Sitting down and starting a new production can sometimes feel like the hardest part of the process. Over the years, I’ve found several ways to get the creative juices flowing, but the easiest and most effective approach for me is simply playing with a new plugin or piece of hardware. It’s not that every time I open a new plugin, I’m intentionally setting out to write a track. Instead, I approach it with curiosity- What does this plugin do?  Before I know it, I’ve stumbled upon something inspiring, and a track starts to take shape organically. That being said, I do have a structured process when it comes to actually finishing a track. Once I stumble upon an idea or something that excites me, I know exactly how to capture it and develop it into a full piece of music. My Evolution: From Sampling to Sound Design When I first started producing, my workflow was heavily centred around sampling records-both classic house records and old disco records. I’d chop up drum breaks, lift individual hits, or sample full sections of music to create something new. Over time, I transitioned from this method to building everything from scratch. This evolution has been quite a journey, and it’s one that I’m happy to share with you throughout this blog. The truth is, whether you’re working with samples, designing sounds from the ground up, or blending both approaches, it’s entirely possible to create finished, professional tracks. These days, platforms like Splice offer an overwhelming amount of high-quality material to kickstart a project, making it easier than ever to get ideas down quickly. The Power of Great Samples Some producers may feel like using pre-made samples is a shortcut, but I’d argue the opposite. High-quality samples can save time and provide an immediate foundation to build upon. For example, Drums That Knock  are some of the best-sounding drum samples out there. Similarly, Goldbaby  and Samples From Mars  offer sounds that have been meticulously processed through thousands of pounds worth of analog gear, making them ready to drop into a mix without much additional treatment. This is a huge advantage, especially when inspiration strikes and you want to keep the momentum going. Back in the day, when we sampled kicks, snares, and synth stabs from records, they were already fully processed and sat well in a mix straight away-that’s why they sounded so good! Modern plugins also come with built-in processing, but the question is: Is that processing right for the sound you want? When I receive tracks for mixing, one of the first things I do is strip away any unnecessary processing applied within VSTs before I even begin working on the mix Using Samples to Enhance Creativity At the end of the day, understanding what goes into a production gives you more creative freedom. If you’re struggling to get the sound you want, use elements from the genres you love. Sample kicks, take synth stabs, and incorporate them into your productions. It’s a proven method that has worked for countless producers. For example, Kick 3  is fantastic for recreating sampled kicks. If you love a specific synth stab from a classic house or techno track, sample it, tweak it, and make it your own. Put it into Synplant 2 or Zyklops and take it further. This approach isn’t about cutting corners-it’s about working smarter and focusing on creativity rather than getting bogged down in technical limitations. If you’re really struggling to get started, AI-powered GPT tools like Songmaker and MelodyMuse can generate fresh ideas. These models provide melodic and harmonic inspiration, helping you break through creative blocks and quickly establish a starting point for your track. Sometimes, all it takes is a simple idea to spark a full production. Conclusion Starting a new track doesn’t have to be intimidating. Whether you’re inspired by a new plugin, experimenting with chord progressions in Cthulhu , or digging into a fresh batch of high-quality samples, the key is to get something down quickly. Once you have an idea, the process of refining and structuring the track becomes much easier. There’s no right or wrong way to make music. Sampling, sound design, and hybrid approaches all have their place. The important thing is to find what works for you and enjoy the process. After all, the best tracks often come together when you’re simply having fun exploring new sounds.

Every mix I do, there comes a point where it’s time to check Mid/Side processing . No matter the style or genre, what’s happening in the sides  of the mix is often very different from what’s in the mid -and understanding this can completely transform your mix. I use ADPTR Metric A/B  on my 2-bus  to easily switch between Mid/Side and analyse the balance. If I’m working on genre-specific mixing , I’ll always have a few reference tracks  loaded up, giving me a clear picture of where certain elements should sit. The Mid – Where the Weight Lives For club tracks , the mid-channel  is where all the weight sits-Kick, Snare and Bass. This is pretty much standard for any track that relies on powerful low-end energy . But beyond this, where everything else sits is often dictated by genre expectations . Some tracks feature all the drums in the centre, going through a mono reverb , with nothing happening in the sides. A great example of this is “ Am I Dreaming ” by Metro Boomin, A$AP Rocky & Roisee . While watching the end credits of Spiderman – Across the Spiderverse  on my LG TV speakers , I was hit with full mono drums -something I hadn’t noticed in a while. It punched through in a way that was unexpectedly powerful. For club mixes , this approach makes sense. Many club sound systems are still mono , so having all your drum weight in the mid ensures the track hits consistently on any system . The Sides – Crafting Width & Depth While mono drums work well in some cases, in most modern mixes , the hats, claps, percussion, snares, and even kick tops  contribute to the stereo field. The key is making sure the mix is working in the sides as much as it