The composition of my track, ‘Free Your Mind’ was developed primarily through a hardware-based workflow, combining Ableton Live with the Elektron Digitakt II, the Roland Cloud SH-2 and the Roland Cloud Boss BX-800. I began my production process by loading a selection of drum samples into a new project within the Digitakt. Once imported, I used the step sequencer to quickly construct some of my own drum loops, I found that this hands-on approach allowed me to quickly develop a solid foundation for the track early on, thus making it easier to develop the rest of the arrangement by identifying space within the groove to introduce new elements.
One of the Digitakt’s most powerful features is its trig functionality. By using trig locks, I was able to assign specific parameter values to individual steps within the sequence. Tweaking certain parameters like the velocity, the filters settings the ADSR, multiple LFO’s, meant I was able to introduce subtle variations across the drum loop quickly and create a groove that’s dynamic. To further refine elements within the groove, I applied subtle layers of delay and reverb to some of the percussive sounds, this once again helped to introduce a sense of movement within the groove, minimising repetition. Overall, I found that the efficiency of the Digitakt’s workflow encouraged a lot of experimentation, as I was able to alter patterns and adjust parameters in real time.
For the bass and synth elements within my track, I used a combination of both sampled sounds for the more melodic components, as well as my Roland Cloud SH-2 for the low end. The reason I chose to use the SH-2 is because of its analogue character, which produces a naturally warm tone that is particularly effective in creating full, weighty bass sounds. This makes it ideal an ideal choice of synthesizer in the context of dance music, where the low end plays a key role in driving the groove and maintaining energy throughout a track. I also found that the SH-2’s warm tonal character translated well on a club system, and seen as I’m making a house track, this was essential for making sure the low end remained powerful yet clear.
For the synth elements in my track, I used a selection of samples from Brawther’s ‘Dungeon Meat’ sample packs. These packs included a range of high-quality one-shot synth sounds, which I was able to sequence and shape within the Digitakt. By programming these one-shots directly into the sampler, this meant I had greater control over their timing, pitch, envelope, etc. I then applied further processing within the Digitakt to add variation and character, helping the synth elements sit nicely alongside the drums and bass.
After building my initial loop within the Digitakt, I decided to route all of the audio from my drums and send it through the Roland Cloud Boss BX800 mixer. Through experimentation I found that increasing the gain on the mixer, added a nice colouration to the sound, one that I was not able to replicate solely in a DAW. Overall, I found that this mixer worked particularly well for producing driving dance music, as it made certain elements within my track, (drums), sound extremely punchy. Moreover, I also found that it improved how the track translated on a club system, as the added drive gave the kick and percussion greater presence and impact.
After the main elements of my track had been put together in the Digitakt and processed through the mixer, I recorded the audio into Ableton. Using Ableton’s ‘arrangement view’, this stage in the production process allowed me to organise my material into a clear structure, shaping the energy of the track so that it works effectively within a club setting. I arranged elements differently within the track to create a sense of progression, building and releasing tension through repetition. The vocal chops were placed at key moments within the track to introduce movement and maintain interest without necessarily disrupting the groove.
After finalising the arrangement I moved into the mixdown stage, once again within Ableton. This stage in the production process involved balancing levels across all channels, followed by the use of EQ to create space for each element within the frequency spectrum. I also applied subtle saturation to enhance warmth and character, alongside some slight compression to control dynamics. I used sidechain compression to create space between the kick and bass, this ensured the low end remained tight and well-defined throughout the track.
With regards to the vocal element within my track, I had to improvise and record myself, as my vocalist was unable to attend the session. For my track I recorded some whispered ad-libs, including phrases such as “free your mind” and “feel it,” as I was looking to create a more subtle, atmospheric vocal presence. The vocals were captured using a Rode K2 microphone, which helped retain warmth and clarity even at a not so good delivery level. In post-production, I applied a fair amount of both reverb and delay to push the vocals further back in the mix and emphasise a sense of space, thus allowing them to sit more naturally within the track. I also made slight pitch adjustments to ensure they were in key.
As for the commercial potential of this track, I would argue it’s at its strongest within a dance music context rather than a mainstream radio. Its groove-led structure makes it well suited to dancefloors, where repetition and tension are often more important than a conventional verse/chorus format. This means the track has the potential to perform well in DJ sets and underground clubs where audiences are more likely to respond to its movement and focus on the groove.
THE TRACK ‘FREE YOUR MIND’
