Now based in Buenos Aires, James’  latest chapter unfolds with rekindled passion. In this wide-ranging conversation, Electronic Groove dives into the mind of a modern-day polymath, discussing the philosophy driving his teaching, psychedelics, the evolving role of AI in music, MYT, the inspiration behind his most recent release with Brent Lawson, and more.

EG: Hi Paul! Thank you for being here with us today. It’s a pleasure to catch up, especially to do so in your new home in Buenos Aires. How’s the experience treating you so far?

PJN: I was in LA from 2015 to 2017, and went back and forth between the US and England, and this experience here in Buenos Aires feels different. I feel like I’m setting up my future, essentially…you know? I’ve been here for a year, and I’m 45 now. So shit kind changes…time changes your perspective. But the good news is that Carl Jung is kinda right, life really starts after you’re 40. In both good and not-so-good ways.

EG: Well…speaking about Jung. From seeing your posts on social media and our conversations, one can immediately tell that you’ve taken an interest in the “human condition”, trying to really grasp our experience here and now. And not only that, but our interactions with psychedelics…

PJN: Oh, yeah. They have been a big part of my life, and still are. Although this past year, most of my “peak” experiences have been with MDMA. So it’s been a bit different, but the whole thing is still an inside job. Intention is everything. You’ve got to go into it with the right reverence and respect for it. Right? And also, the right reverence and respect for yourself. In that sense, to me, they are not to be fucked with…you know? I’ve seen countless people come with a lack of those, and it’s always them who end up with “bad trips”. Which, in all honesty, I don’t think that there’s such a thing. There are only challenges.

We shape the quality of our own experiences. So you can either be in power and deal with what will come with some form of serenity, or you can be out there forcing things, trying to make the square peg into the round hole.

EG: Going into the backstory of the artist…How did you get into DJing? What was it like when you got into it?

So, I had a friend who invested in probably the worst set of turntables to this day…they were a pair of Ariston turntables, which as you know, is a brand that is known to make fucking dishwashers and home appliances. The belt drive was terrible to begin with, but the worst part was that the pitch control was only like +2/-2, and it was this fucking dial. You just could NOT touch the platter. An absolute nightmare, but it was a great way to learn in the end. If you could mix on them, you could mix on anything. So, he went on holiday, and let me borrow them, and that was it. It just clicked. I always tell my students and friends that, if they can, learning to DJ with vinyl goes a long way in that sense.

In 1998, I went to university, and I was a part of the last intake of students under the old system, which meant I got money from the Government to attend. So, I got money for “books”, and by that, I mean my first set of Technics.

And also, that moment in time, 1993 to 1997…I’d say that was the pinnacle of it all, in terms of the culture or counterculture. Roni Size & Reprazent had won a Mercury Prize for their debut studio album ‘New Forms’; you had Massive Attack’s ‘Mezzanine’; Faithless; UNKLE’s ‘Psyence Fiction’; ‘Fat Of The Land’ by The Prodigy, and Chemical Brothers’ ‘Dig Your Own Hole’…Which I probably rank as the greatest electronic album of all time.

EG: And how does MYT come about? When do you step into the role of a teacher? What was it that made you want to pursue a career where you uphold others?

PJN: MYT came about as a logical extension of my teaching work. I’ve been a teacher of music production since 2008, and simply put, it’s one of the things, alongside DJing and production, that I was put on this earth to do. After many years teaching in various establishments, private institutions, colleges, universities, etc, I went freelance as a 1:1 tutor, and after a few years, I started to get a little burned out and frustrated with the impact I was having.

I asked myself if there was a more efficient way to reach more people, build a community at scale, and yet, keep things intimate, as the more humanistic side of what I do as a developer of artistic talent has always been what I loved the most, and honestly, makes the most difference to an artist, their creative output and their lives.

In September 2019, I launched MYT as a community product with online courses, a supportive container to incubate the talent of tomorrow. We started strong in terms of numbers, and then, when the pandemic hit, numbers skyrocketed. I was full-time on MYT from that moment on, thankfully, and the worst set of circumstances actually created the conditions for me to rapidly build MYT as a business. We’ve just turned 5 and a half years old, and the success has been insane. It’s an amazing feeling to watch the artists we’ve developed in that time go and walk on their own, and when they’ve had as much success as the likes of Massano and Four Candles, I also feel that amazing vindication of our methods, perspectives, values, and approaches work. They REALLY work.

“[…] the more humanistic side of what I do as a developer of artistic talent has always been what I loved the most, and honestly, makes the most difference to an artist […]”

EG: In your opinion, as a teacher, how important is it to have meaning behind what we create?

PJN: I think it’s all about finding the correct balance. One of the things I’m most proud of is that not only do I have an association, but I also have a very strong friendship with my musical hero, Sasha. And I remember that we were working on one track in the ‘Scene Delete’ album, and I was just going in too deep, so I asked Sasha what it was that we were doing, what the track was about…and he just looked at me and said: “Oh, fuck you Paul. Just shut up and write it”. That, there and then, was a great lesson. It’s OK to just do it and find its meaning later. But I also know that you gotta put that work in, sooner or later. You can’t just keep calling your tracks “Tunnel”, or “Fragments”, or whatever you open your fucking dictionary to.

EG: How do you navigate all these technological advancements, like AI, with your students?

PJN: Well, the paramount question here is “how do I get the most out of ME?”. And the truth is that there are some great tools out there, like the ones used for stem separation, or to “suggest” similar samples. These, for example, enable me to sort of “reverse engineer” how some of the reference tracks that my students bring were made. So, if these things are empowering me as a teacher or as a creator…then, welcome. But, I’d say that the vast majority of the things AI has to offer, they don’t do that. As soon as they do the work FOR you, then…well, fuck that.

