons: Steeper learning curve, especially for beginners. Heavier interface may slow down initial workflow compared to more loop-based DAWs. Best for:  Producers who need deep MIDI control, composers for media, and electronic musicians working with detailed arrangements. Pro Tools Pros: Still the industry standard in commercial studios. High-end audio editing , comping, and automation tools. Seamless collaboration for post-production, engineers, and hybrid scoring workflows. Excellent sound quality and plugin integration. Cons: Weak MIDI capabilities relative to other DAWs. Subscription pricing model. Not optimised for loop-based or electronic music workflows out of the box. Best for:  Engineers, producers focused on mixing/mastering, and electronic artists collaborating with studios or film projects. FL Studio Pros: Lightning-fast workflow and an intuitive interface. Beloved piano roll  – widely considered one of the best for MIDI sequencing and beat creation. Ideal for hip hop, trap, and EDM  producers. Pattern-based composition makes it easy to arrange loops quickly. Comes with lots of inspiring stock instruments (e.g., FLEX, Harmor). Cons: Audio recording and comping aren’t as refined as Logic or Cubase. Can feel cluttered for linear composition workflows. Best for:  Beatmakers, loop-based producers, and creatives looking for speed and simplicity. Bitwig Studio Pros: Modular and forward-thinking design - great for experimental and modular synth  producers. Advanced modulation system  allows deep control over parameters. Hybrid Clip and Arrangement workflow (similar to Ableton but with added flexibility). Strong MPE (MIDI Polyphonic Expression) support for expressive instruments. Cons: Smaller user base and plugin ecosystem than major DAWs. Slightly steeper learning curve for those coming from traditional DAWs. Best for:  Experimental artists, sound designers, modular synth enthusiasts, and producers seeking a modern take on DAW workflows. Honourable Mentions Reason  – Rack-based, hardware-style creativity Studio One  – A Logic/Pro Tools hybrid gaining traction Frequently Asked Questions ❓ What is the best DAW for electronic music production? There’s no single best DAW - it depends on your workflow. Ableton is ideal for creativity, Logic Pro is great for composition and mixing, and FL Studio offers a fast workflow for beatmakers. --- ❓ What software do I need to produce electronic music? At minimum, you’ll need a DAW (Digital Audio Workstation) like Ableton, Logic Pro, FL Studio, or Cubase. These come with virtual instruments, mixing tools, and effects built in. --- ❓ Can I make professional music with just a DAW? Yes. Many professional producers use only a DAW to create, mix, and master release-ready tracks. Hardware can help, but it’s not required to get pro results. Final Thoughts on Choosing the Right DAW for Electronic Music There’s no one-size-fits-all DAW. Each one offers different strengths: Use Ableton Live  if you’re about spontaneity and loops. Choose Logic Pro  if you love composing, scoring, and working inside Apple’s ecosystem. Go with Cubase  for deep MIDI editing and orchestration. Opt for Pro Tools  if you’re focused on mixing and mastering. Tip:  Try a few demos and trust your instinct-how it feels  to work is often more important than features on paper. The best DAW isn’t the one with the most features – it’s the one that lets you forget about the software and focus on the music.

