As an electronic music producer, workflow efficiency is key, and certain tools can make a significant difference in achieving a well-balanced mix. Over time, I’ve found myself relying on two essential apps that have become weekly staples in my process: Producer Tools   by Quadrophone and N Track Tuner Pro . These apps help me quickly pinpoint key frequencies, troubleshoot tuning issues, and refine the mix when working with headphones. Using N Track Tuner Pro for Identifying Key Notes When working with a mix, especially on headphones, I often need to determine the key of a note on the fly. This is where N Track Tuner Pro  comes in handy. Instead of playing notes on a keyboard, I whistle them or hold the tone with my voice and use the app to check which note I’m producing. This helps immensely when tuning my kick drum  and dealing with low-end issues – ensuring that the bass elements are in harmony with the track rather than clashing. For example, if I notice some muddiness in the low end while tuning my kick , I’ll whistle or hum the note and reference N Track Tuner Pro  to confirm exactly which note I’m dealing with. Once I have that, I move over to Producer Tools  to match it with its corresponding frequency range. Leveraging Producer Tools for Frequency and EQ Reference Producer Tools  is invaluable when it comes to understanding frequency relationships in a mix. After identifying the note using N Track Tuner Pro , I use Producer Tools  to find out where that note sits in the frequency spectrum. This allows me to fine-tune my EQ decisions. The EQ guide  within Producer Tools  is another feature that proves useful when a particular element isn’t cutting through the mix as expected. If my kick drum  isn’t hitting quite right or my snare  feels too weak, I’ll consult the EQ guide to see suggested frequency ranges for enhancement. This can be especially helpful when working in unfamiliar monitoring environments or when a mix just doesn’t seem to translate well. A Quick Tip for Tuning and Mixing Efficiency Here’s a step-by-step breakdown of how I use these tools in a real-world mixing scenario: 1. Identify the note  – If there’s an issue in the low-end or a specific instrument sounds off, I’ll whistle or hum the note and check it using N Track Tuner Pro . 2. Find the frequency  – Once I know the note, I’ll reference Producer Tools  to pinpoint its fundamental frequency. 3. EQ adjustments  – Using the EQ guide , I determine whether a cut or boost is needed to balance the mix. 4. Refinement  – With this data, I make precise adjustments to the kick, bass, or any other element, ensuring they sit well together. A Simple Yet Effective Technique Both Producer Tools  and N Track Tuner Pro  offer a quick and efficient way to check tuning and frequencies without extra guesswork. Instead of tweaking blindly, these apps provide clear, practical guidance, allowing for more intentional and informed decisions. Whether I’m working in the studio or on the go with headphones, they have become a useful part of my production toolkit. If you find yourself struggling with tuning issues, low-end clarity, or getting percussive elements to sit right, this quick tip can help you make adjustments more efficiently. It’s a small but effective technique that can make a difference in achieving a well-balanced mix.

Korg MS20 Ever since I got my hands on a Korg MS-20, I’ve been hooked. There’s something about its raw, expressive sound that makes it one of the most inspiring synths I’ve ever played. Whether I’m crafting deep, growling basslines or soaring leads, the MS-20 delivers every time. A Timeless Classic Originally released in 1978, the Korg MS-20 quickly gained a reputation for its distinctive filters, aggressive character, and versatile patching capabilities. Its dual filter design-a high-pass and low-pass filter with an unmistakable squelch-became legendary, shaping the sound of countless records across genres like electronic, industrial, and experimental music. And I can confirm firsthand-these filters are magic! Why It’s One of My Favourite Synths The MS-20 is one of the most inspiring synths in my arsenal. Unlike some synthesisers that feel too rigid or too complex, this one strikes the perfect balance between structure and experimentation. The built-in patch bay is where the real fun begins-just a few cable swaps, and suddenly, I’m creating wild modulations I never expected. Perfect for Beginners and Pros Alike Even though the MS-20 can look intimidating at first, it’s actually a great starting point for anyone looking to understand analog synthesis. When I first got mine, I had a blast just playing around and seeing what different patch configurations could do. For professionals, the MS-20 remains an essential tool in the studio and on stage. Its ability to generate everything from deep, punchy basslines to screaming leads and eerie soundscapes makes it an incredibly versatile instrument. I love how seamlessly it integrates with my other gear, making it a crucial part of my setup. Affordable Analog Power: The Korg MS-20 Mini One of the best things about the MS-20 today is that it’s more accessible than ever. Korg’s MS-20 Mini offers the same legendary sound and functionality as the original but in a more compact, affordable package. If you’ve ever wanted to own one, the Mini is a great way to experience what makes this synth so special without spending a fortune. The Sound That Keeps Me Coming Back From thick bass tones to wild, evolving textures, the MS-20 is a playground for sonic exploration. The external signal processor (ESP) allows me to process other instruments or even my voice through its filters, opening up even more creative possibilities. With the right patching, the MS-20 can function as a percussive generator, a drone machine, or even a rudimentary drum synthesiser. It’s also amazing for creating noise sweeps and sound effects. The resonance and modulation possibilities make it perfect for crafting rising builds, industrial textures, and sci-fi inspired sounds. Whether I need a dramatic sweep for a breakdown or an eerie, otherworldly effect, the MS-20 never fails to deliver. Conclusion The Korg MS-20 isn’t just another synth-it’s an instrument with a soul. I’ve spent countless hours with it and I still feel like I’m discovering new sounds every time I turn it on. Whether you’re just getting started with synthesis or you’re a seasoned musician looking for an expressive analog voice, the MS-20 (or the MS-20 Mini) is a fantastic choice. If you’re on the fence about getting one, my advice? Do it. You won’t regret it.

