Track referencing is widely considered one of the absolute best strategies for bettering your production skills and bringing your mixdowns up to commercial standards.

However, like any powerful tool, it comes with serious drawbacks if used incorrectly.

If you’ve ever felt demoralized while referencing, or felt like your track lost its identity the moment you pulled up a reference track, here are four common mistakes to watch out for.

#1 Remember. You’re Making YOUR Music, Not Theirs.

Referencing is fantastic for building arrangement maps, sound selection checklists, and tonal mix targets. But one trap producers fall into constantly is forgetting the end goal: you are making your track, not theirs.

It’s easy to lean heavily into how incredible the reference track sounds that you start viewing your own work as less than.

Whenever you feel that creeping imposter syndrome, remind yourself: Your track is going to sound different, not necessarily worse.

Of course, technical aspects like mix balance or low-end balance can be objectively better or worse when comparing tracks side-by-side. But, you have to remember that you are still in the process of mastering those skills. Your job in the DAW today is simply to make the best possible version of your track with the skills you currently have.

Use reference tracks for inspiration and objective quality targets, but don’t let them erase “you” out of “your” track.

#2 Forcing a Square Peg into a Round Hole (Arrangement Misalignment).

A major mistake many younger producers make is trying to fit an existing idea into an incompatible reference structure after the idea has been generated.

What usually happens? You build a 16-bar loop that feels great, and then you go hunt for a reference track to use as an arrangement guideline. This often backfires because your core idea and the reference track were built on completely different foundations.

For example, the reference track might rely on specific sound elements or call-and-response patterns that never existed in your original loop/idea. Trying to force those missing elements into your track mid-way through usually leads to out-of-pocket sounds that feel random.

The Fix: Pick your reference track before you start building the main idea.

1. Load the reference into your DAW.

2. Map out the key section lengths (intro, buildup, drop, breakdown).

3. Make a quick checklist of the core sound elements the reference artist used.

Doing this upfront gives you clear, logical guidelines before you even start selecting sounds.

#3 Referencing Tracks in a Completely Different Key.

This is a simple mistake, but it makes a massive difference when you’re trying to match the mix of your reference.

Have you ever flipped back and forth between your track and a reference, only to realize that no matter what you do, you can’t get your low end to match their energy and feel? The issue might have nothing to do with your EQ or compression, it might just be the key of the song.

In electronic music, sub-bass energy is heavily dictated by note selection. A sub-bass playing an F fundamental (~43Hz) delivers a completely different physical weight and feel in a room than a sub-bass playing an A fundamental (~55Hz).

If your reference track is sitting in a sweet-spot key for club sub-bass (like F, F#, or G) and your track is in a higher or lower key, an A/B comparison will never feel completely apples-to-apples.

Pro Tip: Try to choose reference tracks that are in the same or very similar key as your project. Additionally, check the fundamental frequency of the kick drum in your reference. If their kick fundamental is hitting at 50Hz and yours is hitting at 65Hz, they will occupy the low end in completely different ways.

#4 Letting the Process Become Boring.

You’ve heard it a thousand times: referencing is the ultimate strat to professional-sounding tracks. But there comes a point where relying on it too heavily turns music creation into a chore.

Copying the exact same arrangements, assembling tracks off rigid checklists, mimicking every single buildup, and copying identical automation moves will help you pump out solid, functional music. But eventually, you’ll hit a wall where the process feels plain fucking boring.

When that happens, remember why you started: you are an artist. Art requires freedom, experimentation, and intuition.

When your workflow starts feeling flat, drop the references.

• Let your sound selection happen organically instead of hunting down specific checklist items.

• Let your arrangement unfold based on feel rather than a rigid template.

• Take the conventional rules you learned from referencing and intentionally bend and break them.

Referencing is just that, a tool. It is not the only way to work, it is not foolproof, and on its own, it will never transform a good track into a great one. Moving from good to great requires years of practice, followed by years of creative exploration.

Referencing teaches you objective quality. Subjective greatness only comes from developing a sound that is uniquely yours.

Do you use reference tracks during the writing phase? What other things do you avoid when referencing to ensure it’s used practically and not as a crutch?

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In learning how to make any type of “computer music”, I believe there are certain mistakes you simply have to make. Think of them as something you have to “cut your teeth” on in your journey to becoming a legitimate music maker.

If you’ve been in the studio for a while, you might recognize yourself in a few of these. If you’re just starting, consider this a blueprint for what to look out for.

#1 Thinking Great Mixes Happen in the Mixdown Phase.

Starting off with a doozy. Hate to break it to you... your track isn’t about to magically become the masterpiece you think it can be just because you lock in and start tweaking EQs, compressors, and saturators.

Don’t get me wrong: those tools can help a mix BIG TIME. But, what fundamentally makes a mix sound great comes down to three things: sound selection, sound placement, and overall composition.

• Sound Selection: A drum group made of samples pulled from 20 different sample packs isn’t going to magically feel like it belongs together because you slapped some glue compression on the bus. Selecting sounds that fit cohesively from the jump will always work 10x better than any fancy processing chain.
  

• Sound Placement: This is massively overlooked, yet it’s one of the easiest concepts to grasp. All it means is that where you place your sounds in relation to one another across the timeline has a huge impact on your mix. Got a vocal line sitting right on top of a heavy synth line where both are fighting for space? Don’t leave them stacked. Stagger them. Let the synth play, then let the vocal answer. Suddenly, you’ve created a call-and-response rhythm that makes the track catchier while giving both elements room to breathe.
  

• Overall Composition: If you select sounds that complement each other frequency-wise you have good tonal balance. Select sounds that complement each other volume-wise, then you have depth. And if you place sounds that complement each other spatially and then arrange them so they aren’t constantly clashing for the listener’s attention, the “good mix” you are looking for is already there.

The Solution: Stop relying on the “fix it later” mentality. Focus on picking great source sounds and placing them in spots that eliminate the need to carve out space later with unnecessary processing.

#2 Needing to be “Unique” Right From the Start.

I see this time and time again, and I was guilty of it myself back in the day. There’s this intense urge to invent a totally unique sound from day one.

The problem? If you focus purely on being unique right from the get-go, you run the risk of making music that is completely un-listenable. 🙁

When you first start producing, you don’t yet have a natural grasp of what makes music sonically or musically approachable. Trying to be abstract without a foundation means your track ends up lacking any sense of familiarity for the listener.