Back when I was teaching at Sheffield College of Music , one of the most memorable references I used in class was The Art of Mixing  by David Gibson . It’s not your typical textbook. What drew me in – and what landed with students – was the visual language . Gibson uses colourful 3D shapes and stereo diagrams to explain mixing like a painter works with space. You don’t just hear the kick drum –you see  it, low and centre. The vocals float just above. Synths stretch out sideways. Reverbs create cloudy halos in the distance. It turns the mix into a living, breathing sculpture. Then there’s the video . If you’ve seen it, you’ll know: it’s wild. The edits are vintage-90s psychedelic – awkward zooms, surreal cuts, and Gibson’s narration hovering somewhere between science teacher and metaphysical guide. But somehow, it works . It’s like going on a mild visual trip while learning EQ, panning, and stereo placement . “It’s like you’ve had a trip while learning the art. I guess it may be a good way for the information to go in.” 😄 Even now, decades later, it holds up as a teaching tool. It’s especially powerful for visual learners  or anyone trying to bridge the gap between what they hear  and where it fits in the mix . 📚 What Is The Art of Mixing? Originally published in 1997 , The Art of Mixing  is a book and video combo by engineer and educator David Gibson , designed to help you see  audio. Each sound in a mix is represented as a floating sphere in 3D space. Changes to EQ, volume, pan, and reverb affect its shape, placement, and “shine.” It’s a totally unique, visual-first method of understanding mix balance. Gibson breaks down different genres – from jazz and hip-hop to metal and electronic – demonstrating how elements occupy space differently depending on the style. 🎬 The Video: Legendary, Lo-Fi, and Still Relevant The accompanying video series (still circulating online) is iconic for its surreal production and quirky narration. Despite its dated visuals, many producers swear by it: “Visually explains how a mix works… best video to help a beginner understand the concept of mixing as art.” – Jim Fogle, Cakewalk Forums “The Art of Mixing is the best video that visually shows what you should be hearing.” – Reddit: r/audiophile It’s even been called “like going to a really good audio engineering school in a couple of hours”  ( TAXI.com ). If you’re curious, search YouTube for “David Gibson The Art of Mixing Part 1” –it’s free to watch and still incredibly valuable. 🔍 Why It Still Works Intuitive learning  – The visual metaphors help bridge the gap between abstract audio concepts and real-world perception. Volume first  – Gibson emphasises faders before effects– balance over tricks . Creative mindset  – His style encourages experimentation over rules, helping mixers develop their own sound. Genre-aware  – It teaches not just mixing principles, but how they shift across styles. 🎓 Who’s It For? Beginner and intermediate mixers Visual learners who think in shapes and space Teachers looking to explain mixing in a new way Anyone burned out by technical manuals 📘 Want to Check It Out? Book : Available on Amazon  (various editions, including a 2019 reprint) Video : Find the full series on YouTube Reviews & Articles : TAXI.com review Dangerous Minds article Reddit Discussion In short:   The Art of Mixing  transforms mixing from a technical exercise into a spatial, artistic experience. It’s fun, foundational, and still worth your time – especially if you want your mixes to look as good as they sound.

What Are Modes? Modes are variations of the major scale, each with its own flavour and emotional character. They’re one of the quickest ways to give your melodies a distinct personality while keeping your harmonic foundation consistent. When I first discovered modes, I didn’t have a clue what the teacher was going on about. I understood there were scales, but as soon as modes were introduced my head hurt. Now, after years of actually working with them, they’re pretty straightforward – and genuinely one of the best things you can learn for expanding your melodic vocabulary. Modes sound complicated on paper, but in practice they’re a way of choosing a different “centre of gravity” in the same set of notes. The Seven Modes Using C Major One of the easiest ways to understand modes is to take the C major scale  (C D E F G A B) and change your starting note while keeping the same set of notes. This is the easiest way to hear modes – same notes, different root. What changes is the interval pattern relative to the note you treat as home. Mode Starting Note Notes Mood Ionian (Major) C C D E F G A B Bright, stable, familiar, “resolved” Dorian D D E F G A B C Minor but optimistic, smooth, soulful, forward-moving Phrygian E E F G A B C D Dark, tense, exotic, ritualistic Lydian F F G A B C D E Dreamy, weightless, floating, slightly unreal Mixolydian G G A B C D E F Major but gritty, groove-led, open, slightly rebellious Aeolian (Natural Minor) A A B C D E F G Melancholic, emotional, introspective, cinematic Locrian B B C D E F G A Unstable, anxious, dissonant, “on the edge” Quick Tip:  Explore the modes on your synth by staying in the white keys but changing the note you treat as “home/root” . The emotional change is immediate, even though the notes are identical. How the modes behave in electronic music Ionian (Major) Feels like:  clean, open, “finished” Best for:  bright hooks, pop-leaning leads, uplifting chords Signature notes:   major 7 ( in C Ionian: B ) Use it when:  you want something to feel clear and resolved , not edgy. Dorian Feels like:  minor, but confident and moving forward Best for:  deep house basslines, soulful synth stabs, rolling hypnotic grooves Signature note:   natural 6  (in D Dorian: B ) Use it when:  you want minor mood without sounding sad or heavy. Phrygian Feels like:  tense, dark, ritualistic, slightly “forbidden” Best for:  techno leads, dark arps, aggressive riffs, cinematic tension Signature note:   flat 2  (in E Phrygian: F ) Use it when:  you want instant pressure with minimal notes. Lydian Feels like:  bright, floating, futuristic, “above the ground” Best for:  ambient pads, shimmering chords, dreamy melodic motifs Signature note:   raised 4  (in F Lydian: B ) Use it when:  you want major, but not predictable. Mixolydian Feels like:  major, but looser / funkier / less polite Best for:  groove-led house, electro, disco-ish riffs, bouncy basslines Signature note:   flat 7  (in G Mixolydian: F ) Use it when:  you want major energy but with attitude and movement. Aeolian (Natural Minor) Feels like:  emotional, cinematic, reflective Best for:  melodic techno, trance breakdowns, moody chord progressions Signature note:   flat 6 (in A Aeolian: F ) Use it when:  you want that classic minor mood that “just works.” Locrian Feels like:  unstable, nervous, unresolved Best for:  experimental intros, eerie sound design beds, tension moments Signature note:   flat 5  (in B Locrian: F ) Use it when:  you want something that feels like it shouldn’t  be home. Signature notes are the “flavour” notes of each mode. The root is still home , but the signature note is the defining note  that makes the mode sound like itself . Think of it like seasoning – you don’t need loads of it, but even a small amount changes the feel straight away. If you bring the signature note in now and then, the mode becomes obvious. If you avoid it completely, the melody can start to drift back into plain major or minor. Why Modes Work in Electronic Music Expanded emotional range  – Go beyond the “happy vs sad” of major and minor. Cultural and stylistic flavour  – Certain modes evoke Mediterranean, Middle Eastern, or jazz influences. Instant melodic identity  – A Phrygian hook or Lydian pad can define an entire track’s character. Examples in Electronic Music Dorian : “minor bassline, but with a hopeful lift” Lydian : “pads that feel like they’re hovering above the chords” Phrygian : “one-note hypnosis with the signature note doing the damage” Producer Tips Start with the mode’s signature note  – bring it in early so the mood is clear straight away. Combine with modal interchange  – Borrow chords from other modes for variation. Test with different timbres  – The same mode feels different on a pluck, pad, or lead synth. Mini exercise (2 minutes) Pick a root note (E works well) Play a 4-note loop using only E–F–G–A Let the bass stay on E Notice how that F (b2) creates instant tension Modes by Genre (Quick Cheat Sheet) House / Deep House:  Dorian , Mixolydian Techno / Melodic Techno:  Aeolian , Dorian, Phrygian Trance / Progressive:  Aeolian , Ionian , Dorian Drum & Bass:  Aeolian , Dorian , Phrygian Ambient / Downtempo:  Dorian , Ionian, Lydian Electro / Breaks:   Dorian , Mixolydian , Phrygian Psytrance / Dark Prog:  Aeolian , Dorian, Phrygian Experimental / IDM:  Locrian , Lydian, Phrygian These are the modes that come up over and over in electronic music, but it’s really down to taste and the mood you’re aiming for. Final Thought Modes are a powerful way to expand your melodic toolkit. By stepping outside the default major/minor mindset, you can explore new textures, emotions, and identities – all without losing your track’s core direction.

