Production Techniques


When I first started to learn music production (more specifically sound design) every small thing that worked nicely, every little trick,every little happy accident I made I would keep close to me.
I would hold my cards against my chest. I would be scared of other people finding out and then using it to create their own sound and music. And be paranoid of being outdone and outshone. (This is especially funny as I haven’t even released anything fml)

But you know what.
The tricks of the trade we learn. I feel we should share. It’s about growing and using the knowledge and ‘secrets’ we learn and apply them into creating something spectacular that others can be truly immersed in.

For me personally, I want to grow and expand the things I know about sound and design. Imagine a place where the tricks we learn, techniques we learn and the methods we learn are all collated and spoke about, where we could debate and learn.

I’m sick of people on youtube begging for likes and subscribers (don’t get me wrong they do it for a reason) before they’ve even told us anything about the thing they said they would. Where things are just chewed up and regurgitated, spoke about and accepted as the way things should be done.

There’s some top tier absolutely amazing videos out there that can educate us all about any given topic. But when I’m in a bedroom studio with my mate, we’re sat their, and we’re constantly firing back and forth about how something should be done and why it should be done in a certain way. We both come away from those sessions and feel like we have learnt something and taught something.
It feels good man.

So yeah, production techniques…Fire Awayyyyyyy!!! :smile:

Convolution Reverb

I’m not that advanced, so you might already know this but I’ve got to start the thread off!

This is a good example, those choppy chord things starting at 1:08 have convolution on them. A really short impulse from god knows what. But that’s the thing with convolution, you can take any sound you like and add a reverb impulse to it to give it a completely different feeling. It’s like mixing two sounds together and the results can really be magical.

You can take the sound of a glass shattering and use it as an impulse for a snare. So you can basically blend the reverberation of the glass shattering and the sound of the glass itself into the snare.

It’s really really nice with drums. Adding different impulses to different sounds within the drums can have a crazy effect. You can make normal standard hats sound like a sword being sheathed or a knife being sharpened.

Even adding a bog standard reverb onto a sound that’s been mixed with short af convolution impulse can have a really nice effect. Put some distortion on the convoluted sound, add some frequency shifters, filters, anything. Happy accidents happen a lot with convolution!

100% worth checking it out if you haven’t heard of it already. Sorry if this is a waste of time btw it just felt like a good idea at the time :,)


love that example!!
great start to the thread


I really like bouncing tracks between DAWs. The main combination that I’ve been using recently is Renoise for the main ingredients of the track, mixed and edited in Reaper.

I have an old OS9 computer that is great for making music with. I run PlayerPro on it. Unfortunately it can’t bounce off of it so I’ve been considering running it through a four track cassette recorder.


Damn your old school much respect! I tried bouncing between FL, Ableton and Reaper myself, but found it too tricky and confusing suppose if I stuck at it and learnt what’s best for what it could work out really well!

Running tracks and sounds through a cassette recorder is something I really want to do, you can get some really nice warm saturation and give your sounds a different less cold and less computerized feeling, 100% try it out man!

I’ve seen a lot of people running ambient tracks through cassette recorders to give it that warm and natural feeling. A guy called William Basinski did this but the other way round I think, he was trying to get his older recorded stuff onto digital format and as he did so the tape slowly disintegrated. Hence the name

The Disintegration Loops

Probs my favorite loop ^


Neat idea for a thread!

Something I’m into at the moment is resampling pieces of music that I know I’m not ever going to finish (I have thousands of random loops just sitting around on hard drives lol), slicing them up and replaying/resequencing them. I’ve ended up with a bunch of really interesting results and it’s forced me to arrange the music without necessarily feeling like I need to add or subtract parts, which has been a real good learning experience.


Anyone here use Renoise?


Hey, as forward listening people what are you thoughts/experiences with loud mastering ie louder than -8 Lufs?
I know loudness wars are over and I have found that mastering to -12Lufs has benefits but some tracks I have been referencing (Aho Ssan for example) at hitting -5(ish) Lufs and getting positive true peak values.

I’ve been experimenting and it is quite addictive to get this level of volume while retaining impact but I am interested in what other people think and other people’s techniques.

currently I am using a combination of compression, Limiters and clippers to smash in an almost subtle way? I am happy to share technique in more detail, may even make a video at some point


im all for that as long as u dont do that on DSPS because it has the opposite effect and it will make your track lower in volume


But on Spotify I think the feature has to be turned on and on YouTube it doesn’t seem to make too bad? From my subjective tests anyway…
Loudness wars back on?


Sorta tangenrial to the loudness convo…I was reading this the other day and it might be worth a look to those of u self-mastering:


Thank you for the link, I wasn’t aware of this. Interesting but in the end I’m not sure this will change much


i think that however loud you can get your track without sacrificing dynamics is always a good move. Keep pushing it louder until you are losing some dynamics or groove and then dial it back. the loudness wars will never really be over because louder always sounds better especially if you can do it while leaving the dynamics intact. Worrrying about streaming services normalization and compression is nit picking imo


id love to see how you are doing it


Been on a journey but quite happy with the consistency and volume of mix/master process now. Got some interesting insights from some other producers about mix bus processing and distortion.

I have several releases scheduled for this year but have been developing a live version (which will be ‘immersive’ ie 4D/Ambisonic) so recorded 20 mins. The video took longer! haha

hope you like


I am very happy to share mix/master methods etc if anyone wants…


I’d love to hear them!!


I am making a video of mix process but got sidetracked with making ambient sounds using Ircamlabs TS2. has anyone else played with it? I find it slightly funky to navigate but is nicely hands on…

not sure about full price version tho…

I have included downloadable link to the sounds I recorded in case anyone wants to make something from them?


Hey man this is incredible, the promo mix 2022 any help on making drums like these? Especially those grainy weird ghost percs or whatever they are, listening to aho ssan a lot recently and would love to understand how he does similar stuff


Hey, thanks for listening and glad you like!

I also am a big Aho Ssan fan…

The main way I like to work is to have a period of ‘play’ where I just mess about with different sounds and processes and record the output as audio. I often do this with 2 specific outcomes - textural and transient/pulse as I approach them slightly differently.

I have a series of different FX chains and processes I use for this with hands-on control. usually a combination of distortion, grain delay, compression etc for more transient material.

This video is not really that stage but you can here one of the return tracks that has these type of processors on

Once recorded I then start to arrange and re-contextualize, usually in Ableton making use of the audio edit/time stretch to pull the audio apart and introduce new motions

this video shows a bit of this ‘arrange’ stage -

I am curious to Aho Ssans process - MaxMSP?

Paul Jebanasm - Continuum could also be a stylistic benchmark IMO


a dreamy r&b song for yall.