EG: Now, keeping in line with the “studio” chat…You’ve got your new EP out, ‘Ethereal Pulse’, a collaboration with Pro B Tech Music’s Brent Lawson, which also features remixes by Hernán Cattáneo & Mercurio, and Martin Gardoqui. Congratulations! How are you feeling about this one? How did it come about?

PJN: Brent is a dear friend and someone I’ve mentored on and off over the years. It’s been amazing to see the slow and steady rise of Pro B Tech Records over the last decade, and Brent is a top-notch example of consistency and doing it for the love.

The funny thing with ‘Ethereal Pulse’ is it was a track that we fucked around with for a couple of years, and we went back to the drawing board several times, without putting any expectation or pressure on it to be like “a thing”, you know?

When we finally nailed it last year and got the vibe we wanted, Brent suggested we send it to Hernán, and to our surprise, Hernán loved it so much he wanted to remix it, and boy, did he and Mercurio do a job on it. It’s one of the cleverest, most beautiful remixes I’ve heard, certainly on the tracks I’ve produced in years gone by. It’s got an amazing old school feel, and with how Hernán and Mercurio have twisted and repurposed some of the musical ideas from, say, a synth to a Rhodes piano, it gives me serious vibes of ‘Knights of The Jaguar’ aesthetically, but done in a very tasteful modern way. Epic.

EG: What would you consider a “successful” collaboration? What are some of the tips you give your students in this particular regard?

PJN: A successful collaboration is one where the people involved have complementary skill sets. If one of you is great at arranging and the other is better at sound design, then you have a match made in heaven. Successful collaboration is about learning from the process and each other, and in the end, that creates even better art, as nothing fuels inspiration more than seeing someone you are working with create in a way that fires something in you, and helps you round off your skillset. Think very carefully before you respond to the next “collab bro?” DM you get on Instagram. Haha!

“Successful collaboration is about learning from the process and each other, and in the end, that creates even better art […]”

EG: What’s next for Paul James Nolan? What can we expect from you and MYT in the coming months?

PJN: We have an insane amount of amazing music coming from our members on MYT’s record label, Emergent Properties, and some brilliant remixes. We’re increasingly bringing some of the bigger names in electronic music to the label as a way of highlighting the talent we’ve been incubating, so soon we have epic remixes coming from Gai Barone and Luca Abayan, and we’re working on some other big hitters.

I’m excited to re-release my album from a couple of years back, ‘Dissolve’. This is a project very close to my heart, an album that both expresses my own story, as well as helping people navigate psychedelic experiences. We’re releasing it on Emergent Properties, as well as a remix album with some amazing dance floor-based reinterpretations of these very ambient but intense tracks.

Outside of this, expect a lot more in the way of DJ gigs and tours, both inside of Argentina and internationally.

Paul James Nolan & Brent Lawson’s ‘Ethereal Pulse’ is out now via Pro B Tech Music, featuring remixes by Hérnan Cattáneo & Mercuio, and Martin Gardoqui. Purchase your copy here.

Follow Paul James Nolan: Soundcloud | Spotify | Instagram | Facebook

The post Paul James Nolan: “We shape the quality of our own experiences” appeared first on Electronic Groove.

Photo credit: Florian Kruse – Official

Florian taught himself to produce, while looking up to his older brother Vincenzo for inspiration. He then went on to gain worldwide success in the height of the deep house era with his DJ duo Kruse & Nuernberg. Shortly afterwards he started producing with his brother, which led to releases on Anjunadeep, just one of the scene’s best labels that he would eventually release on. As a longtime fan of progressive house, he began to evolve his own sound into his melodic trippy style that has led to releases on labels like Poker Flat, Noir Music, Selador, Bedrock, Stil Vor Talent, and Ritter Butzke.

By the late naughties time social media had become a main place to connect with other artists, and through a connection on Facebook, he found one of his favorite producers, Julian Wassermann. They went onto release on Kompakt and Julian remixed ‘Zog’ on Florian’s first LNOE EP ‘Flying Dragons’ in 2019.

Florian is back on Sasha’s label with a two-track EP with Dilee D, whom he first got connected with when Dilee won a remix competition for one of his tracks. It’s amazing to see how music can be made across borders, with Florian in Hamburg and Dilee D in Chicago.

We recently caught up with Florian Kruse to discuss tips on how to get your tracks signed to labels, the challenges of juggling being a full-time dad of two kids with making music for a living, and the impacts of Covid times.

EG: Hi Florian, welcome to EG! Thanks for joining us. You’ve had so many amazing releases over the years, what’s been your strategy for sending tracks to labels?

Florian Kruse:  Thanks for the invite. I don’t have much of a strategy, but I always wanted to have a home for my music and tried to stay connected with labels instead of releasing just one EP with them. Steve Bug’s Audiomatique and Pokerflat have been home for me as well as Noir’s Noir Music. Nowadays, the decision where to release music is also related to the question “How can I get more gigs?” because that’s how music producers earn their money in 2025. I personally think that the Keinemusik guys have built up a collective in a perfect way, and everyone in that chain benefits from each other. They release and play together, but with other big labels, usually only the label founder gets to play. Part of a strategy is also about a strong relationship with the label and the possibility of showcasing on label nights.

EG: How do you connect with the labels that you want to send your tracks to?