For years, building the right kick meant layering, EQing, trimming tails, resampling, and hoping everything behaved once it hit the mix. It can be rewarding – but it’s also where a lot of time disappears. Kick 3 shifts that process. Instant Kick Regeneration What makes Kick 3 interesting isn’t just the sound quality or the controls. It’s the regeneration. Drop a kick sample into it – any kick. A vinyl rip. A kick you like but can’t quite tune. Something recorded badly but with the right character – and it rebuilds it as a synthesised, oscillator-based kick. That’s the part that changes the workflow. It isn’t an EQ trick or transient enhancement. It’s resynthesis. The plugin extracts the shape, rebuilds the low end as a controlled oscillator, and gives you a separate top layer to adjust independently. You’re no longer fighting a static sample. You’re shaping something flexible. Why This Matters in Practice If you’ve ever: Layered three or four kicks to get weight and click working together Spent too long tuning a tail so it doesn’t clash with the bass Wrestled with a kick that works solo but collapses in the mix Then you know how quickly this part of production can spiral. Kick 3 simplifies that. You get control over the fundamental and the transient separately. You tune it properly. You adjust the decay so it breathes with the track. The kick becomes an instrument, not a fixed audio file. That’s the difference. The Simple Part People Miss You don’t even have to start with a sample. The default kick inside Kick 3 is already solid. Set the length. Tune it to the key. Shape the tap. You’re most of the way there. That’s what I like about it. There’s no need for endless layering. You’re not stacking five sounds hoping they act like one. You’re shaping a single source properly from the beginning. When the fundamental is tuned and the decay is right, the kick just sits. No drama. No over-processing. No chasing problems later. Final Thoughts Kick 3 isn’t just another kick designer. It reflects a broader shift in how we approach sound design – less patchwork, more regeneration and control. For me, it’s become a practical tool rather than a novelty. It speeds things up without dumbing anything down. And when a tool gives you clarity instead of complexity, that’s usually a good sign. 🔗 Sonic Academy Kick 3 – Custom Kick Drum Designer NEWS Rare DSP recently released a free plugin called DrumClone , which claims to extract kick drums directly from full tracks – and even isolate other percussion elements. The examples are impressive. Worth exploring if you’re interested in where regenerative tools are heading. https://raredsp.com/drumclone#download

