Before I knew the rules, the gear, or the techniques, I was making music that worked. I had a setup - a 32-track mixer and a rack of outboard gear - but no formal knowledge of mixing or mastering. I relied on instinct. My ears led the way. Instinct Over Instruction Back then, my drums were all one-shots lifted straight off records: a kick from one track, a snare from another, a closed hat from somewhere else. No layering, no synthesis - just slicing sounds from house records that already had the club  baked in. I didn’t realise it at the time, but I was unknowingly sampling not just drums, but the processing that made them hit: compression, EQ, saturation. All those subtle production moves were embedded in the samples. And it worked. The mixes rocked the club. The quality was on par with commercial releases, they had energy, drive, and impact. That was enough. Separation, Saturation… and Simplicity It wasn’t until years later that I understood why those raw early tracks held together. The hardware setup - routing everything through a physical console and outboard gear - took care of many of the things we now stress over: saturation, analog separation, harmonic glue. I wasn’t chasing perfection. I was chasing vibe. And honestly, that was enough. But with knowledge comes perspective. I now understand what makes a mix technically solid - clarity, balance, space, punch. And I can also hear when it isn’t  there. These days, when you’re working with raw, unprocessed sounds - especially in the box - you need to sculpt, saturate and separate everything with intention. Otherwise, it just doesn’t hold up. From Raw to Refined: A Common Journey This kind of evolution - from doing what feels right to developing a deeper technical understanding - is something many of us go through as producers. Take Daft Punk as an example. Their early album Homework  was gritty and simple, but it hit hard. It had soul. It wasn’t polished in a traditional sense, but it moved people - and that’s what mattered. As their sound developed, Discovery  added polish while keeping the charm, bridging underground with pop. By Random Access Memories , the sound was pristine - stories of running sounds through 14 different 1176 compressors just to find the “right one” became part of the mythology. That level of care led to a record that topped charts across the world. But it also highlights the shift: from raw instinct to deep technical refinement. That path isn’t exclusive to them - it mirrors what many producers go through. Does It Really Matter That Much? 1176s, for example, are legendary compressors, each with subtle differences. And sure, those nuances can add something - but I’ve been down that road myself. Not running a signal through 14 of them, but definitely trying out piece after piece of gear, plugin after plugin, chasing the perfect vision of a sound. And sometimes, yeah - it gets you there. Sometimes the detail really does elevate the track. But other times? You realise you’re not chasing the sound anymore. You’re chasing the idea of chasing the sound. That level of depth can absolutely serve the music - but only if it’s actually serving the track. Not the story. Not the myth. Just the music. And the truth is, you don’t need all that to make something great. Some of the best tracks I’ve made were quick, instinctive, raw. The key is knowing when you’re dialling in something that feels right - and when you’re just turning knobs for the sake of it. The Feel vs. The Formula “If it feels good, it is good.” Not every mix needs to match the loudness or sheen of the last Beatport hit. Not every track has to tick every technical box. If it moves people, it’s doing its job. Yes, comparisons matter - especially in clubs and on the radio. Your track needs to hold its own next to what came before and what comes next. And yes, loudness normalisation on streaming platforms helps level the playing field… kind of. But even at -14 LUFS, one track can sound louder than another because of tonal balance, perceived energy and arrangement. So… How Far Should You Go to Create a Great Sounding Track? That’s the real question, isn’t it? You need to go far enough that your track works - in the context it’s meant for. That might mean getting clinical and precise. Or it might mean trusting your gut, even if the waveform isn’t perfect. At the end of the day, you don’t need every piece of gear to make a great sounding track - you just need intention and feel. Doesn’t matter if it’s a bedroom setup or a high-end studio. If it moves people, it works.