Florian Kruse: I’ve been in the game for so long that over the years I have been collecting emails of DJs and label owners that I meet at events. Whenever I have a new track ready, I always think about it and which label would suit it best for the sound. I also think about which labels might be doing label nights and could help give me more visibility. Most times labels give feedback in a couple of days or a week. Once in a while you get lucky, and Sasha replies, like with this EP, I was super happy to read “We would like to sign ‘Clockwork Mind’ and ‘Mother Nature.’“

EG: I know you love Mother Nature, but where does the name ‘Clockwork Mind’ come from?

Florian Kruse: Time is always on my mind. I just turned 42, and it seems the older you get, the faster the time runs, so that name came to mind. You need to work fast and hard to make your dreams come true. The meaning is a mind that works with mechanical precision. People say the Germans are well organised but the reality is another.

EG: This is your second time releasing on Last Night On Earth, how is it like to work with Sasha’s label?

Florian Kruse: They have been amazing to work with, so well organized, and they were really quick to help get all the artwork ready. They allowed us to pick the cover art from a selection they had ready, which was nice. They also helped to set up some great mixes for Transitions and Balance series, which will be released in April and May 2025.

“Whenever I have a new track ready, I always think about it and which label would suit it best for the sound”

EG: From your early days in deep house until now, what impacted the evolution of your style?

Florian Kruse: I was always into house and deep house, but I’ve been a fan of progressive house too, with Nick Warren and all of Global Underground artists, John Digweed and Bedrock, Dixon and Innervisions, but I had never produced that sound. I went from deep house to melodic to trippy, and then Afterlife appeared with big reverbs on synth melodies, which isn’t really my sound, but I have been inspired by the scene to evolve my sound naturally. It happened quite slowly, deep house beats into progressive melodies, refining the sound of myself. I released ‘Skylines’ with an acid house vibe and ‘We Own The Night’ (also acid house). I used the 303 a lot, and then when I met Julian, he was fully into melodic house, so we continued in that direction.

EG: A lot happened over those years of evolving your sound. You also became a father of two. How did you juggle becoming a father and making music?

Florian Kruse: I always had audio engineering and sound design on the side, but when I became a father, I had to choose, so I went 100% into music production because I didn’t want to lose my momentum as a musician. Then, after two years of only doing music, it drove me crazy. The work as an audio engineer and sound designer gave me financial security, and now that I was a father, I had to be responsible. It was difficult negotiating for fees, and it put a lot of pressure on me to make the next big track, so I started second-guessing myself. The time pressure made it actually easier to make music (like before when I also had sound engineering projects to do). I was in my bubble so much that I couldn’t see the big picture anymore. When I was building the house with my family, we had a lot of expenses and not much time, so I did a tour in Australia where I played 4 gigs in about 48 hours. I ended up flying back with the same crew who thought something was wrong with me since I was going back so quickly. It was really intense.

EG: Before Covid you were playing all over Asia. How did the pandemic affect you?

Florian Kruse: Ya, before corona I was playing quite a lot, all over Asia like Jakarta and India. Then all the gigs stopped. With two kids at home and a freshly built house, so I started to put my main focus on sound design and music for documentaries and commercials. We reinvented our studio in Hamburg, called FRY Studios, and now we are doing lots of jobs for brands such as BMW, Vodafone, Volkswagen, among others.

EG: In going back to regular studio work, did it take the pressure off to creating music again?

Florian Kruse: Yes, of course, we have a lot of regular clients, and I have a good partner to run the studio with, so I have less pressure, and that makes it easier to work on music again.

“Time is always on my mind”

EG: It’s great to hear that things are back on track. Covid was a rough road for many of us, It’s crazy it’s taken five years to recover from it. Congrats on the new release, and we’ll keep an eye out for your upcoming mixes on Transitions (out April 4th) and Balance (out May 16th)!

Florian Kruse: Thank you so much!

Florian Kruse’s ‘Clockwork Mind’ EP is out now on Last Night On Earth. Listen and download here.

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Photo credit: Marie de Crécy

With seminal releases like ‘Super Discount’ and his work as part of Motorbass alongside Philippe Zdar, de Crécy helped define the French Touch sound of the late ‘90s. His evolving style has since ventured through acid, electro-soul, and boundary-pushing collaborations.

Now, with the release of his new album ‘WARM UP,’ de Crécy enters fresh creative territory. Written during the pandemic, the record moves away from club-driven structures to explore a more introspective, home-listening experience. Featuring artists like Alexis Taylor, Kero Kero Bonito, and Damon Albarn, it’s a testament to his ability to reinvent while staying true to his essence.

These studio tips reflect that spirit—balancing precision with spontaneity, structure with exploration. In this exclusive session, Étienne de Crécy offers insight on keeping things simple, listening deeply, and staying open to transformation.

1. Listening to Music in the Studio

It’s important to listen to music through the speakers used for production, no matter the genre. Enjoying the records we love in the studio, listening to new releases, and digging for music we haven’t discovered yet.

2. XO

I’m not sponsored by XLN Audio, but their XO plugin is great for starting a track. It scans all the samples on your hard drive and analyzes their timbre to classify them as kicks, snares, hi-hats, or percussions. A step sequencer lets you program beats in a fun way and easily swap out sounds—kicks stay kicks, and snares stay snares. It creates tons of inspiring surprises!

3. Arrangement

Making loops is easy, but building a structure is where the real work begins. I recommend getting into it early. When shaping a track, lots of options will emerge, and it’s best to start before getting tired of the loop—otherwise, you might end up adding unnecessary elements. That’s a piece of advice I struggle to follow myself!