This isn’t about putting your creativity in a box. It’s about understanding that for your original ideas to shine, they need to sit on a foundation built on what came before them.

The Solution: Early on, focus on raising the foundational quality of your technical skills by emulating your favorite artists. As your skills grow, you’ll naturally find clever ways to inject your personality into tracks that already have a solid, higher-quality framework. That is how your signature sound is actually born.

#3 Buying Way Too Many Expensive Plugins.

Here’s another inevitable rite of passage. It’s a mistake, but it almost feels mandatory just so you can learn what your actual workflow requires. We’ve all bought expensive third-party plugins that end up sitting completely unused for years until our ears finally catch up to what the software actually does.

If you want to save yourself a few thousand dollars early on, follow these rules:

1. Avoid buying fancy mixing software early: Skip the hyper-complex EQs, analog modeling compressors, and mastering suites for now. Your ears are still developing. You won’t get the value out of a $149 compressor until you’ve mixed hundreds of tracks. Stock plugins are more than enough.
   

2. Invest in “Decision-Maker” plugins: If you are going to buy software, look for plugins that offer instant creative options. Multistep FX processors, wild/weird fx racks, or granular sound design tools. Plugins that let you flick through creative presets to mangle sounds keep sessions fun and push your arrangements forward with fresh sounds.
   

3. Ask the core question: Before hitting buy, ask yourself: “Can I solve this problem with the tools I already own?” If you can’t, buy it. If you can, but the plugin will speed up your workflow by 10x, it might be worth it. Otherwise, force yourself to wait two weeks. If the problem keeps causing genuine frustration in your daily sessions, then pull the trigger.

#4 Expecting Your Ears to Keep Up With Your Head.

You can learn all the “rules” and guidelines of mixing in a few short sessions with a great coach or a well-structured tutorial series. But for your ears to take that technical information and actually perceive it in real-time takes years.

Understanding how heavy compression actually alters a transient, or knowing what makes a snare sound “boxy” versus “punchy,” can easily be explained on paper. But training your brain and ears to pick up on those subtle details takes time and repetition.

The Solution: Be patient with yourself. The fastest way to speed up this process is to reference professional tracks relentlessly and try to match their sound. Give your ears the time they need to catch up.

#5 Thinking Everything Needs Heavy Processing.

It happens every single week. A new student hops on a coaching call with me, opens up their DAW, and every single channel has a chaotic chain of Decapitator, Soothe2, an SSL bus compressor, and an aggressive EQ curve to boot. They are completely overcooking their audio.

Honestly, this is partly the fault of production educators like me. We make videos demonstrating specific use cases for these heavy-duty plugins, but we don’t always emphasize that those tools aren’t necessary on every single channel.

Given the insane quality of modern sample libraries and synth presets, most of the sounds you pull into your project are already 95% of the way there. They’ve been processed through high-end signal chains by professional engineers (engineers probably a lot more qualified than myself when it comes to sound design).

You don’t need to reinvent the wheel on every track. Stop throwing processors on channels just out of habit. Grab quality source sounds, dial the processing back, and let the samples do the heavy lifting.

The Takeaway

Making these mistakes doesn’t mean you’re a bad producer, it means you’re just cutting your teeth. The goal isn’t to avoid every single trap, but to recognize when you’ve fallen into one so you can adjust course, simplify your workflow, and get back to making music. Also, avoiding these traps is going to help you get better a lot faster. And, that’s what we all want right? Be dope af at making house music in half the time.

Which of these have you run into? Any other ones you see as a common mistake producers make?

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Ok. First off let’s adjust our thinking on the word “mud”. For years when people told me my mixes sounded “muddy” I was always searching for this squishy, sloppy, flabby sound in my mix. That’s not the case. When people say “mud” what they really mean is your mix sounds cloudy, inflated and undefined. If you want to understand a muddy mix, take a track that is mixed well and throw an EQ on it and boost a big bell curve 6db or more around 100-300hz. Boom! You got MUD!

Alright… onto the article.

So, you’ve rolled off below 120hz on your synths, you’ve side-chained your bass to the kick, and you’ve carved out space for the vocal. Yet, when you listen back, the mix still feels cloudy, heavy, almost like its kinda under a blanket.

Why?

Because “mud” isn’t just a frequency problem. It’s a time and space problem. When producers struggle with a muddy mix, they usually reach for a static EQ to cut the 100-300Hz range. But often, the issue requires a different strategy.

Here are three reasons your mix is muddy that you’re probably not typically considering.

#1 The “Persistence” of Low-Mid Frequencies.

Your static low-mid balance between your kick, bass, and vocals might look perfectly fine on an analyzer, but the mix can still sound incredibly congested. The reason? Persistence.

Think about how often the low-mids are being occupied across the timeline of your track. If you have a constant, unbroken wall of energy in the 100–300Hz range coming from the kick, the bass, the vocal body, the synths, and the lower mid-range of your percussion, where is the relief for the listener?

If this zone is constantly full, the human ear gets used to it, creating the perception of a cloudy mix.

The Fix: The 100–300Hz range is crucial for the warmth and thickness of a track, but you have to decide which element gets to dominate it at any given moment.

• Is it the body of the kick?

• The low tone of the bass?

• The weight of the vocal?

Now, you don’t need to completely murder the low-mids in your other tracks with a high-pass filter. Instead, you can use volume automation, shorter decay times on your synth envelopes, or dynamic frequency ducking to ensure only one primary element claims 80–90% of that real estate at a time.

You can also open up areas on your mix by decided WHEN things happen. You can reduce the amount of bass notes, sustain of your synths, chopping up a vocal at certain parts where more low-mids come in and you don’t want persistence from the vocal. The options are endless.

#2 Vocal Low-Mids: Your Best and Worst Friend.

Vocals are notoriously difficult to mix because they are highly dynamic in both volume and frequency content. The low-mids of a vocal are essential to give the sound weight and realism, but even a slight overload creates an annoying “honkiness” that destroys the clarity of your instrumental.

This is something that happens frequently in house music because our low-mid areas tend to be strongly occupied by content from heavy bass, large kicks and thick percussion. Unlike other genres, we don’t have a lot of room in this area for the vocal to sit. In a genre like rock where there’s more space in those areas it can be OK to have a good deal of low-mids from your vocal as they help fill out the thickness of the track. House music is already thick as hell before we bring vocals in!