Finding Patterns That “Just Work” Quite a few years ago, I fell down a rabbit hole that completely reshaped how I thought about rhythm in electronic music. It started with a simple PDF: a book of Roland drum machine patterns . Download it here ⬇️ As soon as I realised those machines came with rhythms baked in – especially the 505 – patterns designed to work on the dancefloor, it hit me: There are rhythms that just… work. That thought sent me off on a long journey. And honestly, it unlocked more growth for me than any theory-heavy explanation ever did. The Search for Real, Usable Drum Machine Rhythm Patterns I struggled with traditional rhythm books. Time signatures, notation, measures–great for drummers, but they didn’t click for me. I don’t read music the traditional way, and most rhythm explanations are built around that. What I needed were working rhythms  I could program  directly into a drum machine. Simple patterns. Visually clear. Playable. Usable. So I went searching. That’s when I found two books that changed everything. The Two Books That Opened the Door These two books weren’t about notation or theory–they were about grooves you can program instantly . Clear steps. Real patterns. No gatekeeping. They opened another stream  of beats for me: Afro-Cub Blues Breaks Disco Funk Rock And loads more… For the first time, I was understanding rhythms. These rhythms taught me how patterns “talk” to each other. How they repeat, evolve, and loop. And how even the simplest rhythm can make a room move. Why Rhythm Is the Secret Ingredient in Electronic Music Whether it’s drums, bass, synth lines, or percussion– rhythm is always there . On the dancefloor it’s everything. These patterns showed me: Accents Are Where the Life Is A simple pattern can become hypnotic just by shifting an accent. Small Differences Make Big Movement A single step before or after the grid can change the entire feel of the bar. Repetition Isn’t Boring–It’s the Magic Some rhythms hold you . Some push forward. Some bounce. Some pull back. When you start recognising these shapes, electronic music becomes a playground. Why These Books Are Gold for Electronic Producers If you produce electronic music, you don’t need to read notation to understand rhythm. You just need to: See it Program it Feel it These books made that possible for me. They gave me patterns I could use –and patterns I could build from . They also introduced me to rhythms far outside the typical 4/4 grid I grew up with. Honestly, they’re an Aladdin’s cave  for anyone who works with drum machines. From Studying Patterns to Building a Tool So with that knowledge, I started designing a small rhythm machine – mainly to see if I could translate what I’d learned into something practical. It turned out to be genuinely useful. The idea was simple: generate solid rhythm patterns, the ability to tweak them by ear, and export the MIDI straight into a DAW without breaking flow. Auto-rhythms for quick starting points, a familiar grid for manual edits, and swing baked directly into the file. It wasn’t about creating ideas for me. It was about having something rhythmic to react to  – the same way those drum machine patterns worked. If you want to explore rhythm the same way I describe here, the Rhythm Machine lives here → Rhythm Machine

Here I am, 27 years  after first opening Logic Pro on my trusty G4 back in 1999, now running it on a blazing-fast M2 Max chip, yet still freezing tracks to finish projects. Thinking back to around 2003, I clearly remember running massive projects -125 audio tracks with plugins like Pro-53 and Absynth - on my humble G4. Sure, freezing tracks was necessary then, but it felt reasonable given the hardware limitations. Fast-forward to today, my computer is vastly more powerful in both single-core and multicore performance , packed with 32 GB of RAM, and Logic Pro itself has evolved tremendously. You’d think freezing tracks would be a distant memory by now. Yet, the reality is surprisingly familiar. Even now, with incredible processing power at my fingertips, I quickly hit that familiar wall - pushing the limits by using oversampling, ultra-detailed plugins, and layers upon layers of audio. Of course, if I ran things like I did back in the day - no oversampling, lighter plugins - my current setup would breeze through without breaking a sweat. But given the option to crank everything up to achieve that ultra-polished, big-studio sound, why wouldn’t I take it? It reminds me vividly of when I upgraded to a G5 loaded with 64 GB of RAM and 12 processors. The feeling was exhilarating: unlimited channels, endless plugins, no more compromises -right? Within a week, I was back to maxing it out. I guess it’s human nature - give us more power, and we’ll immediately find ways to use every last drop . And maybe that’s a good thing; it’s proof we’re constantly pushing forward, striving for the highest possible quality in our art. Don’t get me wrong: I’m thrilled with the tools we have now. Being able to achieve that “big studio sound” from literally anywhere is incredible, something I only dreamed of two decades ago. But part of me can’t help but wonder: Will the next generation of computers  finally give us that promised creative freedom, or will I have to wait for the Quantum chips  before freezing tracks becomes a relic of the past? Until then, I guess I’ll just keep pushing the boundaries - one frozen track at a time.

First DAW Setup Getting started with electronic music production can feel overwhelming. There’s no shortage of advice, gear lists, or opinions – DAWs, plugins, controllers, synths, monitors – and it’s easy to feel like you need everything before you can begin. You don’t. This guide breaks down the essential beginner electronic music production gear  you actually need to start making tracks – without overspending or overcomplicating things. Your DAW Comes First Your DAW is the centre of your entire setup. It’s where you write, record, arrange, mix, and often master your music. In 2026, a modern DAW on its own is enough to produce fully professional, release-ready tracks. A good DAW gives you: Recording & MIDI  – Audio capture, MIDI sequencing, editing Virtual instruments  – Synths, drum machines, samplers Mixing tools  – EQ, compression, saturation, reverb, delay Basic mastering  – Limiting, loudness control, stereo tools You don’t need extra software on day one. Best DAWs for Beginner Electronic Music Production Gear There is no “best” DAW – only what suits how you  think and work. ✔️ Ableton Live  – Excellent for electronic music, looping, sound design, and creative workflows. Session View makes experimenting fast and intuitive. ✔️ Logic Pro X  – Strong for songwriting, arrangement, and mixing. Outstanding value on Mac, with excellent stock instruments and effects. ✔️ FL Studio  – Fast, visual, and popular with beatmakers. Particularly good for step-based workflows. ✔️ Cubase & Studio One  – More traditional production environments with powerful MIDI and audio tools. ✔️ Bitwig Studio  – A modern, modular DAW with deep sound-design potential – ideal if you enjoy experimentation. What’s the Best DAW?  