4. Mix as You Go

I usually mix while building the structure. A beat can hold on its own longer before the bass comes in, depending on how it sounds. I shape the sound while arranging—usually, I don’t rework a track; I just keep working on it until it’s done. For the ‘WARM UP’ album, it was different because I had to rework the tracks after recording the vocals. It opened up new perspectives for me—coming back to a track weeks or even months later.

5. Simplicity

It’s the hardest thing. I love minimalism—finding the simplest idea that no one has thought of yet. (The four-kick break in ‘Music Sounds Better with You’ is the perfect example!)

Étienne de Crécy’s ‘WARM UP’ is out now on Pixadelic. Stream and download here.

Follow Étienne de Crécy: Spotify | Youtube | Instagram | Facebook

The post New perspectives, same soul: 5 studio tips from Étienne de Crécy appeared first on Electronic Groove.

Photo Credit: Patrice Bäumel – Official

 Influenced by the experimental grit of Andy Stott and the fractured futurism of Autechre, Bäumel approaches DJing as both an art and a science.

Now, he recently shared on social media his insights on optimizing sound quality in DJ sets—offering the kind of technical wisdom and artistic philosophy that have shaped his career.

“Judging from personal experience in the field, I feel this issue needs attention. Achieving great sound is a game of small, incremental gains in different areas that add up, especially when mixing several tracks simultaneously. Here’s what I do:”

1. Play well-produced material. This is hard to judge until you try a track on a big system back-to-back with proven bangers. Poor bass mixing and too much compression are the most common causes for failure.

2. Disable the ‘Master Tempo’ and   ‘Key Shift’  functions on CDJ players—these ruin your bass and create digital artifacts. Almost every DJ uses them, often for creative reasons, but it comes at a price.

3. WAV/AIFF files only. 320kpbs MP3 files sound as good to the untrained ear – don’t let that fool you. Subconsciously, people feel the difference.

4. Use a quality mixer. My favorites are the Pioneer DJM-V10 or boutique rotary mixers. I prefer them over Xone 96/92, DJM-900/A9, and other big brand offerings.

5. Channel and master gain levels can dip into the ‘red’ but should never stay there or, worse, clip the signal. Instead, let the front-of-house mixer add volume if needed. This prevents distortion.

6. Avoid pushing EQs beyond 0 dB (12 o’clock). Use them as subtractive tools to cut unwanted frequencies rather than boosting preferred ones.

7. Avoid channel compression (the small knob above the channel EQs) on the Pioneer DJM-V10.

8. Establish open, positive communication with the in-house sound engineer before your set. You want them to feel comfortable to communicate tips and issues. Teamwork makes the dream work.

You can keep up with Patrice Bäumel’s work and philosophy below.

Follow Patrice Bäumel:  Soundcloud  |  Facebook  |  Instagram  |  Twitter

The post Patrice Bäumel shares tips for ‘optimizing sound quality’ in DJ sets appeared first on Electronic Groove.

Photo credit: Dark Room Robot – Official

As an artist whose tracks have earned acclaim from BBC Radio 1’s TSHA and Sarah Story, and regular rotation from DJs like Anja Schneider, Skream, Paul Woolford and Jamie Jones, Dark Room Robot shares invaluable insights into the creative process.

From concept development to final production, these studio tips offer a practical framework for both emerging and established producers looking to elevate their craft.

Just days after releasing his latest EP ‘Strobe Lights Vol. 7’, featuring club-ready tracks that showcase his signature blend of house, techno and bass music, Dark Room Robot breaks down five essential approaches to music production that have shaped his distinctive sound.

1. Concept

Aim to start a song or jam session with even a loose concept of the end outcome in mind, often the energy or a vocal line. I find visual images via Pinterest are great for capturing a vibe I want to fit into. Having this concept will allow you to better audition sounds, tempo, vocals, and instruments to ensure the ones you pick will fit the vibe and not detract from it or take the sound down another path. If you’re making a bassline-focused peak time track at 140bpm, then you know the tempo and style is going to dictate the amount of notes in a riff, the ideal musical key to use (F and D are good for low punch bass, for example) and the type of kick that will work with the low bassline.

2. Studio Organizing

Spend some time regularly organizing and optimizing your studio setup so that when you’re in the flow, you know how everything works and where to reach for those go-to sounds to get the ideas down fast. Set an hour or two every couple of weeks and do housekeeping.

For example, in your DAW create some racks of your best kicks, best snares, and best percussion sounds. So you know that when you use them they will sound good in a track. Have your go-to bass and sub bass sounds, lead synths. Ableton is great for its 5 favorite lists. Use these to give you quick access to samples, sounds and FX that you know how to use and will work. Get rid of poor-quality sounds or instruments that you don’t use. Minimize to maximize.

3. Learn to play some classic songs – Stevie Wonder / Beatles / The Jam

Learning how to play (even if it’s badly) some classic pop/rock songs is a great way to level up your musicality. YouTube is your friend here. There are loads of simple piano tutorials on great songs. Pick one you love and learn it for a month. Most of us are kinesthetic learners, so this is the way you will absorb the knowledge best. Plus it’s great fun, especially if you can get someone to sing along with your playing.

4. Wait and listen with someone else

Patience is a virtue we all desire, not least me. It really does pay to put a track aside once you have created a finished arrangement and mix down. Leave it for a few weeks. Then listen again with fresh ears; it’s surprising how different you will hear it — more like a first time. It’s even better if you can listen to it with someone else in the room. It’s strange, but you listen to a track like it isn’t yours, and it gives you more the impression someone else will have when they too hear your music for the first time.