Gain staging gets talked about so often that it becomes background noise. But it matters because when a plugin distorts on the way in or out, what you hear isn’t the sound the designer intended  – and it can quietly ruin your mix before you’ve even started shaping it. When Everything Starts Too Loud One of the biggest modern problems is simple: sample packs and synth presets are designed to impress. That usually means: maximum loudness bright transients baked-in saturation zero headroom Great for selling the sound. Terrible as a starting point for a production. If your first kick is already hitting –1 dBFS , every plugin that follows is working at the wrong level before you’ve even added processing. By the time you stack instruments, synths, and FX, your entire session is running too hot. That’s where “weird” distortion starts to appear – not creative saturation, but overload. What Actually Happens Inside Plugins 1. You’re hitting the plugin at the wrong level Many plugins – especially analogue-modelled ones or anything with saturation behaviour – are designed to work best when the average level (RMS)  is around –18 dBFS , with peaks between –10 and –6 dBFS . In DAW terms: your channel meter should sit roughly halfway up , not glued to the top. If your input is far hotter than this, the plugin behaves like it’s being overloaded, even if your DAW meter isn’t clipping. That’s when you get brittle highs, harsh harmonics, smeared transients, and the feeling that the plugin just “sounds wrong.” 2. The output overloads the next plugin Even with good input levels, EQ boosts, make-up gain, and saturation can push the output into the red. The next plugin in the chain is already receiving a damaged signal. 3. DAWs have headroom – individual plugins may not Your DAW meters might say everything is fine, but many plugins use fixed internal headroom. That means they can clip inside even when the DAW looks safe. 4. Harmonics form in the wrong proportions Good saturation generates a predictable, musical shape of harmonics  – usually gentle 2nd, 3rd, and 5th that add weight, warmth, or presence. But when the signal is too hot, the plugin creates chaotic, uneven harmonics : brittle upper edges smeared attack odd, spiky overtones a slightly “cheap” or “glassy” quality And here’s the difficult part: This type of distortion is subtle. It’s genuinely hard to hear. It doesn’t sound like obvious clipping – it just makes the sound feel slightly wrong. People often assume that  is the character of the plugin, when it’s simply being overfed. The Main Tool: PFL & Pre-Fader Metering (Across Different DAWs) Different DAWs handle PFL differently, and some don’t use the term at all – but the idea is always the same: You need to see (and sometimes hear) the level before the fader. That’s the level your plugins are actually receiving. Because faders only change what you hear, they don’t fix bad gain staging. You fix gain staging by checking the signal before  the fader touches it. Here’s how it works in the major DAWs: Logic Pro Logic doesn’t have a classic PFL button, but you get the same function: Mix → Pre-Fader Metering This shows the real level feeding your plugins. Ableton Live Doesn’t use the word PFL, but you can: set meters to Pre-FX  or Pre-Fader , or solo a track with Solo-In-Place OFF , which behaves like PFL. Pro Tools Pro Tools gives you the full console-style options: Pre-Fader Metering , PFL/AFL  depending on solo mode. Cubase Options include: Pre-Fader Metering , Control Room PFL  if using the Control Room. Studio One Simple: Enable Pre-Fader Metering  in the mixer. FL Studio FL’s mixer is always effectively pre-fader : plugin input is not affected by fader position. Reaper Every track can show: Pre-FX , Pre-Fader , Post-Fader  metering individually. Why This Matters When you use pre-fader metering (or PFL where available), you can finally see: is the sample already too loud? does the preset clip the channel before any plugins? are transients spiking 10–15 dB louder than the body? is the first plugin receiving a sensible level? is an EQ or saturator adding too much output gain? This is where most modern distortion problems begin – especially with sources that are designed to impress on first listen. Aim for RMS around –18 dBFS and peaks around –10 to –6 dBFS before any processing. This gives every plugin the space it needs to behave properly. You don’t need to measure this obsessively – if your meters hover around the middle instead of slamming the top, you’re in the right ballpark. The Conclusion Bad gain staging isn’t just a technical mistake. It changes the sound, behaviour, and tone of every plugin in your chain. Modern production starts loud – far louder than it used to – so the real first job is pulling things down  before they can sound their best. If a plugin sounds “wrong” it’s often not the plugin. It’s the level hitting it. But the truth is simple: if a plugin is distorting on the way in or the way out, the sound you’re hearing probably isn’t what the designer intended. And that can ruin a mix long before you even notice it.

