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5. Speed up your vocal flow

Leap is ideal for modern vocal production. Its features let you quickly tweak, slice, and layer audio, turning raw vocal takes into expressive electronic hooks – without the need for laborious manual editing.

You can get started creating vocals with Leap by exploring the dedicated vocal Expansions. Hot Vocals and Soul Gold, included with Kontakt, offer dozens of polished vocal samples arranged into ready-to-play kits – perfect for glossy backing vocals, or chopped up lead lines in a future pop style.

For the dedicated vocal experts, Leap lets you create custom Kits with your own samples. To add a vocal sample to a Kit, simply drag and drop it onto a key in the Leap interface – either from Kontakt’s browser or from elsewhere on your computer. You can then customize it using Leap’s Edit tab, which lets you adjust playback start and end points, pitch and key, loop behavior, and plenty else besides. With your chosen vocal samples assembled into a kit, they’ll be ready to go next time you need to create a vocal hook.

Wrapping it all up

Once again, a huge thank you to UOAK, label boss at one of the top melodic and progressive house labels in the dance music world, Sekora. He shared invaluable insights on making piano sounds as if they were played in an expensive studio by lifelong pianists.

The key takeaway here is that in music production, it’s not about one major tweak but a series of small adjustments and micro-tunings that make a significant difference.

Many new producers might not even know what to look for, but thankfully, top producers like UOAK pull back the curtain to show where to focus and how to make these small touches that define your sound as a producer.

While top libraries like Alicia’s Keys and Noire can provide a solid foundation, the real difference comes down to how you use them, tweak them, and integrate them into your music.

There’s a lot to learn from studying artists like UOAK. Check out the link below to learn more about Kontakt and achieve a similar sound in your own productions.

Discover Kontakt

3. Change your sound over time with modulation effects

Modulation effects refer to a category of effects that change the sound of audio over time to create pulsating or swirling effects. Common modulation effects include chorus, flanger, phaser, and tremolo, and these allow DJs to add movement and texture to their mixes. Traktor Pro has a large collection of modulation effects, including Flanger, Ring Modulator, Filter:92 LFO, Filter:92 Pulse, Mulholland Drive, Phaser, Phaser Pulse, Phaser Flux, and many more.

To get started with modulation effects, load the Phaser into the FX 1 Slot as a Single FX. (See Delay and Reverb paragraphs above for how to select a Single FX). Load a track into Deck A and play it, and turn on the effect by pressing the button under the D/W knob. Turn on the FX 1 button. Set the D/W to about 50%, and experiment by turning up the Rate, and Feedback.

Start mastering the art of presets in Massive

Huge thanks to Saad Ayub for sharing his workflow and proving that presets are anything but crutches and lazy-ways-out. The biggest takeaway here? Presets aren’t the problem; it’s how you approach them. Treat them as starting points, push their limits, and make them your own.

Modern synths like Massive are packed with deep modulation and customization options, meaning even a stock preset can become something completely unique with a few smart tweaks. Whether it’s layering, modulation, resampling, or external processing, the key is to inject your personality into the sound. Saad’s ability to do this consistently is why his music stands out in the crowded world of melodic techno and trance.

Hopefully, you’ve picked up some practical techniques from this. Be sure to follow Saad and dive into his music – his tracks are proof that knowing your tools inside and out is what really sets producers apart.

Demo Massive free

The latest update to Note, our iOS app for forming musical ideas, is here – and it’s free for all Note users.

The 1.3 update features a comprehensive new MIDI Editor, which lets you sequence notes and beats by adding them directly to the grid. Lay down drums, chords, melodies and basslines with a few taps, listen to the results, and try out different patterns and variations in real time.

Head to the App Store to download Note ›

Sequence drums

Build beats in seconds – sequence drums, tweak note velocities and quantization, adjust the pitch of individual hits, and quickly create fills to add rhythmic variation to your patterns.

Lay down chords

Expand the MIDI Editor out to full-screen mode for precise control. Always choose the right notes with key and scale lock, and create chord progressions with loop duplication and note transposition.

Build a melody or bassline

Tap directly on the grid to create and tweak a bassline in moments. Then, make adjustments to pitch, position, and note length with the MIDI Editor's menu commands to get it sitting just right.

What is sampling in music?

Sampling is a technique used by music producers, where a recorded sound is taken and recontextualized into a new track. This is often called “flipping.”

Producers use drum breaks, vocal phrases, instrumental riffs, and more when sampling. This has been a driving force in music production for decades. Some of the most iconic samples in music come from unexpected places, like jazz, funk, and soul records.

Who wrote the most sampled song of all time?

Let’s address a common question: What is the most sampled song of all time? This is undoubtedly “Amen, Brother” by The Winstons. This 1969 track contains the “Amen Break.”

You may have heard of that before. It’s a short drum loop that has been sampled thousands of times across hip hop, jungle, drum and bass, and other genres. It’s one of the most definitive sounds in modern music.