5. Mix the track in a DJ Set

Another trick to do at this stage to find any quality imperfections or issues in your track is to mix it into another commercial release that you’re vibing with. This will straight away tell you if the energy is flowing on a macro level, if the percussion is too low or loud, etc., how the intro and outro of the arrangement will gel with other tracks in your style. It’s good to have a folder of other artists’ productions you love, which you can test how yours mixes into, to see how it flows.

Dark Room Robot’s ‘Strobe Lights, Vol. 7’ is out now on Forbidden Fruit Recordings. Stream and download here.

Follow Dark Room Robot: TikTok | Instagram | Youtube | Spotify

The post Bright ideas in dark rooms: 5 studio tips from Dark Room Robot appeared first on Electronic Groove.

Photo credit: Fred Lenix – Official

Known for crafting intricate soundscapes that blend old-school techno with futuristic elements, Lenix’s journey from producing as a child to releasing on prestigious labels offers valuable insights for aspiring producers.

His distinctive production style, which has earned support from Artbat, Tale of Us, and Solomun, emphasizes the importance of developing a signature sound, drawing inspiration from visual media, and mastering the art of tension and release in melodic structures.

Following the success of releases like ‘Somewhere’ EP and his collaboration with Dino Lenny on ‘Motivator’, Lenix has returned with his latest sci-fi-influenced single ‘Heart Beat Slow’ on Truesoul.

In this exclusive studio session, Fred shares his expertise on everything from crafting memorable melodies to advanced mixing techniques and the nuances of working with mastering engineers.

1. Take your time building your sound

I have been producing music since I was a kid. So I had plenty of time to develop my own signature sound. One of the tips I would give is to really consider taking your time before starting a project and putting music out there. Although I had tracks ready to go, it took me a few years to do my debut where I really wanted to start my career, which was Ellum back in 2018.

2. Find inspiration in visual media

Finding my own music flow was the key. I realized I would get constant inspiration from movies or images where I would start by crafting a synth sound that resembles the ambience I want to create. Most of the time, I would open up a sci-fi movie scene or a futuristic image and try to come up with as many different sounds as possible. That would already give me a start to the vibe of the track I was creating.

3. Use question-and-answer melodies

I always start with a memorable question-and-answer melody. I think it’s key to have a melody like that so I can start building the track around it. My tracks such as ‘Motivator’, ‘Surrender’, and my collab with Artbat ‘Dreamcatcher’ have this characteristic of building and releasing tension with a melody asking and answering a question. Although my sound design is complex in nature, I tend to have a minimalist mix focused on shining elements throughout my tracks.

4. Mix with the venue in mind

When it comes to mixing, I do that on my own too. As a producing tip, I would suggest producers focus on the ambience in which they imagine the track will be played. A reference is very important. If I have a key element that I want to shine, I usually copy it and do a 3D imaging on it, widening inside the mix. You can hear this effect on my panned basslines or stabs. This gives more space for the kick and lows as I always design them very punchy and short-tailed. I believe there are a lot of ways to mix a track, so I won’t give any numbers or parameters on where to keep your threshold in your compression or where is best to cut your lows etc.

5. Communicate your vision to mastering engineers

Louder isn’t always better. One thing I always have an issue with when it comes to collaborating with others or sending my music out for mastering (if I have to): a mastering not well done by a sound engineer who doesn’t have familiarity with your sound characteristics can easily outshine some elements of your track. For example, if the track is mixed to be played in a closed ambience like a packed club, it shouldn’t be so focused on bringing up the highs or shining the kick; instead, it should be focused on keeping the groove round and smooth. Make sure to communicate your intentions with the track and key elements when it comes to working with a mastering engineer.

Fred Lenix’s ‘Heart Beat Slow’ is now available on Truesoul. Stream and download here.

Follow Fred Lenix: Spotify | Soundcloud | Instagram | Facebook

The post From vision to mix: Fred Lenix’s studio essentials appeared first on Electronic Groove.

Photo credit: Facu Baez – Official

His productions, released on prestigious labels including Revival, HellBent, and Nervous Records, have earned support from artists such as Cloonee, Chloe Caillet, and Blond:ish.

As he prepares to embark on tours across Latin America and Europe in 2025, Facu Baez stands at the threshold of what he calls a ‘New Era’—one that promises to push creative boundaries while staying true to his artistic vision.

In this exclusive interview with EG, Facu discusses his creative process, his evolution as an artist, and his ambitious plans for the future.

EG: Hi, Facu! Welcome to EG. It’s a pleasure to have you here with us. How have you been? Where are you right now? How did you kickstart the year?

Facu Baez: Thank you for having me. It’s a pleasure to be here. I started the year with a lot of energy, fully focused on my music. I’m currently at home, in Uruguay, after a few intense months working in the studio. 2025 is shaping up to be a key year, so I’m going all in.

EG: First of all, congratulations on the drop of your latest single, ‘New Era’! You must be stoked to share this one. What has the initial reception been like so far? Do you remember the first time you played this one live?

Facu Baez: Thank you! Yes, I’m super excited about this release. ‘New Era’ is a very special track for me because it marks the beginning of a new stage in my sound. The reception has been incredible, both from the crowd and fellow artists. I remember the first time I played it live; it was in a rather intimate set, and I felt that instant connection with the people. That was when I knew I had something powerful in my hands.

EG: So, what can your fans expect to find on ‘New Era’? Is there an emotional trigger driving this one?

Facu Baez: ‘New Era’ is more than just a track; it’s a statement. It represents growth, change, and the pursuit of a sound that I feel is truly mine. It was born from a moment of personal and artistic transformation, so there’s a lot of emotion in it. It’s music designed for the dancefloor but also meant to resonate on a deeper level.