A Process That Delivered - Again and Again What if you could finish a track in just four days – week after week – while still DJing, clubbing, and staying immersed in the scene? That was the goal when I was producing under the name Mr Pink . The idea was simple: build a repeatable system that worked. Monday to Thursday was for making music. Friday to Sunday? DJing, clubbing, and absorbing what worked on the dancefloor. It wasn’t about making endless tracks – it was about shaping a sound people recognised . That consistency led to my first breakthrough: a remix for Rollo (“Love, Love, Love”) that hit #1 on the Club Chart. But the real win wasn’t the chart position – it was the process behind it. Having a clear, repeatable approach meant every new track sounded like me . The Mr Pink Formula When I was producing as Mr Pink, I treated the project like a band – using the same core elements on every record to create a consistent artist sound. The foundation never changed: kick, bass, organ, percussion loop, and a sampled music loop . Those elements became the sonic fingerprint. If someone heard one of my tracks in a club, they’d recognise it before the vocal even dropped. That’s something every producer can benefit from today – defining a palette of sounds that becomes unmistakably yours . Limiting yourself forces clarity. Consistency creates identity. The Breakthrough My first big remix came from Rollo (“Love, Love, Love”) on Champion Records. I’d been releasing on smaller labels and sending out demos when Jonny Walker  gave me my first real shot in the UK scene. Sampling was central to how I worked – especially disco. I loved how American producers flipped disco into house, but I wanted to push that sound faster, tighter, and more European club-focused. By speeding up disco samples  and reworking them into my arrangements, I found a balance that connected with DJs and dancers alike. The Process: How I Worked The secret to speed wasn’t magic – it was workflow. The key tool was ReCycle , which felt revolutionary at the time. Here’s how it went: 1️⃣ Load the sample into the Akai S1000 . 2️⃣ ReCycle  transferred it to the computer for slicing. 3️⃣ The program sent the chopped sample back to the Akai, pre-mapped. 4️⃣ A MIDI file  recreated the groove perfectly in the DAW. This meant I could manipulate disco loops precisely and build the rest of the track around them – all within a few days. Every record had its own vibe, but the same DNA. The same process can now be done in  Ableton . Slice the loop, clean up the slices, and trigger them from Ableton's sampler using the MIDI file. It’s still one of the cleanest, tightest ways to work. The Impact: Why Finding Your Sound Matters When the Rollo remix hit #1 on the Buzz Chart and later the Club Chart, it opened doors. But it wasn’t luck – it was the result of staying consistent. I didn’t know music theory, but I knew the dancefloor. Years of DJing taught me what moved people – and that’s what matters most. The lesson still applies today: 🔹 Find your sound - and own it. Pick your instruments, samples, and methods, then refine them. When listeners connect with your sound, they’ll want more of it. Think of producers like MK  – instantly recognisable because he stuck with what worked and made it his. Final Thoughts: Defining Your Sound in Music Production If you’re serious about building a career in electronic music, your signature sound is everything . It’s what sets you apart. It’s what keeps people coming back. The goal isn’t to make everything different – it’s to make everything you . Develop a process that lets you finish tracks efficiently while staying true to your sound. Experiment, yes – but also commit. That’s where progress happens. Once you find your sound, stick with it long enough for the world to recognise it. That’s when things start to open up.