The best DAW is the one that suits your workflow . The best thing to do:   try them , pick one, commit to it, and learn it deeply. A Simple DAW-Only Workflow If you’re working entirely in the box, a typical beginner workflow looks like this: 1️⃣ Start with a basic chord progression. Use a stock instrument, play simple triads, and focus on feel rather than theory. 2️⃣ Add a bassline that follows the chords. Keep it simple – root notes are enough. 3️⃣ Build a drum groove around the harmony. Let the rhythm support the musical idea. 4️⃣ Layer a lead or texture. One melodic idea is plenty. 5️⃣ Use effects and automation to add movement. Small changes go a long way. 6️⃣ Arrange, balance, and apply gentle limiting. Finish the idea before refining it. That’s it. No hardware required. Read more about DAW's here Do You Need Hardware to Start? No. You can make excellent electronic music with just a DAW, headphones, and time spent learning . That said, adding one piece of hardware later  can be creatively inspiring – not because it’s necessary, but because it changes how you interact with sound. If you do go that route, keep it simple. Great First Synths on a Budget Behringer Wasp Deluxe  - A gritty, buzzing mono synth that’s full of character. Despite having no polyphony, the range of tones is fantastic. Behringer Pro-1  - A clone of the legendary Sequential Pro-One with huge bass and cutting leads. Excellent for raw analog textures. Behringer Model D  - Their Minimoog clone delivers warm, powerful analog tones perfect for electronic genres. A fantastic allrounder. These synths are affordable , hands-on , and inspiring - perfect for a first step into hardware without overwhelming your setup. Pairing one with your DAW can expand your sound palette and creative process in big ways. MIDI Controllers (Helpful, Not Mandatory) A small MIDI keyboard makes playing and programming easier, but it’s not essential. Good beginner options: Arturia Keystep  – simple, musical, well-built Novation Launchkey / Akai MPK Mini – compact and affordable Ableton Push – powerful, but not beginner-essential Start small. Expand later. Audio Interface & Headphones Good audio quality is crucial. • Audio Interface  (e.g., Focusrite Scarlett 2i2, Universal Audio Volt): Essential for low latency and quality audio. • Studio Headphones  (e.g., Audio-Technica ATH-M50x, Beyerdynamic DT 770): Reliable and affordable for precise monitoring. Plugins: Less Is More Your DAW already includes everything you need. Only expand once you feel a genuine limitation. Your Computer Matters More Than Gear Minimum sensible specs in 2026: 16 GB RAM SSD storage Modern CPU (Apple Silicon or equivalent) Stability beats power. Final Thoughts: Less Gear, More Music It’s easy to believe gear is the shortcut. It isn’t. The real progress comes from: learning your DAW finishing tracks making mistakes repeating the process Start simple. Build slowly. Make music. Frequently Asked Questions What do I need to start electronic music production? A computer, a DAW, headphones, and time spent learning. Do I need expensive gear? No. Many great records were made with far less. What’s the best DAW for beginners? The one you enjoy using enough to stick with. Quick Start Checklist ✅ Choose a DAW ✅ Get headphones ✅ Add a MIDI controller (optional) ✅ Learn stock tools ✅ Finish tracks That’s enough to begin. Learn More: 📖 Electronic Production Blog Happy producing! 🎶

SIR StandardCLIP GUI SIR StandardCLIP: My Go-To Clipper for Peak Control, Loudness & Snares That Hit Just Right Over the years, I’ve tested a lot of clipper plugins in search of one that balances transparency, control, and musicality. While there are plenty of great options-like Kazrog KClip 3 and Black Salt Audio’s Clipper , both of which I’ve used extensively- SIR’s StandardCLIP has firmly become my go-to. Why StandardCLIP? Clippers are essential for controlling peaks without introducing excessive compression, and the way StandardCLIP handles soft clipping is what sets it apart . Unlike some other clippers that can introduce strange artefacts, this one just holds the sound in place beautifully . It doesn’t feel like it’s altering the character of the audio; instead, it lets me push things where needed while keeping everything clean and controlled . You can drive it hard and get a noticeable effect, but for my approach- just controlling peaks and managing transients -it’s a perfect tool. The soft-clip saturator control  is a great addition, adding subtle harmonic richness when needed. Where It Shines in My Workflow ✅ Peak Control on Individual Tracks  – Just enough clipping on a drum or lead synth to tame rogue transients  without squashing dynamics. ✅ Love It on Snares  – Especially when you want them to crack through the mix with presence and energy . It helps contain any overly sharp peaks without dulling the attack , letting the snare sit just right in the mix. YouTube Example ✅ Subtle 2-Bus Clipping  – Occasionally, I’ll use it just before my mastering chain, if needed, to catch any peaks  before they hit my final processing. It’s a great way to preserve clarity  while maximising perceived loudness. ✅ Group Processing  – Applying slight clipping at multiple stages  across groups (e.g., drums, bass, synths) allows me to control peaks incrementally , keeping my mix competitive in the loudness game without introducing pumping or over-compression . ✅ Clean UI & Visual Feedback  – One of the best things about StandardCLIP  is the intuitive display . Being able to visually dial in the clip threshold  and immediately hear the effect makes it incredibly easy to use. Just pull the clip level down, control peaks to a desired level, and gain headroom -simple but highly effective. Final Thoughts There are plenty of great clipper plugins  out there, but StandardCLIP  has become my go-to because of its clean sound, reliable peak control, and easy workflow . It fits effortlessly into my mixing and mastering process . If you’re looking for a powerful, transparent clipper that delivers without colouring your sound in unwanted ways , give SIR StandardCLIP  a go. Whether it’s taming transients, making snares hit harder, or tightening up your master , this plugin delivers every time. 🚀🎛️ Check out SIR StandardClip  for more details. For more production insights, check out my 10 Essential Music Production Tips.

