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.

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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

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Photo credit: CAY – Official

Known for powerful vocals and raw emotion, the artist presents five essential tips on arrangement strategies, sound management, dynamic processing, atmospheric design, and maintaining creative momentum.

These battle-tested techniques provide practical solutions for producers at all levels, whether you’re working on arrangements or looking to expand your sonic palette.

1. Tip – arrangement: vertical vs. horizontal workflow

Many producers, in my opinion, make the mistake of working mainly with clips or loops. What significantly improved my progress was shifting to a horizontal workflow—working forward through the song rather than getting stuck in loops. This approach allows you to build a rough song structure within 1-2 hours, giving you a better overview of the bigger picture. It also creates more space for unique moments in your track.

2. VU meter & gain staging

A VU meter is a device that displays relative loudness in decibels. Use it to check the actual loudness of an element, as processed signals are often louder than they appear. I use Klanghelm’s VU meter on every track to manage gain staging. This helps maintain headroom and makes your sounds and elements feel more controlled.

3. Creating dynamic drums with effects

Many producers wonder how to make their drums sound more dynamic. My approach often involves delays and other effects. For example, I group my percussion elements and automate different delays within that group. This way, a rim shot might get a unique delay every fourth hit, adding variation and groove. The same technique can be applied to all drum elements or even synths to create a more diverse and rhythmic sound.

4. Creating atmosphere in a track

Many producers overthink the beginning of a track and often start with kicks or drums. I prefer starting with pads or atmospheric sounds. This can be easily created with a single note or chord processed through a shimmer reverb plugin—like Valhalla Shimmer in my case. Play a note with shimmer reverb, extend the decay time, record it, clean up the recording, and loop the part you like. This method helps create instant atmospheres or moods for your track.

5. How to stay creative

This last tip is more about creativity itself. Most people need to understand that creativity is like a muscle—you must train it; it’s not just sudden inspiration. Even on days when nothing seems to flow, you’re still learning how to deal with creative blocks. Over time, these blocks happen less frequently because, through consistent work, you develop alternative approaches when your usual process isn’t working. Keep experimenting and stay consistent!

CAY (DE)’s ‘CANT U HEAR ME / TRUST’ is out now on HABITAT Records. Stream and download here.

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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.

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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.

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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

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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.

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Photo credit: Antoine Pierre – Facebook

A prominent figure in the Belgian music scene, Pierre’s versatility shines through his involvement in multiple projects including URBEX and Next.Ape, alongside collaborations with artists such as Philip Catherine and the TaxiWars jazz-rock experiment. His roster of performances includes work with Joshua Redman, Aaron Parks, and Ben Wendel.

VAAGUE’s distinct sound emerged through residencies at VOLTA and Le Botanique, drawing additional inspiration from Thom Yorke’s 2018 Tomorrow’s Modern Boxes tour. Following two successful EPs in 2021 and 2022, and collaborations with Le Motel, Amy Root, and Dorian Dumont (ECHT!), Pierre now opens his studio doors to share five essential tips for creative music production.

1. Don’t wait to be inspired

However daunting the fear of the blank page can be, you often can’t afford to be struck by the lightning of divine inspiration. To overcome that problem, I set myself some planned composing time throughout the week that I try to respect as much as possible. If I book myself 3 hours and I get tired after an hour and a half, I still keep going until I’ve used those 3 hours—you never know what great idea can emerge from those last 20 minutes!

2. Have fun with technology

We’re in an era of constant evolution in technology and that opens up so many doors, for better or worse. Nothing wrong about trying out the weirdest patches and controllers! The technology I’m using (Sensory Percussion by Sunhouse) allows me to use my acoustic drum kit as an MPC: sensors placed on the drums turn the acoustic signal into a MIDI signal that is sent to my computer and can trigger any sample I want! That way, I can spend endless hours jamming with samples while just playing a regular drum beat.

3. Jam without thinking about the result

Nothing blocks me more than thinking about the result of a track in progress. I usually record those jam sessions I just mentioned and let go of everything. Sometimes I set myself a BPM to have a canvas, sometimes it’s just completely open. I let it rest for a bit and then listen back with fresh ears. Usually, I isolate a 4-bar sequence that I find sick and that becomes the base for a new track!

4. Get creative with choke groups

A little trick I like to use is to play with choke groups: let’s say I have a sustained piano chord that’s triggered every time I hit the snare drum and a cycle of double bass notes triggered every time I hit the kick. It can get pretty muddy and confusing but if I program a choke group between them, then that chord stops any time I play the bass drum. Try it at different tempos and rates until you get that perfect Madlib-chopped-piano-sample vibe for real!

5. Use LFOs on harmonic content

I like to create some randomness in my melodies and chords. That way, it breaks up my writing automatisms. I like to use pretty simple chord progressions (2 to 4 chords) with a spacey melody on top. Then, I try different LFO settings that I send to that material: sometimes it doesn’t work but with a bit of searching, it can create really weird harmonic accidents that create new and fresh chord progressions!

VAAGUE’s ‘Oktopus Mekaniks’ is out now on Shapes No Frame. Stream and download here.

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Photo credit: Helang – Official

Helang’s rebellious approach combines synth-wave-inspired basslines with haunting vocals, creating a seductive sonic experience that exudes feminine strength. On stage, she captivates audiences with seamless mixing and high-energy performances, sharing bills with artists like Testpilot, Hi-Lo, and John Digweed.