Reverb is one of those things most of us use for years before we really understand it. I certainly did. I spent a long time working with hardware reverbs, adding them by feel, without fully knowing what was actually going on under the hood – or why certain spaces worked better than others. Over time, what became clear is that reverb isn’t something you sprinkle on sounds – it’s the space the track lives in. Every reverb choice shapes perspective. It answers questions like: Where does this sound sit? How close does it feel? How much air is around it? Does it belong to the same world as everything else? This isn’t about rules or signal chains. It’s about choosing a space that supports the feeling  of the track. Reverb as Placement, Not Effect Presets can sound convincing in isolation, but they don’t always hold up once the rest of the mix arrives. Something that felt perfect on its own can suddenly feel wrong when everything else comes in. Does everything feel connected? Does a sound need depth without being pushed back? Should something feel distant, or simply supported? Is the space meant to feel real, abstract, or somewhere in between? Different reverbs answer different questions. The decision isn’t really which plugin  – it’s where this sound is meant to live in the picture . Room Reverb: When a Track Needs to Belong Somewhere I reach for room reverb  when a mix feels like its elements were created in isolation. Room reverbs don’t draw attention to themselves. They work quietly, mostly through early reflections, giving the ear a sense that everything is happening in the same environment. They’re less about tails, and more about belonging . Why I reach for room reverb To glue elements together To give dry sounds a shared context To create cohesion without obvious ambience To place sounds just in front of the listener If a mix feels disconnected or overly dry, a subtle room reverb is often the fix. I tend to think of it as an invisible space surrounding the mix. Where it tends to work best Drums and percussion Short synths and stabs Background elements that feel exposed When it’s right, you don’t really hear  it – you just feel the track settle. Plate Reverb: Depth Without Distance Plate reverb is what I reach for when something needs depth, but I still want it to feel present – suspended, rather than pushed back. Unlike rooms or halls, a plate doesn’t suggest a physical space. There’s no clear sense of size or distance. Instead, you get a smooth, even density that wraps around a sound without moving it away from you. That’s why plates feel supportive rather than spatial. Why I reach for plate reverb To add depth without creating distance To smooth and thicken elements To help sounds sit without losing focus Plate reverbs are often the safest choice when something feels too dry, but you don’t want it pushed into the background. Where it tends to work best Vocals Snares and claps Lead synths Any element that needs presence with support Chamber Reverb: Focused Space With Character Chamber reverb sits somewhere between rooms and halls, but it behaves differently to both. I reach for chamber reverb  when I want depth and character without the scale or wash of a hall . It suggests a space, but a contained one – something reflective, intimate and controlled. Chambers tend to have a sense of shape . You feel the walls. Why I reach for chamber reverb To add depth with more focus than a hall To introduce character without obvious size To give elements a sense of enclosure and presence Chambers can feel slightly darker or denser than rooms , and less expansive than halls . That makes them useful when something needs space, but still needs to stay connected to the listener. Where it tends to work best Vocals that need depth without distance Lead synths and melodic parts Percussion that wants character rather than realism Hall Reverb: Distance, Scale, and Perspective Hall reverb solves a very specific problem: placing something further away . Adding a hall isn’t just adding reverb – it’s changing perspective. It moves a sound back into the scene, giving it space to breathe, but also separating it from the listener. That can be powerful, or it can be destructive. Why I reach for hall reverb To create scale and size To push elements back intentionally To give sustained sounds a sense of distance Hall reverbs are less subtle by nature. They’re about perspective and depth, not glue. Where it tends to work best Pads and long textures Ambient elements Breakdowns and transitions Moments where space is part of the emotion If something suddenly feels far away or detached, a hall reverb is often why. Shimmer Reverb: Atmosphere Rather Than Placement Shimmer isn’t really about placing sounds in a physical space. I reach for shimmer  when I’m shaping atmosphere  rather than depth – when the goal is emotional context, not realism. Shimmer behaves more like an extension of the harmony than a room. It floats above the mix, creating height, air, and a sense of distance that’s more emotional than spatial. Why I reach for shimmer To add a sense of height or lift To create atmosphere rather than location To suggest distance without pushing elements back Used subtly, shimmer can make a track feel suspended. Used heavily, it becomes part of the texture itself. Where it tends to work best Pads and sustained sounds