Workflow is so important — 9 times out of 10, my best tracks have been the quickest ones to make.

1. How do you choose the right samples to create punchy, club-ready house drums?

I always start with a punchy kick and build from there. Sampling drums from old records is a great way to get a nice, thick groove going, as they’re already processed and can really keep things flowing when you’re in creative mode. Choosing high-quality samples is key — the drums are the foundation of your track, so don’t cut corners. Spend time on them; it’s always worth it!

2. What techniques do you use to make basslines feel deep, warm, and powerful in a house track?

I usually start with a bass synth that my ear likes that day and something that gels with the drums I already have. SH-101, Diva, and SubBoomBass are all common plugins that find their way into my productions nearly every time.

3. How do you layer synth sounds to build energy and atmosphere in your tracks?

Honestly, I don’t have a set way of working when it comes to synths. I just play what feels good on the day — sometimes using synths, sometimes going through loops and one-shots to see if anything inspires me. I’m always looking for ways to build energy in my music in different ways.

4. When selecting loops or one-shots from a sample pack, what do you look for to maintain originality?

I just go for sounds that my ears like. Sometimes I throw in one-shots or loops, but they don’t have to stay in the project. If I like the groove or melody, I can use it just to inspire me to play something else.

5. What are your top tips for designing bass and synth sounds that cut through a club mix?

I’d say give everything space. There’s nothing worse than stacking sounds on top of each other — all it does is suck the energy out of the sound you liked in the first place. If you like a sound, focus on it. Try new plugins (even stock ones) and find ways to make the sound more interesting and make it gel in your mix. When you look back at the chain you’ve created, you’ll often find something unique that no one has done. Save it and use it again on another track!

6. What’s your approach to processing basslines so they feel full without overpowering other elements?

I usually go for more mid-range bass sounds, and the plugins I mentioned earlier are great for that style. I try to do most of the work inside the VST first — it can always be polished later. I’d always suggest starting with something close to what you want and just playing it in for workflow.

Depending on the track, I might add EQ, distortion/saturation, compression, and finally mono the bass.

7. How do you use modulation, filters, and effects on synths to add movement and groove?

I like playing around with sequencers. The AutoFilter in Logic is great and something I’ve used since I started, so I’m really familiar with how it works. I think people overlook the power of the stock plugins in their DAWs!

It’s easy to get tempted by shiny new plugins, but if you don’t know how to use them properly, they won’t work anywhere near as well as something you’re already comfortable with.

8. What advice do you have for producers trying to get cohesive melodies and harmonies from sample packs?

Sample packs are a great way to get inspiration for your track, especially if you don’t know exactly what you’re looking for melodically. But as I said earlier, the samples don’t have to stay in the project. I like to throw a loop in if I like the melody, the sound, or even the swing, and let that inspire me to create something new.

Workflow is so important — 9 times out of 10, my best tracks have been the quickest ones to make.