It’s a classic story:  you’re deep into a mix, everything’s sounding solid  on your main monitors, but after a while, your ears get tired  and details start to blur . That’s why I’ve been using a mono Avantone Mixcube  for over a decade. When I switch to it, everything feels clearer - issues in the mids, vocal balance, and low-end  stand out in a way they didn’t before. I fix it here, and when I go back to my NS10s or Adams , the mix sounds fresher, tighter, and more balanced . It’s not about making a mix sound good - it’s about making it work everywhere . And that’s exactly why Auratones , and their modern counterparts like the Mixcube , have been essential in studios for decades. Why the Avantone Mixcube? The Mixcube is basically a modern take on the Auratone 5C , the tiny but brutally honest speaker that engineers swore by in the ‘70s and ‘80s. It’s a single-driver, full-range speaker with no hyped lows or extended highs. Just midrange - the part of the mix that actually translates across all systems. Because there’s nothing flattering about it, you’re forced to make better decisions. If the vocal is too loud, you hear it. If the bass is masking everything, you hear it. If your snare isn’t cutting through, you hear it. No sub frequencies to lean on, no fancy stereo imaging to get lost in - just the cold, hard truth. The Legacy of the Auratone 5C Before the Mixcube, the Auratone 5C was everywhere . These little boxes sat on consoles in studios working on some of the biggest records ever made. Quincy Jones , Bob Clearmountain , Bruce Swedien - these guys mixed using Auratones to make sure their tracks worked outside the studio . Michael Jackson’s Thriller , Fleetwood Mac’s Rumours - all checked and refined on these speakers. The idea was simple: if a mix sounded good on an Auratone , it would sound good anywhere - from car radios to TVs to cheap home speakers. They weren’t designed to sound great. They were designed to tell the truth. Modern Applications The Auratone 5C eventually disappeared for a while, but the concept never died. Avantone brought it back with the Mixcube, keeping the same philosophy: simplicity, clarity, and translation . And honestly, it’s still one of the best tools for checking a mix. I start on my full-range monitors, get the mix feeling right, then flip to the Mixcube in mono. That’s where the real work happens. Once I’ve made adjustments there, going back to full-range speakers feels like taking the weights off . The mix just opens up. Virtual Auratone: The Slate VSX Surprise When I switched to the Auratone emulation  in Slate’s Virtual Monitoring system , I was blown away - it felt exactly  like my Mixcube  in my room. Same focus, same punch, same ability  to make the mix fall apart in all the right ways . Now, I actually use the virtual version  more than my real Mixcube . It does the same job—exposing flaws - without needing to be patched in or physically switched over . It just works. Final Thoughts Whether it’s a real Auratone 5C , an Avantone Mixcube , or a virtual emulation , a mono, full-range speaker like this is an essential tool. It forces you to make better mixing decisions, exposes weaknesses, and helps you create tracks that sound great everywhere - not just in the studio. If you’re not using one yet, maybe you haven’t felt the need for it—or just haven’t pulled the trigger on one. But it’s one of the simplest ways to make your mixes translate better. Podcast Version Bonus: How to Make a Mono Summing Cable for Your Mixcube If you’re using a single Avantone Mixcube  in mono and need to sum your left and right outputs safely, you’ll need a simple passive summing cable . Without it, you risk distortion, phase issues, or even damaging your audio source. Here’s how you can build one: What You Need: • Two 1/4” TS or TRS plugs   (for the left and right outputs) • One 1/4” TS plug   (for an unbalanced Mixcube input)   or   One XLR male connector   (for a balanced input) • Two matching resistors   (1kΩ to 4.7kΩ) • Soldering iron & heat shrink tubing How to Wire It: 1. Solder a resistor to each signal wire   (Tip of Left & Tip of Right) . 2. Join the ends of both resistors  and connect them to: • The Tip  of the TS plug (for an unbalanced input) • XLR Pin 2 (Hot/Signal)   (for a balanced input) 3. Connect the ground wires  from both stereo cables together and solder them to: • The Sleeve  of the TS plug (for an unbalanced input) • XLR Pin 1 & Pin 3 (Ground & Cold)   (for a balanced input) 4. Insulate everything  with heat shrink tubing to prevent shorts. Why Use Resistors? Without them, directly summing left and right can cause distortion and signal degradation. The resistors help prevent overloading and ensure a balanced mix. If you prefer a cleaner setup, you can build a passive summing box  with a stereo input and a mono output using the same resistor network inside a small enclosure. The Resistors Need to Be Matched • Prevents phase shifts  – If the resistors aren’t equal, the left and right signals won’t sum evenly, which can cause phase issues. • Keeps the mix centred  – Uneven resistance can make one side louder, shifting the summed signal off-centre. • Maintains proper impedance  – Matching resistors ensure both signals are attenuated equally, preventing distortion or level imbalances. What Value Should You Use? • Lower values (1kΩ)  give a stronger summed signal. • Higher values (4.7kΩ or more)  reduce the summed level slightly but provide better isolation.