Background atmospheres Breakdowns and transitions Moments where space becomes part of the emotion Shimmer works best when it’s felt more than heard. Algorithmic Reverb: Control and Intentional Space Algorithmic reverb is often my first choice in modern, busy mixes. Not because it’s more realistic – but because it’s designed to behave. Algorithmic reverbs are shaped to avoid the unpredictable build-ups and resonances that real spaces introduce. They’re easier to control, easier to automate, and easier to fit around dense arrangements. Why I reach for algorithmic reverb To keep space controlled and predictable To avoid frequency build-up To shape depth without realism getting in the way This is often why algorithmic reverbs feel like they “just work”, especially in electronic music. Where it tends to work best Dense mixes Rhythmic material Sound design Situations where clarity matters Convolution Reverb: When Reality Matters Convolution reverb is what I reach for when realism is the point. Because it’s based on impulse responses, convolution reverb recreates the behaviour of real rooms or hardware. The space feels believable – sometimes uncannily so. The trade-off is flexibility. Why I reach for convolution reverb To place sounds in real environments To recreate specific rooms or spaces To add believable, natural depth Convolution reverbs tend to feel more static, which can be perfect for realism but limiting in musical contexts where movement matters. Where it tends to work best Cinematic work Environmental placement Subtle background depth Hardware recreations Choosing Reverb by Feel Stripped right back, the choices look like this: Cohesion and glue → Room Depth without distance → Plate Scale and perspective → Hall Focused depth and character → Chamber Atmosphere and lift → Shimmer Control and clarity → Algorithmic Believable reality → Convolution At a certain point, these choices stop feeling technical. You’re no longer adding reverb – you’re shaping the space the listener experiences. Reverb Is the Space In-Between Most reverb problems aren’t about too much or too little. They come from unclear intent. Reverb shapes distance, perspective, and atmosphere. It’s part of the space between the sounds – just as important as silence, just as important as timing. When that space feels right, the music doesn’t just play. It floats.

I’ve been using Soundtoys plugins  since 2010, and they’ve become a core part of my mixing arsenal . They’re versatile, add character, and provide unique movement and colour to my mixes. Whether it’s saturation, filtering, delay, or modulation, there’s a Soundtoys plugin that fits the job perfectly. These are the Soundtoys plugins I rely on most  and how I use them in my workflow. Decapitator: The Saturation King Decapitator  is one of the most well-known saturation plugins  out there, and for good reason. I often find myself coming back to it when I need to add warmth, bite, or thickness  to a sound. The different saturation modes (A, E, N, T, and P) all offer something unique, but I personally like A & E  for helping sounds cut through the mix. 💡 Pro Tip:  The Tone  dial is excellent for subtly nudging a sound up or down in the frequency range , making it fit better in the mix. FilterFreak1: Breathing Life Into Sounds Lately, all I seem to be doing is mixing, and sometimes I come across sounds that feel stale or lifeless . That’s where FilterFreak1  comes in. It’s an easy-to-use, powerful filter  that can add movement, warmth, and dynamic shaping  to sounds that need extra life. 💡 Pro Tip:  Even a small amount of automation  on FilterFreak1  can transform a static sound into something much more interesting. Devil-Loc Deluxe: Subtle But Powerful Devil-Loc Deluxe  can thicken and beef up  a sound with minimal effort. A slight amount of Crush and Crunch  can make a huge difference  in a mix, especially when I need a sound to feel bigger and more solid . 💡 How I Use It:  I blend in just a small amount  of Devil-Loc to give a sound more body and weight  without overdoing it. EchoBoy: My Favourite Delay for Solo Sounds EchoBoy  is my go-to delay plugin for lead lines . The “Solo” presets  are great for helping lead sounds sit better in the mix. I don’t always want an obvious delay effect-sometimes I just need a subtle presence underneath the main sound  to help it blend naturally. 💡 How I Use It:  A slight delay layer  on a lead sound  can add movement  without overpowering the dry signal. The Solo presets are very useful. MicroShift: Width & Presence MicroShift  is another essential plugin, especially for vocals and lead sounds . It gives vocals that classic H3000-style widening , making them sound bigger and more present  in the mix. 💡 Pro Tip:  If you don’t own an H3000 , MicroShift is a great alternative  to get a familiar, wide, and airy  vocal sound. Little AlterBoy: The Pensado Trick I use Little AlterBoy  for pitch-shifting effects, but one of my favourite tricks is the Pensado vocal technique -adding an octave-down  version of the vocal just beneath the main vocal for extra body  and depth . It also works the other way-an octave up  can lift a vocal, adding energy  and presence , especially in choruses . 