EG: What was the creative process for ‘New Era’ like? How did this one come about? Do you have a set of ‘rules’ you follow in the studio to guide you?

Facu Baez: The process was quite organic. It came to life during a phase when I was exploring a lot and trying new things. I like to start with a clear idea of the energy I want to convey, but I let the track guide me along the way. I don’t have strict rules, but I always aim for every element to contribute to the journey I’m trying to create.

“New Era is more than just a track; it’s a statement. It represents growth, change, and the pursuit of a sound that I feel is truly mine”

EG: So, what does this ‘New Era’ mean for you in terms of your sound? What was it that ‘told you’ that this is a time of change?

Facu Baez: It means evolution. I felt it was time to push beyond my limits and take risks. I’m always looking to grow as an artist, and there came a point when I knew I had to take this step. ‘New Era’ is my first message to the world, saying, “this is who I am now, and this is what’s coming.”

EG: By the way, you’ve just put together your first sample pack, which has been quite successful. How did the idea come about? What was the process of putting this one together like? Will you be doing it again soon?

Facu Baez: Yes, it was a great experience. The idea came because I often get asked about my sounds and production tips, so I wanted to share something that represents my identity. It was a lot of work but very rewarding. And yes, another pack is definitely on the way very soon.

EG: What are some of your biggest goals? What would you like to accomplish in this scene?

Facu Baez: My goals are clear: I want to keep developing my sound, reach more people, and play around the world. I’ve always dreamed of that. But beyond that, I want my music to leave a mark.

EG: Now, on to the state of the scene… What do you see as the biggest challenge for the music industry in the next few years, and how do you think artists can adapt?

Facu Baez: I think oversaturation is a big challenge. There’s so much music coming out all the time, and it can be hard to stand out. Artists need to find authentic ways to connect with people, stay consistent, and most importantly, stay true to their vision. Just believe in yourself and keep working hard.

“I want my music to leave a mark”

EG: Finally, what’s next for Facu Baez? What new milestones are you looking forward to in 2025? Where can your fans catch you next?

Facu Baez: This year, I have several releases lined up that will further showcase this new era. I’m also working on some special collaborations. As for shows, we are finalizing dates across Latin America and Europe, so stay tuned – I’ll be announcing everything on my socials soon.

EG: Thank you so much for your time, Facu! We wish you all the best for the future. Take care!

Facu Baez: Thank you! It’s always a pleasure. See you soon!

Facu Baez’s ‘New Era’ is now available on Revival New York. Stream and download here.

Follow Facu Baez: Spotify | Instagram | Soundcloud

The post Facu Baez: “It was time to push beyond my limits and take risks” appeared first on Electronic Groove.

Photo credit: Simon Chasseloup

Danny’s two tracks showcase his versatility. First with  ‘Blow’ delivering a vibrant disco house with bright synths that echo classic dance music, while on ‘Don Lobito’ offers an introspective journey with ethereal pads and refined vocal elements.

Mike’s contributions round out the EP with ‘Housewife’ featuring dark, hypnotic vocals and a funk bassline, while close with  ‘Aspirateur,’  offering soulful percussion and classic filter house elements.

To celebrate this upcoming release, Danny and Mike Parton invite us into their studio to share five essential production tips. Drawing from their extensive experience in crafting French house gems, the brothers offer invaluable insights on everything from maintaining creative authenticity to mastering your tools.

1. Make music for yourself first

Making music should first and foremost make you happy and satisfy yourself. Otherwise, it won’t work. Sincerity can be heard in music and felt on stage. Stay inspired and creative: try different things, break away from your habits or current trends.

Danny: “I listen to a huge variety of styles all day long. I love spending time discovering music that’s not necessarily close to what I produce. In fact, I barely listen to club music at home.”

Mike: “For a long time, I wanted to please certain labels I admired, so I made music “for them.” Mistake. Everything I produced was too generic, with no personal touch. Make music that excites you first, then only afterward think about who you could send it to!”

2. Less is more

There’s no need to buy every plugin on the market, the latest trendy gear, or overpriced vintage equipment. Focus on a limited number of instruments and master them perfectly. This will save you time and keep your creative flow intact, without being slowed down by technical issues or struggling with new software.

Danny: “I went through a phase where I only used hardware, with cabinets full of vintage and modular synths. It was an immense pleasure and a great source of inspiration to create my own textures. But recently, I switched to a fully software-based setup. And honestly, I’m enjoying it just as much, if not more! It’s much faster, I lose less momentum, and I’m way more productive now.”

Mike: “Just like Danny, I have a studio full of synths… which are now gathering dust! But everyone has their own way of working. I only use three VSTs, and that’s more than enough for me!”

3. Finish your tracks

Don’t get stuck endlessly on a loop. Either turn an idea into a full track or move on, but never delete anything! Revisit your unfinished ideas later with fresh ears.

Danny: “Last year, I worked on around 70 loops and only ended up with ten tracks I was happy with. For Jolene, I never spend more than an hour on a loop. If I haven’t started arranging it within an hour, I move on to another idea. But I often come back to old loops with a fresh perspective and new inspiration, and sometimes I finish them.”

Mike: “I know too many producers obsessed with making their arrangements perfect, and they never release anything. Honestly, I don’t think I’m the best arranger—I don’t like pushing that aspect to the extreme—but I always finish my tracks! And in the end, it works. It keeps me from getting stuck and making excuses not to move forward.”

