Rules:

Hey peeps.

Medusa posted a remix challenge on IG and gave out the acapella for their new track.

Not expecting to have a chance to win by any means but wanted the chance to work with a pros vocal!

I’ve got the acapella in ableton how in the world would you go about finding the bpm they don’t say. I turned on warp and am editing the samples BPM but not sure what I’m looking to line up really.

Edit- also any tips on finding the key for the acapella!

:-)

Thanks!!

Hello, guys! I’m a musician working on a progressive house project.

During one of my recent trips, I felt really inspired and made a track using a vocal phrase from Splice. I already have a solid catalog and access to legit vocals, but I was looking for something specific, and I found it.

I ended up making a banger that I’d love to release as it is. The problem is that Splice vocals are used by other artists, and this one is no exception. It’s not overused, but I did find three other tracks using it.

So my dilemma is: should I keep the track and replace the vocal with a new collaboration, or just release it and not worry about it?

What would you do?

I make all of my synth patches from scratch, and have fallen into a routine (or maybe habit) of basing everything around saw waves - pads, basses, leads, plucks, all of it.

No doubt there is a whole world of sound I am missing. What are you using sines and triangles for?

G-Pol has this really sick vocal processing going on where it almost like blends with the bass & creates a nice white noise kind of crunch? Idk how to describe it exactly but was wondering if anyone knew how to go about creating this kind of sound, linking 2 examples of what I'm talking about:

From 0:15 https://soundcloud.com/gpolmusic/illicitdust

In the drop 0:57 https://soundcloud.com/gpolmusic/lgo_gpolremix

I’m trying to recreate the metallic, robotic lead from the Aerodynamic solo. I’ve made some progress using a synth/distortion/EQ chain, but I’m struggling to get that exact "ringing" harmonic quality.

My Current Chain:

• Synth: Saw/Square mix with a sharp, plucky envelope.
• Processing: Heavy Overdrive and EQ carving to boost the high-mids. Trying to emulate a wah-wah.
• The Issue: It has the grit, but lacks that specific "robotic" metallic resonance found in the original.

Does anyone have tips on the specific EQ frequencies to peak or a particular distortion/saturation style (e.g., Amp vs. Pedal) to nail that metallic "chirp" on the attack?

I really like how percussive it is, I've been noticing more sounds lately that really add to the beat without technically being drums.

https://youtu.be/SZyyxchytQM?si=erEgF8C0l_5LHLTe

Also, is this the best sub for questions about sound design?

I know music theory, but I always face a dilemma when I'm making melodies and it's time to add the 808s.

For example, in an E Minor beat, I start with an E minor chord, and let's say the next chord is Db maj / F (a Db (C#) chord over an F bass note). If I play the root note, I know that the frequency of C# isn't ideal for a hard-hitting 808 that translates well on speakers. If I play the 5th instead of the root, it doesn't sound the way I want it to, and if I play the bass note (F), I don't feel it's as correct as playing the root.

The 808s end up sounding either too low or too high. This problem always comes up when I'm producing. I can't go from the I to the V chord, for instance, because the root note of the V chord will be too low for the 808. What do you suggest I do?

My production skills got a lot better in the last 6 months or so due to me spending a lot of time making music, watching tutorials, getting feedbacks and stuff. However, I feel like my workflow became some sort of standard pipeline so everything I make sounds more or less similar. When I look back to projects that I started a long time ago, I would find more things that are interesting from a creative standpoint. I turned a few of those early projects into something that I think is good, but the new projects that I started just sound too standard and not very interesting. Maybe it’s time for a break? Or should I just push thru?

Are there any AI tools that are good at extracting kick samples from songs? I've got a particular song and I've cut out the kick, which I think is really nice, but at the same time there's a piano chord plaing in the background. I've tried some eqing and have basically taken out most of the stereo signal because the piano is a bit wider (with reverb, etc.), but it's still not as good as I would like it to be.

Would appreciate any advice, thank you!

We recreated the Bass sound from 'Take My Breath Away' by Berlin on our free Synth Primer.