Because a singer’s tone changes depending on the note they hit or how close they move to the microphone (the proximity effect), a static EQ cut doesn’t always work. If you cut 200Hz permanently, the vocal will sound thin at certain parts of the performance.

The Fix: You need dynamic control, not aggressive squishing.

• Use a multiband compressor (like FabFilter Pro-MB, multiband dynamics in Live) or a dynamic EQ (like Pro-Q 4) focused tightly on the problematic low-mid zone.

• Set it so that it only clamps down when the vocalist hits those heavy, booming notes.

Pro Tip: Focus on control versus aggressive squishing. The goal is to ensure that when those low-mids rise up, you still get the fullness of the performance without letting the boominess overtake the mix.

#3 The Side Information From Your Low Percussion.

Depending on where you got your sounds from or how a loop was processed, a lot of the percussion we tend to use in genres like tech, minimal tech, and house have a built-in level of stereo wideness.

The problem is that this wideness processing can easily make its way down into the really low frequencies of elements like toms, bongos, and congas. Having massive stereo width on those low-mid frequencies can do a total mud job on your mix.

This is not to say we cannot have wideness down there. It’s just that having it spread across the sides can completely clog things up when it’s already fighting with the heavy, driving energy of your kick and bass.

The Fix: When I feel like I’m getting a bit of that muddiness down in the low-mids, I’ll reach for an EQ that can do mid/side processing and roll off some of those lower frequencies from the Side information on the percussion bus or loop.

This is a great solution because it allows you to retain all the punchy center (Middle) energy from your percussion while instantly clearing up side space for your other energetic low-mid elements.

The Takeaway

The next time you’re fighting a muddy mix, step away from the standard channel EQ cuts. Look at your track through a different lens:

1. Time (Persistence): Are you letting the low-mids breathe between sounds?

2. Vocal Dynamics: Are you controlling the vocal mids with dynamic processing?

3. Space (Mid/Side): Are your wide congas and toms spilling into your kick and bass territory too much?

Fix these three hidden blind spots, and your mixes will instantly sound cleaner, more open and more professional.

First off: why do I call it “The Fear”?

It started as a joke among friends. Since 2013, I’ve gone to Coachella every single year (minus the COVID cancellations). During those weekends, my group always leaves it all out on the field. Unsurprisingly, waking up on Monday morning usually means we aren’t feeling too great. Along with a heavy physical hangover comes that overwhelming wave of anxiety about returning to reality. My friends and I coined that feeling “The Fear,” and the name kinda stuck.

These days, I use the phrase for general anxiety, but especially for the occasional (sometimes frequent) creative dread I get with music production.

• When I’m not making anything “good,” I get The Fear.

• When I feel like my tracks aren’t strong enough, I get The Fear.

• When I feel like my streaming numbers, income, or client base should be higher, I get The Fear.

Anytime it hits hard, my mental health struggles and my ability to create completely dwindles. I’ll boot up Ableton Live, stare at an almost blank DAW, and let my thoughts consume me while listening to a shitty loop endlessly on repeat. It sucks and I’m sure you’ve been there too.

At the beginning of this week, I was deep in it. I was feeling down on myself, telling myself none of the music I was making was any good, and convincing myself that because my last few studio sessions failed, I was doomed to never create a track I could be proud of ever again. “I suck.” Blah, blah, blah. “My life is over.” Blah, blah, blah. “I’m never going to amount to anything.” Blah, blah, blah… and so it goes.

I know you’ve been there, so you know the exact scripts you write yourself in those moments.

When I run into these situations, here is what I use to get unstuck. Hopefully, a few of these steps help you out the next time you hit a wall.

#1 Four Phrases I Repeat to “Snap Out of It”.

Whenever I get too deep into The Fear, I run through these four phrases mentally. Or, write them down on a sticky note right in front of my keyboard to rewire my thinking:

1. “Slow is smooth, and smooth is fast.” Tracks are supposed to take time. The fastest I move during production is when I move methodically. Sometimes, a simple reminder to sloooooow down and breathe is all it takes to stay open to creative flow.

2. “There is no fire.” Yes, I have strict deadlines for client production services, but 99% of the time, my personal creative projects have no deadline or actual “real” external expectation. Take it easy on yourself. You don’t need to strike gold every time you sit in the chair.

3. “Make garbage on purpose.” I love this one. When all I can produce is trash, I give myself full permission to make trash. I treat it like going to the driving range before a round of golf: even if I hit terribly on the range, I’m just “getting all the bad swings out of my system.”

4. “Just see what you can do in 5 minutes.” This is massive for overcoming initial friction. I tell myself: “Five minutes. Just give it five minutes and see what happens.” Anyone can do anything for five minutes. Nine times out of ten, those five minutes turn into 10 minutes, 30 minutes, or two hours. And if those five minutes do nothing but frustrate me, I give myself permission to shut off the DAW and walk away.

#2 Finish an Old Project.

When my confidence is shot, this is a go-to fix. At any given time, I have at least 4 or 5 projects sitting in my folders that just need a mixdown and a few finishing touches to be called “done.”

I might have sidelined those tracks initially because I felt the core idea lacked legs, but I’ll set that judgment aside just to get the satisfaction of crossing something off the list.

Mixing, processing, and mastering don’t demand a heavy creative load for myself. I can rely on my muscle memory, habits, and technical training to finish the job. This allows me to switch off the need for the elusive “creative spark” and just do the work that needs to be done.

Even if I don’t think the track is a masterpiece, calling it finished gives me a quick win. That momentum often carries directly into opening a fresh project that does require creative energy.

#3 Remember: You’ve Been Here Before.

I’ve been making music since 2012, and I’ve opened Ableton Live almost every single day since mid-2016. Do you know how many times I’ve had “beat block”? How many times I’ve felt like I wasn’t good enough? How many times have I been stricken with The Fear so badly I could barely bring myself to click the Abelton Live icon to open it up?

Hundreds (if not thousands) of times.

If you’re reading this as a newer producer, understand this: production never gets easier. It just gets more challenging in different ways. As your skills sharpen, your standards rise. The higher your highs are when making something great, the lower your lows feel when you hit a dry spell. The pros deal with the exact same mental hurdles as amateurs. And I’m not here to say I’m a pro, but I have been around making music for a minute.

When I hit these moments of anxiety, I remind myself: “I’ve been here before, and I’ve gotten through it before.”