💡 How I Use It:  A subtle mix of the low-octave vocal  under the main vocal thickens  the sound without overpowering it. PanMan: Subtle Movement for a More Dynamic Mix PanMan  is a stereo panning plugin  that I use sparingly, but when I do, it makes all the difference. Small, natural panning movements  can help sounds breathe and avoid clashing  with other elements in the mix. 💡 Favourite Use:  I apply gentle panning  on hi-hats  to create a slight stereo movement , which helps keep them clear of the centre of the mix  where the kick and bass sit. Crystallizer: Adding Sparkle & Depth Crystallizer  is perfect for adding shimmering, pitched delays  to pads, guitars, or other elements that need a little lift. It works especially well for creating an ethereal or dreamy effect . 💡 Pro Tip:  A touch of Crystallizer  on a pad or background element  can add a unique, textured feel  to the mix. It fills space with interest. Little Plate & SuperPlate: Rich, Thick Reverbs Both Little Plate  and SuperPlate  are fantastic plate reverb plugins . They give a thick, vintage plate sound  that blends beautifully  into a mix. 💡 How I Use Them:  When I need a big, lush plate reverb , these are great options. I don’t reach for them often, but when I do, I’m reminded of how good  they sound. Additional Soundtoys Plugins I Use Along with my main Soundtoys staples , I also reach for Radiator  and Tremolator  when needed. ✔ Radiator  – Adds analog-style warmth  and character . Small amounts mean a lot. ✔ Tremolator  – Great for adding rhythmic modulation  and movement  to sounds. Final Thoughts Soundtoys plugins have been around for a long time, and for good reason–they just work . They bring movement, character, and texture  to my mixes in ways that other plugins don’t. Whether I’m warming up a sound with Decapitator, thickening a vocal with MicroShift, or adding movement with PanMan , these plugins continue to be an essential part of my workflow. Soundtoys Effect Rack

If you’ve ever struggled with melody, keys, or why certain notes just feel  right, I want to share a book that genuinely changed how I hear music: How Music Really Works by Wayne Chase . I’m not usually someone who picks up a theory book for fun. Most books explain music through notation, classical terminology, or abstract concepts that don’t translate well to electronic production. But this one was different. It explained melody and “home” in a way that finally made sense – not academically, but musically. Why This Book Clicked When Others Didn’t Most theory books start with scales, key signatures, or reading notation. Chase starts with something far more useful: How the ear recognises where “home” is – even if you don’t know the key name. He explains the home key as a psychological centre , not a theoretical rule. You learn why certain notes feel resolved, why others feel unstable, and why melodies naturally gravitate back to certain tones. As someone who writes by instinct, this was the first time a book reflected what I was actually feeling in a DAW. Melody Explained Through Shape and Emotion What I loved – and what I think a lot of producers will appreciate – is how the book breaks melody down into: Contour  (the shape of the line) Steps over leaps  (why most great melodies move smoothly) Repetition and variation Motifs  (small ideas that become the hook) There’s very little jargon. No rules for the sake of rules. Just clear reasoning about why certain choices connect emotionally. A Practical Understanding of the Home Key The part that stayed with me was how he explained the home key. Not as: A key signature A scale Or a music theory concept But as something the listener feels . You start to recognise that the tonic isn’t just “the first note of a scale” – it’s an anchor point. Everything in the melody either pulls away from it or circles back to it. It’s the first time I really understood why some notes feel like tension and others feel like release. And once you see it that way, writing melodies becomes clearer and a lot more intentional. Why This Book Works So Well for Electronic Producers What sets this book apart is that it’s written for people who make music by ear, instinct, and curiosity. It’s about patterns , listener psychology , and emotional pull  – all things electronic producers rely on. How This Book Is Seen by Trained Theorists (and Why That’s Fine) It’s worth saying this: How Music Really Works   isn’t universally loved in academic music theory circles. Some trained theorists take issue with Chase’s terminology or frameworks. He uses language that doesn’t always line up with standard theory textbooks, and he sometimes presents ideas as fresh discoveries that, to a formally trained ear, overlap with long-established concepts. From that angle, the book can feel idiosyncratic, non-standard, or even a bit provocative. And honestly – that criticism isn’t entirely wrong. But here’s the important distinction. Most trained theory criticism comes from a world of notation, formal analysis, and institutional consistency . Chase is coming from a different place entirely: how music actually feels to a listener . For people like me – producers who learned by listening, experimenting, and following instinct rather than sitting exams – that shift in focus is exactly why the book works. I don’t need a perfectly standardised vocabulary if the idea makes my melodies land better. I don’t care whether a concept already exists under another name if it suddenly clicks in my head and improves my writing.