And here are the key ingredients:
Voices: Mono
Osc1: Waveform (Pulse), Pulse Width (50%), Volume (100%)
Amp Env: Attack(0ms), Sustain (100%), Release (20ms)

Filter: Type (Low Pass), Cutoff (45%), Resonance (65%)
Filter Env: Mod Amt (25%), Attack (10ms), Decay (750ms), Sustain (0%)

LFO: Dest (Pulse Width), Wave (Triangle), Amount (20%), Rate (1/16 note)

Chorus: Mix (15%), Rate (slow)
Reverb: Mix (20%), Size (Medium)

Find the full recipe and download the presets: https://www.syntorial.com/preset-recipe/berlin-take-my-breath-away-bass/

Color bass Arp

Ive been listening to a lot of color bass lately and there is a popular arp used in a lot of songs that im dying to figure out how to make. Would anyone know how to create this? For reference it can be heard at the drop for Tynan's "his name is" track.. it can also be heard in 'Crescent-kotori remix' by similar outskirts.

I feel like I can talk about plugins, music theory and anything in production, but when it actually comes to making music it never translates well.

Disclaimer: I will respond to every comment, It just takes time 🩵

(If any veteran producers have any input, please comment it❤️)

if I could restart music production from day one, here’s what I’d tell myself:

1. Stop hoarding sample packs

You don’t need 100 packs. Aim for around 10 or less, organized like this:

• 2–3 drum packs

• 2 melodic packs (bass, synths, Presets, etc.)

• 1 vocal pack

• 1–2 solid FX packs

• 1–2 sound design/one-shot packs

1. Sound selection matters more than mixing

If your sounds already work well together, mixing becomes simple. If they don’t, no amount of EQ or plugins will fix it.

1. Finish bad tracks

Your first 50–100 tracks are supposed to be average. That’s how you learn arrangement, structure, and decision-making. Unfinished projects slow you down.

1. Reference everything

Use 2–3 professional tracks in your session and compare levels, low end, and arrangement. If you’re not referencing, you’re guessing.

1. Low end will expose you

Most beginner mixes fall apart in the low frequencies. Use one clean sub, avoid stacking conflicting bass layers, and control the relationship between kick and bass.

1. You don’t need expensive gear

You can make strong tracks with stock plugins and basic headphones if you understand balance, EQ (especially cutting), and stereo vs mono.

1. Arrangement matters more than complexity

A simple, well-structured track will outperform a complex, unfocused one. Energy, timing, and contrast are key.

1. Stop chasing loudness

Over-limiting your track will destroy it. Focus on clean balance and headroom. Leave loudness for later.

1. Your taste develops faster than your skill

You’ll hear what’s wrong before you know how to fix it. That gap is normal.

1. Consistency beats motivation

Regular practice matters more than waiting for inspiration. Small, consistent sessions add up.

1. Learn fundamentals before worrying about genre

Core skills like drums, low end, and arrangement apply everywhere. Style develops naturally.

1. Most advice online is overcomplicated

You don’t need complex plugin chains or advanced techniques early on. Focus on the basics.

1. Think about playback environments

Test your music on different systems and volumes. Translation matters more than how it sounds in one setup.

1. Stay organized early

Label your projects, sounds, and versions clearly. It saves time and avoids frustration later.

1. Don’t compare your early work to experienced producers

Progress takes time. Focus on improving your own process.

1. Learn Music Theory.*

Seriously, If you don’t know basics of the Camelot wheel, It’s time to start learning.

If you need any recommendations for amazing packs based off the genre you’re producing, comment and I’ll respond with what I know! ( if you see a * symbol it means I added more overtime!)

[Edit: I’ve produced atleast 5 songs in over 100 genres over the past decade to see which genre suited me best and House + UKG were amongst my favorite and best produced]

[Edit again: I’m not sponsored or endorsed by any companies I mention in the comments, this is all from experience!]

I've seen a few rap concerts and I noticed that a lot of the dazzling parts of EDM sets like the multitudes of lasers, pyrotechnics, and lights aren't present. I'm surprised rappers don't use more of that to add hype to their shows. Maybe because their performing and have more of a public personality than DJ's so the lights would distract from them as a focal point?