Throughout the years, certain pieces of hardware have left an undeniable mark  on the music scene, and the Akai S-Series samplers  are among them. These machines played a fundamental role  in shaping the sound of electronic music, influencing everything from House and Techno to Hip-Hop and beyond . My first experience with the series was the legendary Akai S950 . At the time, we weren’t overly concerned with the sonic characteristics  of the machine-we were just thrilled with the 11-second sample time . We started building our own sample library  by grabbing kicks, snares, and stabs  from the records we were buying and spinning. This process of digging, sampling, and creating  became second nature, but we weren’t yet fully aware of how the hardware itself coloured the sound . Following the S950 , we moved on to the Akai S1000 , which introduced us to the official S1000 sample library . Later, I went on to own the S3200XL and the S5000 . Further expanding my experience with Akai’s evolving samplers  and their libraries. At the time, however, we didn’t use the libraries much, as we were still more inclined to sample directly from vinyl . When we did load sounds from the library, they never quite hit the spot . Looking back, I now realise this was less about the samples themselves  and more about our lack of experience in producing and mixing . Compared to the records we admired , these sounds felt like they needed something extra . Akai S1000 CD-ROM Akai S1000 Sample Library 📀 Akai S1000 CD-ROM Over the years, I’ve accumulated sample libraries  from all the Akai releases, including the MPC range . Listening to them now, I can clearly hear  how these collections helped shape the sound of the 90s . There’s a real sonic thread running through them -a unique quality, a diverse selection of sampled equipment , and a character  that became integral  to the evolution of electronic music . These sounds were crucial  in defining the textures of House and Techno , and their influence extended well beyond the decade . Even today, I find myself going back to my Akai S1000 library  for chord stabs, basses, and drums . They work so well for achieving that authentic House and Techno sound . There’s an extensive range of sounds  to explore, and with the right combination of compression, saturation, and manipulation , they can seamlessly fit into modern productions . The richness and warmth  these libraries offer make them just as relevant today  as they were decades ago . For those looking to capture an authentic 90s electronic music vibe , acquiring these libraries is a great investment . They continue to be in demand, with prices on eBay currently ranging between £75 and £100 . Additionally, some of these libraries are available on the Internet Archive , such as Akai CD-ROM Sound Library Volume 1 . These libraries are in Akai format , meaning you’ll need to convert them to WAV  for use in modern DAWs. The best way to do this is by mounting the images with Daemon Tools  and then converting to WAV using Awave Studio . To make it easier, I’ve already converted some of these samples into WAV format , ready to use in modern setups. You can download a few of them at the end of this blog . Whether you’re making House, Techno, or any genre influenced by the golden era of sampling , these libraries hold a treasure trove of sounds waiting to be rediscovered . Find yourself an Akai library, start experimenting, and bring a piece of history into your productions .

The Klanghelm MJUC compressor  has been a go-to in my production workflow for years. Whether I’m shaping vocals, taming drum transients, or gluing a bus together, MJUC consistently delivers warm, musical compression  with clarity and depth. Why I Keep Coming Back to Klanghelm MJUC What sets MJUC apart is its analog-inspired tone  and intuitive interface . It’s easy to use yet endlessly flexible. The plugin features three models - Mk1, Mk2 and Mk3 - each based on vintage tube compressors with distinct personalities. I often stick with Mk2 for its smooth, character-rich compression—it just works on so many sources. Dialing It In: Attack and Release That Respond MJUC’s attack and release controls  give real, audible feedback, making it simple to shape your sound with precision: Attack:  Opening it up lets transients cut through-perfect for adding punch to synths or vocals. Release:  A slower setting pushes the sound further back, adding warmth and body. Speed it up to bring it forward again. " This kind of control is rare in plugins at this price point " Practical Settings I Use Here are a couple of my go-to starting points: Fast Attack + Slow Release:  Great for taming peaks while preserving warmth. From there, with continuous gain reduction set by the threshold, I open the attack to let the transient breathe, then ease off the release until it joins the picture again and feels right. Model Mix & Match:  Mk2 can add grit; Mk3 offers transparency. Version Tone / Character Ideal Use Mk1 Thick, dark, vintage vari-mu bloom Bass, drums, vintage glue Mk2 Balanced, hi-fi, more attack control Vocals, instruments, general mix glue Mk3 Cleanest and most transparent Mix-bus, subtle mastering compression Watch It in Action I’ve put together a short walkthrough showing how I bring a lead line to life using MJUC . Subtle moves - attack, release, gain compensation - make a world of difference. Conclusion If you’re looking for a vintage-style tube compressor plugin  that feels as good as it sounds, Klanghelm MJUC  is a top-tier choice. It’s affordable, musical and powerful. Whether you’re chasing character , control or just want something that “feels right” in the mix, MJUC delivers. MJUC: Quick FAQ Is MJUC still worth it in 2026? Yes. Klanghelm keeps it lean, stable and still one of the best-sounding compressors around. It easily holds its own next to plugins that cost 10 × more. Which version sounds most “analog”? MK 1 has that slower, blooming vari-mu feel that gets close to vintage hardware. It’s got the kind of weight that's nice on drums and bass. Does it add latency or push the CPU? No. It’s light, even across big sessions. You can run several instances without stressing the system. Does MJUC work well on electronic music? Absolutely. It keeps low-end weight without dulling the top, which makes it great for kick-driven mixes. The tone sits right in that space between clean modern compression and analog colour. Why do people call MJUC ‘analog-sounding’? It’s partly the harmonics from the Drive stage and partly how it moves. MJUC doesn’t just level things; it breathes in time with the mix, like a good piece of tube hardware would. Would you still recommend it to new producers? Absolutely. It taught me what “feel” means in compression – and at this price, it’s still one of the easiest wins you can make. References • Klanghelm MJUC Official Page • Klanghelm MJUC Manual • MusicRadar Review For more production insights, check out: 10 Essential Music Production Tips.