Sometimes, that means turning it into a waiting game instead of forcing a quick fix. It might mean a day or two of feeling sorry for myself until a random spark turns things around. I’ve had bouts of creative blocks that have lasted months, but every single time, I eventually came out the other side. This funk isn’t going to last forever either. Not for you, not for me.

#4 Stop Taking Everything So Seriously.

This realization comes with time and age. I’m 36 now, happily married, have a 1.5-year-old son, and I’ve been through my fair share of financial, mental, and creative ups and downs. As I’ve gotten older, it’s become clear that taking every little thing so damn seriously causes nothing but unnecessary stress.

Adopting a more relaxed attitude toward creativity lowers the bar of expectation and opens you up to the real flow.

Take my friend Ky William, for example. He’s a producer I’ve known for a number of years, and we frequently chat about artist and career growth. When we first met, he was doing alright, but still a bit of a blip on the radar. Over the last year, his project has completely taken off with better bookings, further exploration of sound and serious momentum.

One thing he posts about (and something we chat about often) is how much progress he made once he stopped taking everything so damn seriously. Dropping that pressure allowed his creativity to flourish, introduced unique flavors to his music, and ultimately built a much stronger connection with his audience.

Seriously: stop acting like every single click in the studio dictates your entire future. Have fun with it. It’s music for fuck’s sake.

#5 Take an Actual Break (It Will Be There When You Get Back).

I know I’m contradicting myself a bit here. I constantly tell my students to get into the DAW at every possible available moment to level up their skills.

But sometimes, it’s just not there. When you are fighting your own mind, sitting down to make music feels like an impossible task.

It is completely okay to take a break. You can shut down your setup for a week, and I guarantee you will be fine. Yeah, you might be a little rusty during your first session back, but a couple of hours in, you’ll be right back in the groove.

The key to taking a real break is giving your brain actual space from music creation. Try shifting your focus to other low-pressure creative outlets: writing, drawing, reorganizing your studio, etc etc etc. The goal is to quiet the internal chatter and anxiety tied to production. Without that mental shift, a “break” isn’t actually a break.

The Takeaway

That’s how I navigate The Fear when it rears its head. It’s an ongoing process, but recognizing it for what it is makes it a whole lot easier to manage.

How do you get yourself out of a creative funk when you hit the wall? Let me know in the comments below.

Here are my three rules for selecting and shaping kicks that sit in the mix with zero headaches.

#1 Watch the Tails (Keep It Short & Punchy).

For my music (and for many house music producers out there) you want to think about your kicks in two words: Short & Punchy.

You want them nice and tight (short), and you want them to have enough initial impact to cut straight through your mix (punch).

When it comes to the length of your kick, I like to select samples with tails that either stop or trail off about halfway through the quarter-note measure. Why? Because one thing younger producers often miss is that the most sub-heavy information lives at the very tail end of a kick sample.

If you look at a kick waveform, the tail end is where the cycles are spaced farthest apart; that’s your lowwwww sub-bass. When that sub information drags on too long, you get boominess, possible severe phase conflict with your bassline, and flabby low ends. Typically, the exact opposite of what you are looking for in a nice house groove.

So, go for the kicks that have that are short, have that strong attack at the beginning for punch, and provide a nice amount of sub without overloading the low end. And if you like a kick but the tail goes on too long, just cut and fade it off.

The Exception: Large, subby kicks with long tails certainly have their place, but they are typically meant for genres like techno or specific sub-genres of house where the kick is the primary sub-bass element. If you want room for a rolling, groovy bassline, short and punchy is the way to go.

#2 Think Subtractive, Not Additive.

Layering kicks is, 9 times out of 10, a bad idea (or at least insanely difficult to get right without causing all sorts of issues). I see younger producers feel the “need” to layer three different kicks because a YouTube tutorial told them it was necessary.

Honestly, layering kicks is a pretty outdated approach. Back when I started making music around 2012, there was a valid reason to layer. Good kick samples and advanced VST tools like “KICK 3” just didn’t exist. So, you had to stack sounds to get a full frequency profile and powerful kick. Either that, or steal it from someone who already did it.

Today? The resources are endless. Professional sound designers have already tone-shaped, compressed, and engineered samples to cover the entire frequency spectrum out of the box.

This brings me to my favorite workflow for fitting kicks: Subtractive vs. Additive.

Instead of starting with a weak kick and trying to layer other samples to fill in the gaps, start with what I call a Full-Spectrum Kick: a sample that already has sub, punch, thickness, and top-end click. Then, use EQ to carve away what you don’t need:

• Need to dial back a bit of boxiness? Dip a couple of dB out at 120-200Hz.

• Is the top-end click too aggressive? Throw a high shelf on and push down everything above 2kHz.

Taking away what you don’t need from a full sound is 100x easier than trying to stack incomplete sounds and fighting all sorts of issues that come with gluing kicks together.

#3. Target the Right Fundamental (Deep vs. Upfront)

I’ll never be the guy telling you that you must tune your kick to the exact key of your track. However, paying attention to your kick’s fundamental frequency is crucial for dictating the energy of your low end.

• For a Deep, Subby Kick (40Hz – 60Hz): If you want a weighty, deep feel, aim for a fundamental between 40Hz and 60Hz. The closer you get to 40Hz, the deeper it feels. Be careful though, getting too close to 40Hz can make the kick feel overly subby while losing that tight, defined punch. Rule of thumb (for me): Never go below 40Hz; it just turns into an unmanageable mess on a club system.

  

• For an Upfront, Punchy Kick (60Hz+): If you want that knocky, punchy sound that cuts right through the middle, a fundamental right around 60Hz or above is the move. Think pitched-up 909-style kicks, the exact sound that is massive right now in UK minimal tech.

Keep in mind: When you run an “upfront” 60Hz+ kick, you leave a ton of empty space in the sub region below 60Hz. To keep your track from sounding weak on a big system, make sure another element in your mix (like your sub-bass from your bass line, a tom, or a low-end thump) steps up to fill that below 60Hz gap.

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Grab the Samples

To put this into practice, I’ve put together a curated sample pack of my Absolute Favorite Kicks. It includes 3 styles of kicks relating to this article (25 kicks in total):

1. Full Spectrum Kicks

2. Deep & Dubby Style Kicks

3. Classic 909 Feel Kicks

You can download the full pack below. ⬇️⬇️⬇️

Read more

When everything goes according to plan, here is how my tracks get done and what each phase of the process looks like.