does in the centre . When pushing elements out to the sides, you need to ensure: • The hats interact with the snare/clap & kick tops. • The stereo image remains cohesive. • The elements don’t feel detached from the main groove. It’s almost like another mix happening out there , and the goal is to make it as balanced and intentional  as the centre. Leads, Vocals & Pads – Finding Their Place When it comes to leads, vocals, and pads , it’s all down to personal choice and genre . • Check the references of tracks you like. • Understand why you like them. • Try placing elements in similar positions in your mix. This approach helps with separation and space , making sure each element sits where it best serves the track . Experiment, A/B, and adjust until it feels right for your mix . Mid/Side Tools & Techniques There are plenty of ways to place elements into the stereo field . Here are some of my go-to tools for shaping width and depth in a mix: 1. Wider (Polyverse Music) A simple but effective free plugin that adds stereo width without causing phase issues . Great for subtle widening. 2. Goodhertz Mid/Side Matrix I love Goodhertz Midside  for its Mid/Side control , which helps position sounds naturally  across the stereo field. I don’t have the full version at the moment, so I use the free version (Goodhertz Mid/Side Matrix)  to shape the stereo balance. 3. Sample Delay (Logic Pro X) + Stereo Pan Mode A classic stereo widening trick—using sample delay  to push a sound slightly out of phase  between the left and right channels, creating width.(Haas Effect) When using Sample Delay, I switch the pan mode to Stereo Pan  instead of Balance Pan (Split Stereo Pan Mode in Ableton). This allows me to control how much of the delayed signal is actually going into the sides , keeping it tight and balanced. 4. SPL Big A great tool for broadening sounds  in a mix while keeping them under control. Final Thoughts – A/B and Keep It Cohesive The beauty of Mid/Side processing  is that it gives you complete control over how your mix translates across different playback systems . • Use reference tracks  to compare and see how other producers distribute elements. • A/B your mix  often to ensure the stereo field is balanced. • Remember that there are no fixed rules -as long as the mix feels cohesive and intentional , you can place elements wherever they best serve the track. Whether you’re tightening up a club mix  or sculpting wide cinematic textures , Mid/Side processing is a powerful tool  that can take your mixes to the next level . Polyverses' Wider 🔗 Polyverse Wider – Free Stereo Expansion Plugin 🔗 Goodhertz MidSide Matrix – Advanced Stereo Processing 🔗 Goodhertz MidSide – Creative Mid/Side Processing 🔗 SPL BiG – Stereo Image Enhancer

When crafting a track, the sounds you choose define its energy, emotion, and character. It’s easy to focus on technical aspects-EQ, compression, levels-but what about life ? That intangible quality that makes a production feel vibrant, dynamic, and human? Why Sound Choice Matters Every sound in your track plays a role, whether it’s driving the rhythm, creating atmosphere, or delivering melody. But beyond fitting the mix, sounds should feel  right. The best productions don’t just sound clean-they breathe, move, and engage the listener on a deeper level. Texture & Authenticity Some sounds naturally carry more depth. Analog synths, live recordings, sampled textures, and even subtle background noise can add character. Compare a raw 808 kick to a sampled kick with room ambiance-you’ll notice an immediate difference in depth. Dynamic Contrast Too many perfectly clean, static sounds can leave a mix feeling lifeless. Adding dynamics-variations in volume, movement in effects, and subtle imperfections-creates an organic flow. For example, slightly detuning a synth line or using velocity changes on a hi-hat pattern makes the track breathe. Human Feel & Groove Electronic music thrives on precision, but that doesn’t mean everything has to be locked perfectly to the grid. Introducing slight timing variations, swing, or live-played elements can make a track feel less robotic. Think of the way a classic house groove swings or how a sampled drum break carries natural fluctuation-it’s those imperfections that bring life to your production and make it feel alive. Techniques to Add Life to Your Mix ✅ Flanger on Hi-Hats  – If a hi-hat pattern feels too static in the mix, adding a timed flanger can introduce subtle variations that bring it to life. Set the flanger length to work rhythmically with your production-it adds movement and breathes energy into the groove without overpowering the mix. ✅ Subtle Filtering for Movement  – A small amount of automation on a filter can do wonders. Slightly pulsing the frequency or moving the resonance up and down on a lead sound can introduce natural variations that add depth. Blending this into the original sound not only gives it a more organic feel but also helps it find its place in the mix. ✅ Pitch & Timing Modulation on Percussion  – Percussion sounds, like claps or snares, can sometimes feel repetitive when every hit is identical. Applying subtle pitch modulation -either manually or through an LFO-can make them feel more dynamic. Even a slight variation of a few cents can add realism, making the sound less robotic and more human. For timing variations , one technique I use is applying an LFO to the start point of a hi-hat sample . When set to random movement with really small variations , this introduces subtle, unpredictable shifts in the transient, creating natural  variations in each hit. The result is a hi-hat pattern that feels more alive and less rigid , helping it blend into the mix with gentle movement. Combined with velocity adjustments , this technique adds a layer of organic realism  to programmed percussion. This is just the start-there are countless ways to inject life into your productions . Experiment with movement, subtle imperfections, and textural layering  to craft a mix that feels dynamic and engaging.