Hardware or Software The debate between hardware and software in music production has been ongoing for decades. Having been through every phase of it – starting fully in hardware, moving entirely in the box, returning to an all-hardware setup, and now settling into a semi-hybrid workflow – I’ve seen the strengths and limitations from all angles. The short answer in 2026 : No, hardware isn’t necessary  – not for most things, and certainly not to make great music. But in specific cases, it can still offer something genuinely different. The Evolution of Hardware vs. Software Early Days – All Hardware When I started, hardware was the only option. Synths, samplers, compressors, reverbs – everything lived outside the computer. Turning knobs, committing decisions, and working in real time wasn’t a creative choice; it was simply how electronic music was made. The Move In the Box As software improved, I moved mainly in the box. The convenience was undeniable, but something felt missing. Plugins increasingly captured the sound  of hardware, yet not always the feel . The workflow was faster, but the experience felt flatter. The Return to Hardware I later went back to an all-hardware setup and was reminded why it held its place for so long. Certain synths, compressors, and reverbs still had a depth and interaction that felt different – not universally better, but undeniably distinctive. 026 — The Semi-Hybrid Reality Today, I work in a semi-hybrid setup, and a few things are now clear: ✔️ Hardware still has a role – the differences are often subtle, but they exist ✔️ Plugins now sound exceptional – many are functionally indistinguishable ✔️ Interaction affects creativity – how we engage with tools changes what we make What Still Benefits Most From Hardware? Personally, I still hear a difference. There’s a lush, analogue quality  in hardware that I haven’t yet heard fully replicated in the box. Saying that, Universal Audio  is the closest I’ve heard. 🎛️ Synths A plugin Prophet-5 can sound excellent, but it still doesn’t fully replace the real thing. It’s not just tone – it’s movement, instability, and how the sound responds under your hands. 🌊 Reverbs In-the-box reverbs have quietly crossed a threshold. Advances in processing power, oversampling, and high-resolution algorithms mean modern software reverbs now rival classic hardware units in depth and clarity. Emulations like the Lexicon 224 show just how narrow the gap has become. 🌀 Timbre & Playability Hardware encourages play. The physical interface often leads to accidents, detours, and moments that are harder to arrive at with a mouse and keyboard. Where Software Has Fully Caught Up 🔊 Compression For me, compression is now entirely an in-the-box job. LA-2A, 1176, SSL bus compression – modern plugin versions are effectively indistinguishable from their hardware counterparts in real-world mixes. 🎚️ Mixing & Mastering Watching Andrew Scheps  move entirely in the box was a turning point. If a Grammy-winning mix engineer could rely solely on software, it was clear the technology had arrived. In 2026, mixing in the box is no longer a compromise. 💾 Workflow & Recall Instant recall, automation, and total session portability are advantages hardware simply can’t match. Being able to open a mix months later and have everything exactly as you left it is now a baseline expectation. Hardware Sequencers vs DAW Sequencing One area where hardware still feels meaningfully different is sequencing. DAWs like Ableton Live , Logic Pro , and Cubase  are incredibly powerful, but hardware sequencers often encourage a different mindset. 🎛️ MPC Series The MPC workflow remains iconic. The tactile approach to sampling and sequencing brings a groove and immediacy that many producers still struggle to replicate with a mouse. ⚡ BeatStep Pro A strong performance-oriented step sequencer, particularly effective in modular and analogue-leaning setups. 🔄 Cirklon Still regarded as the gold standard in hardware sequencing – deep, precise, and fundamentally different from a piano-roll-based workflow. Hardware sequencing often pushes decisions forward rather than inviting endless refinement. Final Thoughts: Is Hardware Still Worth It in 2026? ✅ Yes – if you value physical interaction ✅ Yes – if playability affects your creativity ✅ Yes – if you enjoy subtle movement and character ❌ No – not because software falls short People have been working fully in the box for decades – even back in the early 2000s. What’s changed isn’t whether software can  replace hardware, but whether you want it to. So, do you need hardware? No. Does it still bring something special to the creative process? Absolutely – if it suits how you work.