Here’s the TL;DR before we dive into the details:

1. The Idea: Nail down the core 8 to 16 bar groove.

2. The Mini-Demo: Build the first “buildup and drop” to test the idea’s feasibility.

3. Variation & B-Section: Generate the B-section for your main idea.

4. The Final Drop: Construct what the main drop of the track will sound like.

5. Bridging to the Final Drop: Build the pathway to the final drop.

6. Intro & Outro: Lay down the DJ-friendly bookends.

7. Mix, Process, Master: The final polish.

Phase One: The Idea

You’ve probably heard this before, but the core idea of your track needs to be rock solid. Without the core idea being the absolute best it can be, I can guarantee you that the rest of the composition process is going to be an absolute SLOG.

That’s why I spend a lot of time in this phase making sure the core loop makes me move. If the core idea gets me groovin’ , I know the rest of the process will be as smooth and seamless as possible.

When focusing on the idea phase, I’m usually sitting in a 16-bar pocket working out exactly what the A-section of my first drop will sound like. I’ll make sure I have my drum groove, bass groove, main synth/musical elements, and any vocal elements that will carry the “hook” of the track.

I won’t exit this phase until I really feel like the idea is working from a listenable and dance-able standpoint. These really aren’t things you can just “fix in the mix” later.

Phase Two: Building The “Mini-Demo”

Here is where I start testing out the feasibility of the idea by creating a “mini-demo” version. At this stage, I like to focus strictly on constructing the 1st Buildup to the 1st Drop.

Creating this “mini-demo” gives me a better feeling for the exact level of tension and release I need to give the main idea maximum impact. I spend a great deal of time getting this to feel right. If I can’t get that first build-to-drop sequence working, everything else in the track is going to struggle.

This phase is the all-important reality test for the track. If I can get this “mini-demo” to work, I essentially have all the tools I need to build the entire track. Why? Because typically, my second buildup and second drop are just going to be variations of the first ones.

Phase Three: Building Variations & B-Sections

Once the “mini-demo” is working, it’s time to see how I plan on progressing the arrangement by developing some alternate versions of my main idea.

This is where the track writing process gets really fun. I’ll take my main idea, copy it further down the timeline in my project, and just start creating variation after variation.

I’ll create variations by…

• Adding new percussion elements.

• Changing up rhythms.

• Tweaking the timbre of certain synth sounds.

• Substituting sounds for others while keeping the same rhythmic structure.

• Extending or shortening vocal phrases.

• Resolving unresolved melodies from the A-section.

• And many more…

This part of the process is all about playing with your main loop to see what other iterations you can squeeze out of it. Once I have a few solid options, I’ll try them one-by-one as a continuation of my first drop to see which one feels the most natural. The winner becomes the B-section; the rest I keep in my back pocket for later.

Phase Four: The Final Drop

This phase can be difficult for a lot of producers because it essentially requires us to put the cart before the horse.

What I see most younger producers do is they get to the end of the B-section of their first drop, transition into their major breakdown, and just jump in blindly without knowing where they plan on eventually landing. Having the end goal already set up before you build the pathway there provides a more natural workflow, a sense of confidence, and a clear understanding of the moves you need to make to ensure that final drop hits.

So, here is what I do: Take the final drop and place it where it will actually happen in your track.

This is where you make the decision on break length. A good general rule of thumb is to make your second break/buildup twice the size of your first one. But remember, it’s a rule of thumb, not a law. Feel it out and adjust depending on the track.

Once the second drop is placed, work on the variation of it in comparison to your first drop. Go back and forth between the two and ensure there is a noticeable level of contrast. The second drop should feel very familiar, but with a level of final elevation and energy that serves as the payoff for the whole track.

Pro Tips for Phase Four:

• The B-section of your first drop often works as a great starting point for the A-section of your second drop. Drag it over and start with that.

• Remember all those potential variations we created in Phase Three? We didn’t do that for nothing. You now have a grab bag of options to turn to if you get stuck.

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Phase Five: Bridging The Gap To The Final Drop

Now for what I consider to be one of the most difficult parts of the track composition process: creating that journey from the end of your first drop to the beginning of your second drop.

Why is this part so hard? A few reasons…

• You have to keep the energy up, but not too up, or else you’ll subtract from the impact of the final drop.

• The final break and build is longer, so you have to keep things interesting for twice the time without busying up the section so much that it feels detached from the core idea.

• Vocals can get incredibly tired in this section if they are just looped over and over.

• This is where a basic understanding of music theory helps. Knowing how to use hanging tension, unresolved melodies, and tense note combinations is a huge plus. It’s not a deal-breaker don’t worry, but it helps to have a little of this knowledge 🙂.

To make this journey easier, try these tactics:

1. Think in a “V” shape: Your breakdown should start with decent energy, drop low in the middle, and then rise back up as you head toward the final drop. Having a visualization of a “V” helps me do this when it comes to automation, fx, amount of sounds, etc.

2. Lean on sustained elements: Strings, pads, vocal drones, and long FX are easy go-tos for building tension.

3. Open up your filters/envelopes: Take elements that are normally plucky and short during the drop, and slowly open up their filters and decay envelopes during the break to make them sustained.

4. Vary the vocals: Give them different timbres using formant shifting, radio filters, or alternate sample takes so the ear doesn’t get bored.

5. Don’t ignore the classics: The 909 snare roll might be overplayed, but that shit works. Use it as a basic foundation for the rise, and then get creative around it.

Phase Six: Intro & Outro

Really don’t overthink this one. You want your intro long enough to make DJs comfortable mixing your track in… that’s about it 🤷. I usually build a bare bones 8–16 bar drum loop at the very beginning, which then leads into a “groove intro” for another 8–16 bars that introduces the low-end kick & bass groove right before the first break/build.

Building the outro is just doing the intro in reverse. Again, don’t overthink it.

Pro Tips for Phase Six:

• Push the energy to the outro: A lot of people struggle with exiting the main idea of their track. Treat the last 8–16 bars of your final drop almost like a buildup to the outro. You want to exit the main body of your track with high energy.

• Save energy by stripping back layers: Is there a 909 hat layer you can leave out of the intro to save that energy for the actual drop? Strip back sounds until you still have the core theme, but with dialed-back energy. Those are your intro sounds.