Let’s be honest: familiarity gets rewarded in music. It always has. Genres are built on shared language. Scenes move because ideas repeat. Tracks that feel recognisable travel faster than ones that challenge the listener too early. Algorithms, playlists, even audiences themselves tend to favour what already sounds like it belongs. None of this is new. None of it is surprising. In fact, for a long time, imitation can feel like progress. Here's the reality I know a producer who copied a big track part for part – and ended up with an even bigger track of their own. When I say part for part, I mean element for element. When the hats came in, their hats came in. When the lead dropped, theirs dropped – a different lead – but at the same moment. The sounds were changed, but the structure didn’t. Back in the early days of production, arranging was an actual job – a specialist one. And it really is an art. It’s about controlling energy and emotion in the best possible way: when to excite, when to hold back, how to give the listener the right experience at the right time. There’s a real skill to that. By copying, all of that work was already covered. It worked because the blueprint was already proven – and because they executed it cleanly. Why copying works (and why we all do it) Most of what I know was built through copying. That’s how we learn. You copy until the shapes make sense. You copy until the language becomes familiar. You copy until you can hear why  something works, not just that it does. Up to that point, everything can be worked on – and everything can be supported. If you don’t know music theory, you use tools as you learn. If you want real instruments, you bring in session players. If you want the best possible mix, you get it mixed. None of this disqualifies the music. It sounds obvious, but in today’s world there’s an expectation that producers should do everything themselves – write, arrange, sound design, mix, master, brand, deliver. That’s not how great music has historically been made. The goal isn’t self-sufficiency. It’s expression. The place beyond copying There’s a point – and it only comes after you’ve put the work in – where you stop thinking about all of that. You’re not referencing. You’re not checking boxes. You’re not asking what should happen next. You’re just writing. In the energy of the delivery, you're splashing paint on the canvas. Being the deliverer rather than the planner. For me, that’s the place. It’s not careless. It’s not naive. It only works because you already know what needs to be done. The craft is there – it’s just no longer in the way. The quiet limit of imitation This is where copying reaches its limit. You can build perfectly functional tracks by borrowing structures, energy maps, and proven decisions. You can get very far that way. But that state – the one where you’re simply delivering – can’t be copied. You can’t fake timing when it’s felt. You can’t fake restraint when it’s honest. You can’t fake expression when there’s nothing to hide behind. That’s not about skill anymore. It’s about truth. Truth isn’t purity – it’s freedom Working in truth doesn’t mean rejecting influence or pretending you exist in isolation. It means you’re no longer hiding behind influence. You stop borrowing certainty from other people’s decisions. You stop needing familiar structures to justify your choices. You stop masking uncertainty with things that have already been approved. Ironically, this is when ideas come more easily. Because you’re no longer filtering every move through comparison. You’re listening again. The signal problem Music is full of signals. Some ideas are repeated so often they blur into background noise. Others fade because they never quite find a voice. A few carry something personal enough that they cut through without forcing their way in. Eventually, everyone has to decide whether they’re repeating a signal – or transmitting one. That choice doesn’t announce itself. It arrives quietly. You feel it in how you work – and whether the work still surprises you. Where copying belongs Copying has its place. It’s a tool. A phase. A way of learning the language. But it’s not where connection lives. Connection happens when the work could only come from you – not because it’s unprecedented, but because it’s aligned . Listeners feel that alignment, even if they can’t explain it. And once you’ve worked there, imitation starts to feel strangely loud. Not wrong. Just empty.

If you want to get moving quickly as a producer, loops make a lot of sense. The easiest way to start is to collect them. Buy them. Subscribe to a library. Everything is already catalogued – key, tempo, genre – ready to drop straight into a session. Splice is the obvious example. Most DAWs also ship with a huge amount of usable material built in. There’s no friction. No setup. You can open a project and be making music almost immediately. In Ableton, this works especially well. Drop loops into Clip View, get a few things working together, and just record. Ableton keeps the timing tight, so you can focus on arranging rather than fixing. You’re not really designing sounds at this point – you’re reacting to what’s there. And that’s fine. At this stage, the point isn’t depth or originality. It’s momentum . You’re learning how sections work, how energy changes when things drop in and out, and how a track can move. Loops let you experience that before you fully understand it. And with the amount of material available now, whatever you make is probably going to be fairly unique. Different combinations, different edits, different instincts. Even starting from the same library, no two people end up in the same place. That’s how a lot of dj's start producing. Stage 2: Building Your Own Parts The next stage usually begins when you stop relying on full loops and start building things yourself. You’re still using samples – but now they’re individual sounds. Kicks, snares, hats, bass hits, stabs. Pieces you can arrange rather than whole ideas you drop in. A lot of these sounds are already processed. Saturation, compression, EQ – often baked in. Drum kits designed to work together . Sounds that already sit where you expect them to. That’s not cheating. That’s learning with material that behaves properly. You start building your own beats from these parts. Programming rhythms. Getting a feel for how drums interact rather than how loops stack. You might begin using drum compression, shaping envelopes, or tightening swing – not because you should, but because you can hear what it does. This is usually where rhythm really starts to click. The Art of Imitation The musical side develops through copying – deliberately. Imitation isn’t just flattery in music production; it’s one of the fastest ways to reverse-engineer a feel. Open the records you want to stand next to and look at what’s actually happening. How many parts are there? Where do they enter? What drops out? What carries the track when something else leaves? With stem splitters, it’s easier than ever to pull a track apart and see how it’s built. Bass here. Chords there. Drums doing less than you expected. You’re still using treated sounds – samples lifted from records, packs, or libraries – but now they’re parts, not loops. Sounds that feel right in the mix straight away, which lets you focus on learning rather than fixing. You copy a bassline. You copy a chord movement. You copy a rhythm. And through that, music theory starts to make sense – not as rules, but as patterns you recognise because you’ve used them. Each track teaches you something. Each rebuild adds another reference point. You’re no longer just assembling ideas – you’re starting to understand how they’re made. Stage 3: Making Everything from Scratch This is where the safety net really comes off. You stop relying on sounds that behave. You start with raw sources. Synths. Drum machines. DI guitars. Dry vocals. Nothing sounds “finished” until you make it that way. The question shifts again. It’s no longer “does this work?” It’s “how do I get this to work?” You’re learning how to take a sound from its raw state to something that actually sits in a track. Shaping tone. Controlling dynamics. Placing it in space. Understanding what makes a sound feel finished rather than just present. This is where stages start to matter. A sound isn’t just a sound. It goes through a process – source, tone shaping, dynamics, space, context. You begin to hear how much work was being done for you earlier. Why those loops and samples felt good immediately. Not because they were special – but because they’d already been through this journey. Reaching that same level with your own sounds takes time. This stage is a long road. Progress comes in small steps. One session something works. The next it doesn’t. Then, gradually, more things start landing closer to what you hear in your head. Confidence builds quietly here. Not because everything suddenly sounds great – but because you trust your ability to get there. When something doesn’t work, it feels like a problem you can solve rather than a dead end. Producing stops feeling like trial and error and starts feeling like a craft. You’re no longer chasing sounds – you’re shaping them. Bringing It Together Understanding these stages gives you clarity. You can see what’s actually available to you as a producer in the modern world – from full loops, to treated parts, to building everything from the source up. Once you understand that, the choice becomes yours. You might stay with loops. You might mix stages. You might move between them depending on the project. That works. There’s no rule that says you have to “graduate” out of one stage to be taken seriously. If loops are what let you move quickly and make decisions, that can become your sound. I built formulas with exactly that mentality, and they gave me some of my most reliable records. The point isn’t purity. It’s awareness. When you understand the stages, you stop trying to escape them – and start using them to your advantage. Ultimately, producing is about exploration. About discovering how you  work best. The tools are there to support that – not to define it.