4. Surround yourself with others

Go out, meet people, talk, and share your experiences. You learn a lot from exchanging with others. We sometimes give masterclasses, and even then, we learn new techniques and routines from students. It’s incredibly inspiring. And don’t be afraid to step out of your comfort zone—pushing your limits is how you grow.

Danny: “I’ve learned so much through sharing! Giving is also receiving. We created Jolene Records to spread love, but probably also, unconsciously, to receive some in return.”

Mike: “Fun fact—I met Danny during a masterclass on modular synths. I had never sent a demo before. We talked a lot about our production methods, different labels, how to submit a demo… And from that day on, I started releasing my music.”

5. Send your demos

Share your music. If no one replies, don’t take it personally. Why not start your own label or collective with friends? Don’t let rejection discourage you. Accept it and keep going. And once again: enjoy the process!

Danny: “I often talk to talented artists who hesitate to release their music because they fear rejection or feel too shy, which I totally respect. But when it makes them unhappy, it gets to me. It’s better to channel your energy into something constructive and fulfilling rather than complaining or waiting without taking action. That’s also the essence of Jolene Records. We came from techno, but we no longer felt aligned with that scene, so we created something different that makes us happy. We don’t know if it will succeed, but we’re having a blast, and that’s already huge!”

Mike: “If you really want to release your music, you have absolutely nothing to lose by sending your tracks out. I love to repeat this quote: 100% of the winners played the lottery! You just have to take the plunge. As Danny said, getting a “no thanks” can be scary for some, but it’s part of the game, and you shouldn’t take it personally! And one last tip—aim high! You’d be surprised to know that even big labels actually listen to your demos!”

Danny Parton & Mike Parton’s ‘JOLENE 04’ is set for release via Jolene Records on March 14th, 2025.

Follow Jolene Records: Soundcloud | Instagram | Beatport | Bandcamp

The post Five key studio tips from The Parton Brothers appeared first on Electronic Groove.

Photo credit: Mads Suhr Pettersen

His portfolio includes three albums—‘Faleo’ (2017), ‘Oftania’ (2022), and ‘FolaNero’ (2023)—alongside numerous compositions for contemporary dance and theater. As a multimedia artist who works closely with lighting designers, Kostopoulos creates immersive experiences that showcase his fusion of traditional and electronic elements.

Now, celebrating the release of his latest work ‘Mendokaa’, Kostopoulos shares five essential studio tips focused on minimalism, authenticity, and creative growth. These insights, drawn from his experience in both live performance and studio production, offer valuable guidance for producers looking to develop their unique sound.

1. Limit the number of elements to include.

This is something I constantly work on myself. Having the courage to limit myself to just a few elements with clear sounds and ideas. It’s about finding the essence of the song and my expression. With today’s technology, it can be challenging to leave space in the music, as you can do almost anything you want… I find that my music feels more alive on the occasions when I manage to achieve this.

2. Trust your gut

Personally, I’m drawn to artists who manage to create their own unique musical universe… who offer me something I may not have heard before. By basing our choices in the studio on our own instincts and taste, rather than trying to predict what we think people want to hear, I believe we can more easily bring out the unique qualities each of us has within. Having the courage to trust ourselves makes our music feel more authentic, and I think listeners can sense that.

3. Finish your music

I believe the best way to improve in the studio and discover your own voice is to create as much music as possible. Try not to be overly critical of yourself. Instead, focus on enjoying the process of making music and commit to finishing your songs. They don’t need to be lengthy or packed with numerous sections. Share your music—release it or let friends and family hear it. Growth happens over time, and this practice will help you refine your sound and style.

4. Mixing Acoustic and Electronic Drums

As a drummer, I love blending the sounds of acoustic and electronic drums. For example, you could play a full drum kit over an electronic beat, or, for those who don’t play drums, layering your own kitchen sounds over programmed beats can add an organic and unique feel to the drums. Sometimes, when I play acoustic drums over programmed beats, I go through each track and quantize every hit to the grid. Other times, I leave everything unquantized and let the two elements tug and pull against each other. There’s no right or wrong way to approach this—you just have to experiment and find what feels right for each situation.

5. Mixing Presets

If you’re not very comfortable tweaking synths, a great way to create unique sounds is by layering different presets from various synths and instruments. For instance, if you’re designing a synth sound to play chords, start by creating three tracks, each using a different preset from an available instrument. Have each track play the same chords and experiment with their volume levels. Perhaps one track should stand out more than the other two? Find sounds that feel right to you, and experiment with effects like reverb and delay. It’s easy to go overboard with effects, so remember that sometimes a few subtle adjustments here and there can make all the difference!

Aleksander Kostopoulos’s ‘Mendokaa’ is out now on Beatservice. Stream and download here.

Follow Aleksander Kostopoulos: Spotify | Instagram | Facebook

The post Trust your gut: 5 studio tips from Aleksander Kostopoulos appeared first on Electronic Groove.

Here we selected 10 of the most unique studio tips from 2024 (in alphabetical order) that will take your game to the next level.

ASHRR

• Embrace mistakes

In the modern world of computer recording, most systems are set up with a perfectionist mindset, often producing exactly what you intend. The more you play organic instruments, avoid quantizing everything, and manipulate audio instead of relying solely on MIDI or virtual instruments, the more unique and memorable your music will be. Accidents are also valuable. Don’t worry too much about slightly out-of-tune or rhythmically imperfect parts, or chords that don’t follow traditional music theory. Focus on the bigger picture of the piece. Commit to your sounds—don’t just rely on plugins. Be brave, embrace imperfection, and step outside the box when you can.