Phase Seven: Mix, Process, Master

I’m purposely keeping this section short because I have a feeling I’ll be writing a dedicated article on my entire mixdown and mastering workflow down the road. But as the final step, here are a few things to keep in mind.

My mixdown tends to be very minimal at this stage because I do the majority of my mixing as I compose. Great mixes come from great composition and solid sound selection, so my actual mixing phase is brief. Just checking levels, making small EQ moves, and ensuring the balance is right before processing.

Processing consists of taking my main composition groups (drums, bass, vocals, synths, fx, etc.) and elevating them with things like saturation, compression, surgical EQ, and dynamic tools.

Finally, mastering. Just getting the fucking thing LOUD. That’s really all we’re looking for here.

Once we’ve mastered… we are DONE.

So that’s it. The “broad brush” steps it takes to finish a track.

What are your thoughts? Do you finish music using a similar workflow? If you have any helpful tips that speed up your process, let me know in the comments.

To help you map this out in your own DAW, I’ve included a Phase-by-Phase Ableton Project Template below the paywall for paid subscribers. There’s nothing audio-wise in it besides pre-named MIDI clips. But, it serves as a perfect visual cue to load at the top of your sessions to keep your arrangement on track.

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Instead, my goal is to strip away the romanticized social media version of the “producer lifestyle” and show you what a career in music actually looks like. If you’ve been floating the idea of taking the dive into full-time music production, I want to help you set proper expectations and prepare for the reality of it.

I’ve been making house music for over 10 years. For the last two years, production services, coaching/teaching, and selling resources have been my main source of income. Here are 5 things I’ve realized along the way.

#1 It’s Still Work.

Hate to burst your bubble, but my days do not consist of flipping on my monitors at 9:00 AM and casually jamming out to kick drums & grooves until 5:00 PM.

Even though making music is incredibly fulfilling, at its core, it’s still a job. There are high points, low points, lower points and really lowwwwwww points. My week is packed with admin work, paying bills, sending invoices, following up on emails, solving client problems, dealing with tight deadlines, troubleshooting technical issues and everything else under the sun.

You will still have to solve complex problems, deal with burnout, deal with difficult people, have huge wins, big losses, exciting days, mundane days, boring days… the list goes on. Everything that makes the job you have now difficult, exists in my day-to-day. So, don’t expect much of that to change if you go full-time in music.

#2 The Stars Have to Align… Kinda.

This isn’t to say everything needs to be perfect before you quit your day job, but looking back at my transition two years ago, a few specific puzzle pieces fitting together made this leap possible.

• A Real Support System: Let’s not paint a picture of me doing this completely alone. Without my wife signing off on this career move (and explicitly telling me she had my back if I missed a month or two of my half of the mortgage) I never would have had the confidence to go through with it. Beyond financial reassurance, having that moral support was critical while I was ramping up my income.

• A Kick in the Butt from the Universe: I had been talking about going full-time for a while, but I didn’t actually jump in until I got laid off from my corporate job. It was terrifying, but I chose to see it as a “if you’re ever going to try this, the time is right now” sign.

• Built-in Credibility: When I launched my production services, I wasn’t starting from scratch. I had been producing for nearly a decade, had music signed and supported by major global DJs, had built a modest online following, and was already coaching a handful of private students.

• Income Safety Nets: Even though I was laid off from my full-time position, I maintained a good relationship with the company and did contract work for them on the side. It only accounted for a small percentage of my income, but in those early months, any cash flow was a massive help. I also had the help from my good friend Cam who would throw me a few hours of work whenever I needed the cash to float me for the month. Oh, and I also drove Uber when things got really tight. Safety nets like this are a must.

• A Unique Competitive Advantage: My edge didn’t just come from my music; it came from my teaching background. Way back in 2014 I became a certified corporate trainer for Dale Carnegie. Over the last decade, I’ve spent hundreds of hours facilitating public speaking, communication, and leadership courses. These hours have given me a tremendous amount of comfort and skill when it comes to teaching/coaching others. There are thousands of fantastic electronic music producers in the world, but being both a great producer and an exceptional educator is a different skill set entirely. Bringing that formal training to the table allowed me to give students a stellar experience, which quickly turned into word-of-mouth client growth.

#3 Know What You Want, but Be Ready to Shake Things Up.

When I went full-time, I knew exactly what I wanted my focus to be: production, education, and resources for other artists. I wasn’t interested in touring, I didn’t want to DJ full-time, and I didn’t really want to step outside the house music genre.

But, when you’re paying the bills with your ears, you have to be flexible. Here is a quick snapshot of the actual work I’ve taken on to keep the lights on:

• Editing audio for private events like weddings and corporate summits.

• Mixing long-form DJ sets for a local health club’s workout app.

• Mastering live sets for local DJs to post on platforms like SoundCloud and Mixcloud.

• Mixing audio & music stems for commercial advertisements & videos.

• Mixing and mastering genres entirely outside my comfort zone. Genres like hip-hop, synthwave, pop, dubstep & more.

You need to have the flexibility to jump on whatever moves your business forward. It might not always be the most glamorous and creative work, but it pays the bills, keeps you moving, and builds your resume.

#4 You Have to Get Creative with Revenue.

The biggest structural challenge with a service-based production business is that the majority of the income is tied to an hourly rate. You only make money when you are sitting in the chair putting the hours in.

Because of that, you hit an income ceiling almost immediately. The only way to make more money is to raise your rates, which requires a delicate balancing act. You have to ensure your price matches your actual skill level while making sure it still fits into your target client’s budget.

To break through that ceiling, you have to get creative. This is exactly why I shifted focus toward scalable assets. Things like sample packs, project files, and digital resources. These are the elements that break your time from your money and allow you to generate income while you “sleep”.

#5 Your Network Needs to be a Focus.

A few months into my full-time journey, I hit a wall. I was covering my basic expenses, but things were incredibly tight. My client acquisition was moving at a crawl, and the only way to grow the business was to get my name in front of more people.

That’s when a right-place, right-time moment happened. The online production community Kick & Bass was looking to expand their roster of coaches. I had been in touch with Tyler Morris (Producer/DJ Westend) previously and had frequently expressed my interest in joining. He had always been straight with me: I had the skills, but I needed to build more credibility under my artist project first.