I still remember the first time I heard a Euclidean sequencer  in action. I was in a studio surrounded by a wall of modular equipment, and in the top left corner was a strange-looking module-its interface displayed a circular pattern, resembling a wheel. “What’s that?”  I asked, pointing at it. The engineer explained that it was a Euclidean sequencer , a tool designed to generate rhythms based on mathematical principles. He then gave me a quick demo, using a kick drum as the sound source. As soon as I heard the pattern it produced, something clicked. At the time, I had been deeply studying the German electronic sound with Evans , analysing its rhythmic structures and understanding how they created their hypnotic, evolving feel. The moment I heard the Euclidean sequence , I knew it was a core element of that sound. There was a natural, rolling groove to it-fluid, unpredictable, yet entirely musical. It felt alive in a way that traditional DAW sequencing often didn’t. Bringing Euclidean Sequencing In The Box That experience set me off on a journey to bring that same Euclidean magic  into my own workflow. I started researching modular sequencers, but I wasn’t ready to go down the modular rabbit hole  just yet. I needed an in-the-box solution. I recalled seeing a Euclidean-style sequencer  in a Logic Pro tutorial  on YouTube, but after searching through Logic’s stock tools, I couldn’t find anything that functioned the same way. Digging deeper, I discovered HY-RPE2 by HY-Plugins , an advanced Euclidean sequencer plugin  that could bring those same evolving, organic rhythms into my DAW. HY-RPE2 The moment I loaded it up and started experimenting, I knew I’d found what I was looking for. It had the exact same fluidity and natural movement  I had heard in the studio. Rhythms fell into place effortlessly, and I could generate patterns that had an organic, evolving feel without needing to manually program each note in Logic’s Piano Roll. Seven Years of Euclidean Rhythm That was nearly seven years ago , and HY-RPE2 has been in every single project  I’ve worked on since. To speed up my workflow, I’ve built presets  that instantly load patterns for kicks, hats, snares, and percussion. With just a few adjustments, I can quickly shape a rhythmic foundation without having to manually input MIDI notes or finger-drum patterns. For me, Euclidean sequencing isn’t just about convenience-it’s about tapping into a rhythmic concept that feels inherently musical , something that traditional step-sequencing often lacks. Euclidean Poly-Kit: The Browser-Based Version I Built Over the years I’ve relied on HY-RPE2 so much that I started wanting a lightweight version I could use away from a full studio setup – something quick, visual, and immediate. So I built Euclidean Poly-Kit : a 6-track Euclidean rhythm lab that runs in the browser. Each track has its own Steps , Pulses , and Shift , plus mute  and volume , and there’s a global tempo  and swing  control. The idea is simple: generate a tight rhythmic foundation fast, then export it. What it does (in plain terms) 6 tracks  (kick, snare, hats, tom, rim) Steps / Pulses / Shift  per track Swing  for feel Export MIDI  as a zip: full pattern + individual stems If you want you can try it here . Hit play, tweak the pulses, rotate the groove with Shift, then export the MIDI and drop it straight into your DAW. What Are Euclidean Rhythms? Euclidean rhythms are a type of evenly distributed rhythmic pattern  that was mathematically described by Goddfried Toussaint  in 2005. The principle behind them is simple: “Given a set number of beats and steps, distribute the beats as evenly as possible within the available space.” For example, in a 16-step grid , if you place four beats , a Euclidean algorithm  will space them evenly, giving you a natural 4-on-the-floor  feel. If you choose five beats , the pattern takes on an interesting syncopated groove. If you choose seven , the result is a complex yet still balanced rhythm. These patterns appear everywhere in music and nature , from traditional West African drumming  to electronic music  and techno . The key feature is that they create grooves that feel both structured and dynamic -they’re repetitive, but never robotic. Why Euclidean Sequencing Works So Well in Electronic Music 🎛 Naturally Balanced Grooves  – Euclidean sequences create rhythms that feel logical and balanced, even if they’re not conventional. 🔄 Evolving Patterns  – By adjusting step counts in real-time, you can generate constantly shifting patterns without breaking the groove. ⚡ Instant Inspiration  – You don’t have to painstakingly program drum patterns; instead, you can generate rhythms effortlessly  and tweak them as needed. 🕹 Great for Percussion & Synth Sequences  – Works brilliantly for hats, toms, snares, and even melodic sequences like arpeggios. Final Thoughts HY-RPE2 is an essential part of my workflow  and has been for years. It bridges the gap between the structured and the organic , allowing me to create rhythms that feel alive  without the endless tweaking that comes with traditional MIDI sequencing. If you’ve never tried Euclidean sequencing, I’d genuinely recommend spending an hour with it. Whether it’s HY-RPE2 in a DAW or a simple tool like Euclidean Poly-Kit , it shifts rhythm from “programming” to “steering”. If you try the Poly-Kit , I’d love to know what patterns you land on – and what tempo/genre you ended up using it for.