This insight is a bit of gold—and it taps into the same mindset as the book How Music Really Works . If you haven’t read it, it’s a brilliant breakdown of how music functions beneath the surface, all in plain, everyday language. A good track isn’t just layered - it listens. It talks back. It shifts based on what came before. It answers itself. These are the conversations happening inside your music. Whether you’re programming drums, sculpting synths, or layering textures, the production isn’t just a stack of parts - it’s a dialogue. In music production, this idea is often described as call and response  – the relationship between kick and snare, bass and harmony, rhythm and space. When these elements react to each other instead of stacking blindly, tracks feel alive instead of mechanical. 🥁 Kick and Snare: The Pulse Exchange The kick says, “Step here.” The snare answers, “Now here.”This is rhythm at its most conversational - call and response. A groove only feels right when they respect each other’s space. 🥁 Kick and Percussion: Chatter Around the Core Hi-hats, shakers, toms - they swirl around the kick. They’re not just time-keepers. They’re commentaries. Syncopation, swing, tension - all shaped by what the kick lays down. 🎸 Bassline and Itself: Internal Monologue Good basslines talk to themselves. One bar says something; the next either agrees, contradicts, or evolves the idea. It’s phrasing, not just looping. A story, not a repeated pattern. 🎹 Chords and Melody: Harmonic Conversation Chords say, “Here’s the mood.” melody responds, “Here’s what I feel about that.” In house, in jazz, in ambient - the interplay here is emotional, like two voices harmonising with a shared past. 🌌 FX and Silence: Echo and Space Delays and reverbs are ghosts - responses. They stretch a thought, let it hang, or pull it back. Silence is a powerful reply too. Knowing when to rest the sound lets the previous idea breathe. 🧠 Stereo Field: Voices Across the Room A synth hits on the left. A percussive reply comes from the right. These aren’t placements - they’re people in a room, trading thoughts. 🛠 Transients and Sustains: Snap and Soften One hits. The other hovers. They work best when aware of each other. Transients cut through. Sustains fill. They answer each other by leaving space - never speaking at the same time. 🎚 The Takeaway: Ask yourself as you build: Is the kick talking to the snare? Are the hats dancing with the bass? Is the melody reacting to the harmony? Does the track listen to itself? - Are the sounds responding to one another in a meaningful way, or are they just layered without connection? Because your best productions aren’t stacks - they’re scenes. They’re stories. And every good story has voices that speak, pause, and respond. If this idea is new to you, try it: the next time you listen to a piece of music, listen for the conversations happening within.

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.

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.

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.