With a bit more momentum finally behind the “Wait For Me” artist name, I went through the interview process and got brought on board. Joining that community gave my professional network an instant, massive boost. The content I created for them was shared across their platforms, putting my face and services in front of thousands of new producers.

Whether you want to be a touring artist or a technical studio engineer, you cannot do it alone. You will inevitably need a network to open doors for you. Now realize, no single person is going to save your career, but the more value you provide to others, the more opportunities you naturally create for yourself.

The Takeaway

Going full-time in music is entirely possible, but it requires treating your passion like a real business. It takes an active support system, a willingness to do unglamorous work, a distinct edge over the competition, and a willingness to network & make new friends.

If I can navigate these hurdles and build a sustainable career in the studio, you can too.

Are you ready to go full time? Let me know in the comments what’s holding you back.

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My track “’89 Jam” was released on Rawsome Records back in 2025. When I look back on that track, I liked it… but to be candid, it ended up performing a lot better than expected.

I feel like tracks always work out like this, right? So often, the tracks we think will perform great end up falling flat, and the ones we think will do “not so great” end up being the tracks everyone loves! Annoying. But hey… it’s kinda just what happens.

Anyways, because the track ended up resonating with fans and also producers, I figured it would be a good idea to share three things from the project that made it unique. You can take these three ideas, apply them to your own productions, and see how they work for you.

Best news? I’m including a download to the full project file at the end of this article for paid subscribers. I tend to use a lot of Ableton Live’s stock FX and tools, so there won’t be too much missing from a VST standpoint. I know I did use things like Trackspacer, Standard Clip, and Trueverb. If you have any questions on what I did in the project, toss them in the comments and I’ll be happy to answer.

Here we go!

Technique #1: Get a “rolling” feel from your bass with a “smooth groove” layer.

This one might catch me a bunch of flak from audio engineers and mixing gurus because of the potential phase issues it can cause… fuck it, whatever. My philosophy is always: if it sounds good, it is good.

Not to get too bogged down on the issue of phase in this article, but phase is always a challenge in any production. It’s just about how much potential phase interference you are willing to deal with. Yes, cancellation needs to be addressed, but sitting there trying to get everything absolutely perfect is next to impossible (i think?). So, stop freaking out about getting everything so damn lined up, get creative, and forget the rules for a bit. (Also, shout out to Fer BR for this technique. I learned this stuff from him 🙂).

In this project, I felt like the spaces between my main bass notes were missing a bit of “connection” and “groove glue.” So, I reached for an Operator, put on a SwD wave, tossed on a pitch envelope at 27% to give each note a slight “bend,” and then played a sort of ascending melody in the key of G minor.

The rhythm of the notes followed a quarter-note pattern so it kinda blends right into the kick. Then, the whole layer is sidechained heavily to the kick and to the main bassline using Trackspacer by Wavesfactory. This addresses some of the phasing issues by getting this layer out of the way whenever the kick and main bass are playing.

Again, it’s probably causing some theoretical issues under the hood, but I liked the way it sounded. If you get your hands on the project file, try turning the “smooth groove” track on and off. You’ll notice a distinct feeling of fullness leaves the track the second you take it out.

Technique #2: “Frankenstein-ing” your vocals together.

This is a simple technique that can help you get some unique flavor with your vocals, and it also helps you get past the classic “I can’t find a vocal that fits!” problem when hunting through sample packs.

This track features a re-sing version of the classic “and the jam is pumping!” vocal phrase. But to create something a bit more unique, I used just the “and the jam is” portion from that main sample. For the word “pumping,” I went out and found someone else saying the exact same word from a random pack on Loopcloud.

I know it sounds like a small thing, but it adds a totally fresh flavor to a very well-known, familiar phrase.

Taking this a step further in other tracks is something I do frequently. Young producers struggle with vocals because they hunt endlessly for the single “perfect” loop. The challenge is that the perfect vocal rarely lives in just one loop/sample.

See if you can puzzle-piece together a whole new vocal phrase, verse, or hook by “frankenstein-ing” multiple different samples into one cohesive idea. It frees you from the sample pack grind and opens the doors to creativity.

Technique #3: Taking the bass for a little walk.

This is another subtle trick, but it’s great for creating distinct “moments” in your track.

Oftentimes with the music I make, the grooves and melodies tend to be very persistent and hypnotic. That’s just the minimal-tech sound I go for. Because of that though, the loops can sometimes get repetitive. To break up that repetition, I like to take the bass line for a little walk… a.k.a. a small variation… at specific moments.

Think of it as a way to veer off course at the end of an 8-bar or 16-bar phrase, or even right at the beginning of a new section, before heading back “home” after 4 or 8 bars. It’s pure tension and release.

In the project file, you’ll see that at the end of the A-section of my first drop, I bring in a “bass fill” that’s in the same key as my main bass line. I play this at the end of the 16-bar phrase. But when I jump into the next 4 bars, I do a variation of bass note #4 by pitching it up 3 semitones, and then I play that same bass fill again at the end of the first 4 bars of the drop’s B-section.

It’s a little thing, but it creates a feeling of variation and tension right as the B-section hits. Then, after 4 bars—BOOM! We’re right back into the familiar, hypnotic groove.

There you have it. Three simple techniques from this track. There are plenty of other details hidden in here, so feel free to download the project below and poke around for yourself to see how I built this one.

Any questions about the project/track? Hit the comments and let me know.

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#1 Don’t Be Afraid of the Classics.

It’s a mistake I see all the time. Whether you’re just getting started or you’ve been producing for years, the desperate desire to be “unique” can get in the way of your music actually being listenable.

We want to show “our” sound, so we reach for obscure, bizarre samples that no one else is using. Here are two reasons you should reach for the classic sounds before “exploring the space” with your sound selection:

1. You don’t know what you don’t know. If your ear isn’t fully trained yet, your sound selection is operating on instinct built on next to zero experience. You don’t yet know what makes a snare punchy, what gives a hi-hat high frequency air, or what makes a lead sound energetic. If you don’t have a good ear for that, then your selecting pretty blindly.

2. Classic sounds are classics because they WORK. The Roland 909 open hat, a 909 kick, classic Korg M1 presets, Moog-style bass patches. We’ve heard them a million times. Great producers don’t use these sounds because they lack creativity; they use them because they sit nicely in a mix, bring a sense of familiarity that audiences love, and lay a rock-solid foundation that allows you to be experimental elsewhere.