USB Bus Noise If you’ve ever encountered random glitches, pops, or interference in your audio setup, there’s a good chance USB bus noise is the culprit. I’ve battled with this issue over the years, and it can be an absolute nightmare-especially when working with sensitive audio gear, interfaces, and MIDI controllers. What Is USB Bus Noise? USB bus noise refers to unwanted electrical interference introduced through the USB power and data lines. It often manifests as high-frequency whines, digital artefacts, or even ground loops that introduce hums into your signal chain. Since USB carries both power and data, any electrical instability can wreak havoc on an audio system. Symptoms of USB Bus Noise • Random digital artefacts or crackles in audio playback/recording • High-pitched whining (often related to CPU load changes) • MIDI dropouts or jittery clock timing • Unexpected ground loop hums or buzzing • External USB devices disconnecting or behaving erratically It might take time to realise the noise is there, as it often presents itself as an 8kHz or 16kHz pitched whine . Over time, this can become extremely fatiguing and even painful to listen to if it gets too loud. Common Causes 1. Noisy Power Supplies  – Cheap or poorly shielded USB power adapters can introduce electrical noise. 2. Ground Loops  – When USB-powered devices share a common ground with your audio interface, interference can creep in. 3. High CPU Load & Poor Power Isolation  – Some motherboards and laptops struggle to provide clean power to USB ports, leading to instability. 4. Unshielded or Long USB Cables  – Poor-quality cables can act as antennas for interference. 5. Too Many Devices on the Same Bus  – Overloading a single USB controller can cause unpredictable performance issues. Fixing USB Bus Noise 1. Use a Powered USB Hub A high-quality powered USB hub can provide isolated, stable power to your devices. Look for one with a dedicated power supply and proper grounding. 2. Opt for an Audio Interface with External Power Interfaces that rely solely on USB power are more prone to noise issues. If your interface has an external power option, use it. 3. Try a USB Isolator USB galvanic isolators physically separate power and data lines, blocking noise from traveling through the USB connection. 4. Use High-Quality Cables Avoid cheap, unshielded USB cables. Look for ones with ferrite beads or additional shielding to minimise interference. 5. Separate USB Buses If your motherboard has multiple USB controllers, connect your audio interface to a different bus than other peripherals. USB expansion cards can also help in this regard. 6. Address Ground Loops If you suspect a ground loop, try breaking it with a ground loop isolator, lifting the ground (if safe to do so), or using balanced audio connections wherever possible. 7. Keep Your Signal Levels High Ensuring your output signal is well above the noise floor can help reduce the impact of USB bus noise. Keep your levels properly gain-staged and avoid unnecessarily low volumes, as increasing gain later can also amplify unwanted noise. Final Thoughts USB bus noise is an often-overlooked issue that can degrade audio performance and lead to endless troubleshooting headaches. By taking the right precautions-using powered hubs, isolators, high-quality cables, and keeping signal levels high-you can minimise or eliminate the problem entirely.