BK

• Separating creative and technical jobs

By doing this, your workflow will improve dramatically. It will also prevent you from looping around your track over and over until the point you get bored with it.

When you start writing, just write. Don’t stop to mix as you write. If your sound choice is correct, your track will sound good enough to write with. The problem with stopping every few minutes to EQ, adding compression, etc. is that you totally lose the vibe of what you are writing. At this stage, stay in creative mode. Writing a great hook or killer bass line is much more important than sorting the EQ of your hi-hat; this can easily be done later.

I will usually write the main drop of my track at this stage, as often everything else is a derivative of that. When that’s done, you can enter technical mode a little. Get a rough gain stage and tidy up little bits, but don’t spend long on this. It’s just a little tidy up. The reason is you need to get back into creative mode ASAP and get your arrangement done. The quicker you can get your arrangement done, the better. This will stop you from getting stuck in an 8-bar loop. Just sketch out your arrangement; don’t even worry about adding drum fills or automation at this stage. Imagine you’re an artist and this is your rough pencil sketch. You can go back after and color it all in.

When this is done, you can then start looking at the technical side of the track. Set your gain staging and do the majority of your mixdown. I usually do this before I do a lot of my automation. If you do your automation before this, you have no real end start points. For example, how can you do a volume change if you don’t know what the volume of that instrument should be?

Cristina Lazic

• Locators

I guess this is kind of basic, but I am a big fan of having a clear structure and being precise, and in this respect, using locators can help. I normally place a locator at the beginning and at the end of the track and then try to define a structure that can make sense for what I am trying to achieve. In my genre (minimal deep tech), you normally have a short and then a longer break, so I assign locators for when the breaks start and when they end at the drop. I also assign locators when unexpected or key new elements come in. Having locators helps me speed up the arrangement phase of production massively, and that’s why it’s a valuable insight to give to other producers, especially if they are at the beginning of their production journeys.

Gaudi

• Listen, don’t look

A simple tip I feel happy to share with y’all is to turn the computer monitor off when testing an arrangement or a mix. I do it all the time as it takes me away from the ever-present visualization of sound back to just using our ears as we all did before studio monitor screens became a reality. I’m so used to it now that I always switch it off, even when I listen to demos or audio files, because from just looking at a waveform I approximately know how a song is structured, when the middle-eight arrives, how long the intro is, etc., and I really don’t like to ruin surprises or create expectations. This is another technique I’m probably carrying on from my early studio days, as at that time the only visual reference we had while listening to a mix was the mixing console and the pair of Yamaha NS10 speakers, no waveforms, and no computer screen.

Helang

• Don’t be afraid to use samples

Don’t get into your head about needing to create everything from absolute scratch. For creativity purposes, I also love to use samples from (for example, Splice) a genre that is different from what I am producing at that moment. For instance, I will find an Afro-house groove for a techno track and blend them in well to give it some flavor. Sometimes it may not work, so use your ears and trust your gut. This all takes trial and error.

Made By Pete

• Reference arrangements

When we talk about referencing, we usually focus on sound design and mixing but for me, the arrangement is such a key factor in a great record. It tells the story and that is so important. I’ve messed up many great ideas with the wrong arrangement! Study the arrangements of your favorite tracks and try to understand what makes them great. Your track could have a completely different vibe sonically but you can still take away ideas of how to lay it out and tell your own story.

Sahar

• Make a mess, tidy up later

In your DAW, I mean… You only need a few bars recorded of the “perfect loop” that you can reuse and recall in your track. Once you have that, I find it’s best to do long audio recordings where you take many divergences and go crazy with your equipment (the improved workflow of having the functions of each instrument accessible by dedicated knobs and sliders is the only reason I use hardware). I will usually go for 10-15 minutes. All that audio will come in really useful in the later stages of creating the track; you can get creative with your resampling and also layer the more musical sections with your perfectly designed loop to give your track that feeling of progression.

Sebastian Mullaert

• Creativity is not innovation!

Creativity has nothing to do with innovation but innovation has everything to do with creativity. Innovation is amazing and in many perspectives it’s something that our human brain and our societies are looking for, probably to be able to evolve and solve problems we encounter. Regardless of how beautiful and important innovation is, we should not limit our creative expression to the seeking of innovation. Seeking innovation is often the least fruitful way to innovate. The real gateway to innovation (if that’s something you are looking for) is creativity. Explore your creativity, allow your creativity, let your creativity manifest …. Sometimes that leads to innovation, but it ALWAYS leads to creativity.

Smalltown DJs

• Focus on your weaknesses

It’s natural to gravitate towards our strengths, we’ve certainly fallen into that trap ourselves. Whether it’s sound design, mixing, or composition, it’s easy to stick to what you know best. However, relying solely on our strengths led us to being comfortable with where our music at.

In 2020 we identified some of our weaknesses as producers and then set out to learn more in those areas. For us, these areas included mixing, sound design, builds & breakdowns. We found specific tutorials online and focused on refining our skills in these areas. We still have a lot to learn but by being proactive and studying our weaknesses our songs started to round out and become stronger in those areas.

TDJ

• Export tracks as audio imprints

One of the most important things when it comes to producing and writing a track is to know when to stop adding new sounds. At some point, it’s important to commit to certain elements. What helps me to do so is to export tracks as audio files within the project. I use Logic and it’s called bouncing regions in place. Sometimes I also export stems and start over on a new project. It helps me to feel inspired again when I feel stuck in a certain structure or visually bored of seeing the same project grid.

The post Most Notable Studio Tips of 2024 appeared first on Electronic Groove.