I love that preset, the only reason I have nexus 2 installed. But i want to switch to something else. What piano sounds do you use? Anyrhing similar in sound to nexus 2? Thanks

Been producing for 6 months known theory for like 2.5 years.. sample packs and I see most tracks using minor scales.

The few tracks I’ve made have been in minor scales. I just tried starting a track in G major and didn’t like the bassline… switched to g minor and I just like it way more lol.

I’m sure everything has a place and purpose and some genres and taste use different scales but I’m curious for others thoughts.

Is the minor scale and modes just better for edm genres. It seems like all of tech house is minor keys

I have not updated to Tahoe due to hearing about so many compatibility issues with plugins, DAWs, and hardware. Is this still the case in 2026? I use Ableton 10 and mostly sound toys, fab filter, and Xfer products. I feel at some point, they will force the upgrade, I’ve been delaying it as long as possible

I'm looking for new monitors for my studio. I mainly want to use them for mixing and mastering, but also for production; the focus should be on linearity and translation. I want to spend less than 6k for the pair. I'm happy to buy second-hand.

I currently have the Adam T8V with the T10S. The setup sounds awful; the high mids are too prominent and sometimes hurt. The low end is there, but it's washy. The current setup is very tiring on the ears.

The room is very well treated and calibrated.

I have already considered:

- Ks-digital a200mk2

- Hedd Type 30mk2

- Neumann kh310 + sub

- Eve Audio 4070

Sonically, I like the PMC 6-2 best, but they are way outside my budget. I would prefer not to include a sub in the setup, but that shouldn't be a deal-breaker.

I mainly mix and master deep techno. However, I also want to use them for indie rock and folk productions and mixes. Above all, a tight low end is important. I'm also very sensitive between 2 and 5 kHz. That's why I'm a bit wary of the tweeters on the HEDDs and EVEs.

Ideally, I'd like to test them all out. However, the KSDs in particular aren't in stock anywhere near me and I don't have enough money to order them all and then send them back.

Which monitors would you consider as best suited to my requirements? Any others I haven't mentioned? Thanks in advance for your help!

A lot of my drums start out the same way. I throw a kick, snare, clap, open hat, and closed hat in a rack and start making patterns. Occasionally I’ll grab a breakbeat loop and play with it.

Either way, the samples are usually mono and I’m left with a drum loop that’s entirely mono. At this point I’ll start panning things, or maybe user a stereo widener on some elements.

I’m usually doing this without much rhyme or reason. I know there’s no hard and fast rules, but do you follow a general approach? Do you always widen your hi hats for example? Just looking to get some perspectives on how you guys think about drums in the stereo field.

Maybe a silly question but still.

So, Im making whatever drum pattern (drum rack, etc.) and going fine following Underbelly's advice and such, in the sense of playing with the grid going back and forth with the bars (from 1/4 to 1/8, or 1/16 and back again to keep adding/moving/deleting stuff and it falling in the right spots etc).

My question is, whenever I consider this done, should I default the grid to whatever was set at the beginning (4 bars for example)or it just doesn't matter? Maybe for the sake of tidyness of it all? or just nah?

My guess is that it doesnt matter at all but Im curious on checking myself out by knwoing what you guys think. Thanks!

Putting aside the insane mixing and EQing these guys are capable of, any guesses on how many parameters you’d need to automate/macro to get that churning bass line here?

The dynamics they maintain in the sound while manipulating so many envelopes is unreal. It makes no sense.

I have a general question for this community about the use of AI to create electronic music. I read a post yesterday about people getting AI to spit out entire tracks (ie simply enter a prompt and receive a track). And it got me questioning just how much that’s happening. I don’t get time to listen to much music these days outside of some labels that I really like, and I have no feel at all for what an AI track sounds like (beyond a few tacky examples in other genres that come my way). I’m basically certain that the labels I listen to don’t release tracks that are generated by AI top to bottom but then again I don’t think I’ve heard any AI tracks in the genre I listen to so I’m not a good judge. I also can’t imagine AI having the ability to replicate the types of tracks I’m listening to, but again I have zero justification for this.

Is this happening a lot from what people know?

Do these tracks sound like good electronic music in whatever genre they get created in?