The Rule: Early in the game, embrace the familiar. Use the classic drum machines, the go-to synth presets, and the iconic vocal shots. There will be plenty of time to develop your signature sound later. For now, learn why these sounds work. It will train your ear to recognize quality down the road.

#2 Train Your Ear by Copying.

The fastest way to get great at sample selection is to copy the greats.

Take one of your favorite tracks, load the audio file directly into your DAW, and try to replicate it sound-for-sound. Start with the kick, move to the bass, layer the percussion/drums, and then tackle anything else in the track.

Trying to match a reference track as best as you can teaches you two things: what a good sound actually consists of, and where to find it.

A lot of producers think greatness is all about technical mastery. It’s not. A huge part of being good is knowing exactly what a sound is called, where it lives in your library, and how to pull it up in seconds. That’s knowledge that keeps a production session flowing and sounding good.

The Rule: Copy tracks to the best of your ability and train your ears.

#3 If It Can’t Fit 95% of the Way with Just the Volume Fader, It’s the Wrong Sound.

I see this constantly: endless tweaking to force a size 9 foot into a size 7 shoe.

If you drag a sample into your DAW and can’t get it to sit nicely in the track by just adjusting the volume fader, it’s typically time to pick a new sample.

Yes, minor corrective moves are normal. Rolling off a bit of boxiness from a kick or shaving some high-end off a bass to make it deeper. But if you find yourself stacking a compressor, an EQ, a saturator, and another EQ just to make a sound tolerable... take it as a sign… Delete it and find a better match.

The Rule: Don’t make the sound fit, find the sound that fits.

The One Caveat: If a sound fits nicely from the jump and you want to use things like spatial effects, compression, or saturation to get creative then go for it. But, the fundamental character of the sound in its dry, initial state should fit the vibe. Throwing a ton of FX at a bad choice just highlights how wrong it is.

#4 Remember: Modern Sample Packs Are Already “Cooked”.

This builds right off the last point. I see so many producers load up a fresh sample and immediately throw a massive processing chain on it.

Realize that the majority of sounds you are grabbing from modern packs and services are already “pre-cooked.” They have been meticulously processed by sound designers and engineers who often have better ears than us.

That snare you grabbed from the Oliver pack on Splice? It’s already been EQ’d, saturated, compressed, clipped, and run through an expensive preamp for warmth. It is already fat as fuck. What is your stock glue compressor really doing to improve it?

The out-of-the-box quality of sample packs today far exceeds what we had even a decade ago. Stop overcooking your sounds. Grab a quality sample, put the plugins down, and leave it alone.

The Rule: Chill with your processing. The sounds you are selecting are already processed like crazy. And, if you want a fat snare, select a fat snare. No need to do it yourself when the samples are already out there.

#5 Think in Terms of Frequency Real Estate.

Great sound selection isn’t just about finding cool individual sounds; it’s about puzzle pieces fitting together. You should select samples that leave room for each other in the frequency spectrum. For example:

• Layering Percussion: If you want to make a thin clap punchier, realize that most claps carry heavy energy around 1kHz. To beef it up, pair it with a snare or a second clap that holds its weight in the low-mids (around 120–300Hz), rather than stacking another mid-heavy sample.

• Managing the Low End: Want a deep, subby bass? Make sure you select a patch where the energy sits between 40–100Hz. If you choose that deep bass, you need to be intentional with your kick. Maybe reach for a kick that has a fundamental at 50hz where your bass notes play between 40-100hz but don’t play any notes around/on 50hz. Now that kick fits in-between the most energetic fundamentals of your bass.

The Rule: Every time you audition a sound, ask yourself: “Does this sample fit into space I have in the mix?” OR “Does this sample compliment and reinforce some other elements through layering?” It’s about puzzle piecing all these sounds together. Filling the gaps of the frequency spectrum at the selection stage is great way to get that pro sounding mix.

The Takeaway

Be intentional. Stop rushing the selection process just to get to the FX plugins. If you take these five rules to heart, I guarantee your mixes will clean up instantly, your workflow will double in speed, and your tracks will sound significantly more musical.

What’s your go-to “classic” sample that you use in almost every track? Let me know in the comments below.

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Who am I and what will this place be about?

Hey there! My name is Kirk.

Some of you might know me from the house music I release under my artist name “Wait For Me.” Others might know me from my work with the Kick & Bass Community, or because we’ve sat down together for a one-on-one production session or done some production work together.

But if you’re like most people here, you have absolutely no clue who I am.

All you really need to know is this: I’ve been making house music for over 10 years, and I spend my days helping other music makers get better at it.

So, why am I launching this Substack, and what can you expect from it? Here’s the deal…

1. Why?

At the moment I’m tired of the endless loop of thoughts, workflow tricks, and creative theory spinning around in my head without an outlet to share them.

Every single week, I sit down with production students and uncover massive “aha!” moments—whether it’s an easier way to fix a muddy mix, a workflow hack that saves hours, or a mental shift that beats a creative roadblock. I realized it’s a waste to keep those breakthroughs tucked away in private sessions. They belong out in the open where they can help everyone.

This space is gonna be a home for those ideas.

2. What?

Posting here will be about providing practical tools for bettering your production. I’m looking to focus on three categories of posts:

• Thoughts: Different ways to approach music-making, mindset, and creativity. The goal here is to help you stay motivated and put some fun and inspiration back into the production process.

• Guides: No-nonsense, practical step-by-steps on how to solve specific problems in house music production (like sample selection, low-end management, arrangement, & more).

• Resources: Tangible tools— sample packs, project files, and other production tools — designed to improve workflow, solve production problems and fuel creativity.

3. What? (specifically)… Free vs. Paid

Here’s how I’m seeing this publication running. I’ve never done this before so there might be some adjusting along the way. The schedule would look like this:

• 1 Major “Thought” Article Per Month: Deep dives into mindset and creativity. (100% Free)

• 2 “Guide” Articles Per Month: Practical studio tips and technical breakdowns to instantly improve your tracks. (100% Free)

• Monthly Resources: I’m targeting one exclusive sample pack and one downloadable project file every single month. Full access to these resources will sit behind a paid subscription. (Often, the links to grab them will be baked right into monthly “Thoughts” and “Guides” articles).

Whether you choose to stick around for the free weekly value or jump into the paid tier for the monthly resources, it’s cool you’re here to check this out. Thank you!

- Kirk aka Wait For Me

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