High- and low-pass filters are everywhere in modern mixing. They’re quick, they’re tidy, and they’re often the first thing we reach for. But they’re not always the most musical choice. One technique I’ve come back to over the years – and one associated with engineers like Mick Guzauski  – is using wide bell EQs  on the top and bottom instead of filters. Not as a rule. As an option. Where this idea comes from In interviews and long-form mix breakdowns, Mick consistently talks about preserving the integrity of a sound  rather than cleaning by default. He’s cautious with anything that removes information too decisively, and that includes aggressive high- and low-pass filtering on musical sources. If you look at his sessions, you don’t see filters stacked everywhere. Low end is controlled by balance and tone. Top end is shaped without that tilted, hyped feel. Broad, gentle EQ moves come up again and again. Steep filters create abrupt phase shifts at the cutoff, which can subtly flatten a soundstage. He’s also spoken about being sensitive to phase changes and how subtle EQ decisions affect the feel  of a mix, not just the frequency response. Filters – especially when used across lots of channels – can quietly change that feel. Wide bell curves tend to do less of that. That mindset made me start reaching for wide bells in spots where I’d usually grab a filter. Why high- and low-pass filters can be heavy-handed Filters are decisive. Once you set them, everything beyond that point is gone. That’s fine for: Cleaning noise Removing rumble Tightening badly recorded material But on musical sources, they can: Thin things out too quickly Shift the balance in a way that feels “processed” Affect phase and tone more than you realise Especially when they’re stacked across lots of channels. The bell EQ alternative Instead of cutting everything below or above a point, try this: Use a wide bell Make a small cut Target the area  causing the issue, not the entire range You’re shaping tone, not enforcing a boundary. Practical examples Low end: bell instead of high-pass Rather than a steep high-pass at 80 Hz: Try a wide bell cut around 60–120 Hz Keep it subtle Let the true low end breathe This keeps weight and movement while reducing muddiness. High end: bell instead of low-pass Instead of low-passing the top: Use a wide bell around 8–14 kHz Gently tame harshness or excess brightness Preserve air without dulling the sound This is especially useful on vocals, synths, and buses. Why this often sounds more “musical” Wide bells: Have a centre of gravity Rise and fall naturally Interact more gently with compressors Wide bell curves also tend to introduce gentler phase shifts than steep filters. In practice, that often means depth, punch, and stereo image feel more natural – especially once compression and summing come into play. Filters don’t taper – they remove . That difference adds up over a whole mix. When filters are still the right tool This isn’t anti-filter. Use high- and low-pass filters when: There’s clear noise or rumble You need strict separation You’re solving a technical problem Use bells when: The problem is tonal The part already sounds good You want control without sterilising the sound Closing thought Mixing isn’t about rules – it’s about intent. Sometimes the goal isn’t to remove frequencies, but to nudge the balance  into place. Wide bell EQs give you that option, and once you hear it, it’s hard to unhear. Next time you reach for a filter, try a bell first. You might keep more of the music than you expect.

Over time, you pick up mixing advice that sticks-usually not from textbooks, but from seasoned producers, offhand remarks, or hard-earned studio experience. These mixing tips for music producers  aren’t about following rules-they’re reminders that help you work smarter and hear more clearly. Here are eight that have genuinely changed how I approach a mix. 1. To Hear a Sound Clearly, Stop Listening to It When you’re trying to judge how a sound is sitting in the mix, the instinct is to zero in on it. But the real trick? Shift your focus away from it.  Listen to everything else around it instead. That’s when your ears give you real perspective-how well it blends, clashes, or dominates. You already know  what the sound does-what matters is how it lives  in the space. from - Progressions: Success in the Music Industry 2. Switch to Stereo Balance or Split Stereo Pan for Extra Definition In Logic, switch your pan mode to Stereo Balance . In Ableton, enable Split Stereo Pan Mode . This small adjustment gives you greater control over the stereo field , allowing you to place elements with more precision. Even just turning this mode on can subtly define where a sound lives in the mix-useful for tightening up stereo width and creating space. from - Bobby Owsinski 3. A Misused Compressor Can Wreck a Mix Compression isn’t neutral-it changes tone, shape and feel. A poorly set compressor doesn’t just underperform-it can crush dynamics, dull transients, or bring out unwanted frequencies . Always know what you’re compressing for : is it control, glue, punch or tone? from - Pensado's Place 4. Same Goes for Limiters Limiters are just as powerful-and dangerous. A limiter with the wrong threshold, release, or ceiling can choke the energy out of a track . Use them with intention, especially on your master bus. Loud isn’t always better-clarity and impact matter more. from - me (obvious after compressors) 5. XL Saturation on the BX Limiter Adds Just Enough Enabling XL Saturation on the Brainworx BX Limiter  can add just the right amount of fullness and glue. It’s not about distortion-it’s a subtle fill that brings cohesion without pushing levels or harming dynamics. from - Steve Mac 6. A Resonance Q of 9 ≈ Narrow Tonal Focus (Close to a Semitone) Setting your EQ’s Q value to around 9  creates a narrow enough band to focus on a specific tone. While it’s not exactly a semitone, it’s close enough to target a specific musical note  for tonal shaping. Ideal for boosting or cutting harmonic content  in instruments and vocals-without needing a pitch shifter. from - Pensado's Place 7. Mute a Main Element to Reveal What’s Missing When working on a mix, try muting a core element -like the drums-and listen to how the music and vocals  feel without it. Or mute the music and focus on drums and vocals . This method highlights dependencies, gaps, or masking issues  in your mix. If a section suddenly falls apart, it’s a sign that something else needs reinforcing. from - The House Of Kush 8. The Pad Is the Carpet A metaphor that’s stuck with me: pads are like carpet . You don’t always notice them when they’re there, but when they’re gone, everything feels colder. Pads aren’t meant to steal focus-they create depth, warmth, and continuity in a mix. Treat them like the foundation beneath the furniture. from - Pensado's Place Final Thoughts on Mixing Tips for Music Producers These mixing tips for music producers  go beyond plugin settings-they’re about mindset, awareness, and learning to listen in layers. Whether you’re tweaking EQ or just trying to understand the emotional weight of a pad, these are the kinds of lessons that sharpen your instincts with every track.