With releases on European labels Manual Music and Stress Records, and the launch of her own Dauntless Records in 2023, Helang’s music has gained support from top DJs and featured in major publications and Spotify playlists. Her latest EP, ‘Life Is Music,’ showcases her multifaceted artistry, featuring two contrasting tracks that highlight her range as a producer.

This EP demonstrates Helang’s versatility as an artist. The two tracks on ‘Life Is Music’ present contrasting styles—one assertive and energetic, the other vulnerable and emotional. This range reflects Helang’s artistic vision: creating impactful compositions that express her experiences and inspire others through bold, unrestricted creativity.

To celebrate her latest release and offer fans insight into her creative process, Helang has opened her studio doors to share four tips for finding your workflow. These tips cover understanding different roles in music production, developing a personal approach, investing wisely in gear and plugins, and using samples creatively.

1. Understand the different roles.

Understand the differences between a songwriter, producer, mix engineer, and master engineer. A songwriter can sometimes go hand in hand with a producer, but the key difference is that the songwriter has the unique ability to craft a good idea for the song. Without a solid foundation, there is no song. No amount of good mixing or mastering will ‘save’ the song otherwise.

One way to create a solid foundation for a song is to build a good template. Make sure you have designated sections in there such as your intro, first break, first drop, main break, main drop, second drop, and outro. Label each section and save it in a folder for future use.

2. Find your workflow.

This will look different for everyone, but it is important to find what works for you. Generally speaking, it is definitely important to always try to finish your songs. It isn’t a black-and-white situation though; I’ve had songs I never finished because they just weren’t panning out well. Trust your gut. For example, one thing I do every now and then is designate an hour to organizing samples. I will go through a bunch of categories such as kicks, shakers, hats, percussions, fills, risers, impacts, etc., and put them in folders in Ableton. This helps give the process of creation more productivity and clarity.

3. Don’t spend too much money.

Don’t spend too much money on fancy gear or expensive plugins. A lot of the time, you will be able to achieve your desired result by using a stock plug-in. However, if you really want to invest in timeless, practical plug-ins, I recommend the Valhalla, Soundtoys, and FabFilter bundles. Specifically, the Valhalla Vintage Verb is an excellent reverb that can make your sample sound very full and “spacey”. It definitely takes your effect up a notch from the hall reverb.

4. 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.

Helang’s ‘Life Is Music’ is out now on Dauntless Records. Stream and download here.

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Photo credit: Jeff Fourney

This innovative trio has gained support from influential platforms such as NPR and KCRW’s ‘Morning Becomes Eclectic,’ cementing their status as industry tastemakers.

ASHRR’s journey has been marked by consistent growth and evolution. From their debut EP to their first full-length album ‘Oscillator’—praised for its “easy hooks with rhythmic elegance”—the band has continually pushed the boundaries of their sound.

Their post-pandemic releases, including collaborations with dub legend Scientist and remixes by System Olympia, showcase their versatility and appeal across various electronic music subgenres.

ASHRR has recently released their new album ‘Sunshine Low,’ marking a significant milestone in their musical journey. To celebrate this release, they’ve offered a rare glimpse into their creative process by opening the doors to their studio. The band has shared five studio tips for committing to your sound and producing memorable music.

1. Create your own samples

We’ve always been big fans of creating our own samples from sounds, noises, etc. The raw file goes through many steps to achieve the final result. For example, we might take the clank of a glass bottle and adjust the envelope to shape the sound’s length. We pitch it up or down depending on the key of the song and our creative goal. After that, processing begins, which can include anything! I love adding distortion plugins, like Arturia’s Culture Vulture, and running it through modulation or even a full guitar effects chain with outboard effects (phaser, flanger), a Space Echo 201, and spring reverb. There are also incredible bit-depth and warble-type plugins that we use as “secret sauce.” Ultimately, the goal is to create the sound you’re hearing in your head or discover something entirely new along the way. We’ve never sampled from an album because we can play any idea we hear on instruments.

2. Stay in creation mode

Often when you’re in a creative state, you can just pull up your go-to synth (we use Arturia’s Prophet 5 or u-he Diva a lot) to find the sound you’re looking for. If we want to replace it with the real thing later, we will. Sometimes, though, we process the idea and decide to keep it. It’s crucial to stay in the creative flow and not lose momentum by over-focusing on individual sounds. Sometimes everything comes together, and sometimes it doesn’t, but you never want to lose that flow state. You can always go back and tweak or replace elements later.

3. Pick your instruments and stick with them

During the recording sessions for our new album, we decided to work with a very limited set of tools. We had a Fender Rhodes, a Prophet synth, a Fender Twin amp, a small drum kit, and a Fender P Bass directly into the console. Limiting the gear forces you to rely on creativity and helps establish a distinct “sound” for the music. You want to maintain a minimalist approach to see what’s great about the core recordings before adding other elements.

4. Real groove

We often use a real bass guitar instead of synth bass because the way a player feels the subtleties of pocket and groove is entirely different from programming or playing a synth. It’s important to us that organic playing is always a part of what we do. Using recorded audio, processing it, and cutting it up often yields more originality and produces parts that stand out in the mix.

5. 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.

ASHRR’s ‘Sunshine Low’ is out now on 20/20 Vision Recordings. Stream and download here.

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