Making percussion that comes alive

A special thanks to Saraga for joining us and sharing his approach to transforming a standard drum groove into something next-level using Maschine.

The key takeaway is that while house music relies on a predictable 4/4 pattern, it’s the creative use of the space between kicks, hats, and claps that makes the drum groove come alive. Humanized syncopation and unique drum sound design are what elevate a basic groove to a professional level.

Thanks again to Saraga for discussing how Maschine’s functionality is pivotal to his sound, studio workflow, and Stardust Records.

Discover Maschine

What is modulation in music production?

Before we get hands-on with examples, let’s understand what modulation in music is. Essentially, it is the changing of a sound’s properties over time. Instead of keeping parameters like pitch, volume, or tone static, modulation allows you to manipulate them dynamically. This movement can be subtle like a slight vibrato on a lead — or extreme, like a chaotic bass growl.

Modulation makes a track feel alive. Without it, synths can sound rigid, and effects might feel flat. Used correctly, modulation adds depth, motion, and variation, and can make simple elements more engaging.

Modulation applies to almost every aspect of sound design and mixing. It’s used in synthesizers, effects processing, and mixing techniques to create movement in different ways. The most common types of modulation include:

• Synth modulation: Using LFOs, envelopes, and other modulation sources to dynamically alter a synth’s sound.
• Modulation effects: Effects like chorus, phaser, and flanger that add motion to a sound.
• Frequency modulation (FM) and amplitude modulation (AM): Synthesis techniques where one waveform changes the sound of the other. These are relatively similar techniques in theory but differ in what aspects of the waveforms are used as a modulation source.

An example of synth modulation can be heard in Skrillex’s classic brostep track “First Of The Year (Equinox).” Listen to the growling synths that start at 01:27. Here Skrillex is modulating various parameters over time like wavetable position and filtering to achieve an aggressive “growl.”

How important is achieving a loud, polished mix for standing out in today’s streaming-focused music market?

Not as important as we’d like, but still very important. I often play the devil’s advocate and argue that the idea is more important than the mix, but I think we can all agree there are limitations to that argument.

Even the untrained music enjoyer can tell if something sounds objectively bad, why give them a reason to skip your track?

There IS such a thing as good enough (and knowing when to stop), but finding that line can be very difficult for a starting artist with so many variables at play; what sounds to use, how loud to make the bass relative to the kick, are the kick and bass in phase, why does my snare suck, does my arrangement make sense, is my EQ supposed to look like a fine-tooth comb (no, not usually)… it can be a lot to juggle.

I will always present the argument, do what you love. Do you love spending time figuring out why your mix doesn’t sound like your favorite artist? Then don’t do that. Do you love practicing for hours to perfect and understand your craft? Then do that.

Realizing that what you like to do versus what you have to do is important, and finding a balance between them will do wonders for your mental health and your creativity. It should never be looked down upon to use the tools available to you to make the best art you can.

There’s a reason people buy sample packs, spend money on engineers, and even AI. So if that’s what it takes to get your mix to the next level, even if it’s temporary, then do it. You’re only hurting yourself by beating your head against that hypothetical wall. Set your ego aside, your art is far more permanent than you are.

Take the time to study, watch youtube videos, and cross examine your research. Make sure you have multiple viewpoints on the same subject matter and don’t take anyone’s word at face value. Trial and error is your best friend because you can’t shortcut experience, even with mentorship. In my opinion, the only things that will make you stand out in an oversaturated market is a passion for your art, authenticity, and consistency.

What are some of your favorite processing and resampling techniques?

I have a few amps and outboard effects in my studio that I love running things through.

Often the goal isn’t even to make things sound ‘better’, the sounds are already so good. It’s more to give them more of a unique sound of my own and almost make them slightly smaller and bring them into my world more.

I honestly barely use any effects plugins in my sessions because I’ve learned that I get more unique sounds by using what I have in my studio. You could obviously do the same thing with plugins, but I like limiting myself as much as possible to what I have that’s around me. I feel like people are drowning in options these days, and it’s kinda a luxury to be limited. So almost every instrument I record I either mult the sound out (meaning send it to and record back in) while I’m recording to my Stereo Space Echo RE201 setup and Dimension D.

I then just have those tracks as the effects already in my session and I can blend them as I see fit. I’m very conscious of phase and so I always make sure that the Dimension D or whatever I record back in is phase aligned using a plugin called Auto Align that is very useful, it might seem like a small thing but you’d be surprised at home much of a difference it makes, especially over the course of a whole session.

So after that initial recording, depending on the sound, I’ll try reamping the sound through one of my amps (I have a Vox AC30, a Fender Twin Reverb and a vintage Ampeg SB-12 that live in my studio) which then goes to an ISO cab called a Rivera Silent Sister (which I found out about from RAC) and I have two mics that live in there. Of course in the reamping it’s also very important to use a reamp box so that the impedance etc is correct for an instrument level input on an amp.