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Additional beats and processing

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Next, Ryan explains how he removes frequencies from any sound that isn’t a bass instrument – an increasingly adopted piece of good practice. Here he identifies and takes out everything below 190Hz. 2

Another additional processor that Ryan commonly uses is the Puigtech EQP1A from Waves, an EQ that he employs when he wants “to add brightness to a sound”. Here’s it’s boosting the claps at around 8k.

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Ryan also uses the Native Instruments Transient Master on several percussive components – including claps and hats – just to make the transients a little snappier.

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Next up we have one of Armand Van Helden’s additions in the form of a classic Amen break (top loop). “I thought he would add a good, old-school feel to it, and it was things like this he brought to the tune.”

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Armand also supplied some other loops including this 909 one. “Again it’s an older sound that really gives the drums some drive,” Ryan says.

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As Armand did a lot of the processing at his end, all Ryan typically needed to do on that side of things was a little low cutting, again on the odd loop.

the mix is sitting right.

“It’s a good way to work out if maybe you need to swap your kick or need to add some more synth layers to feel out some space.

“A really useful plugin that I’ve started to use recently is MCompare by Melda Production. It makes it really easy to switch between your mix and the reference and also has an analyser so you can see what’s going on too.

“And another top tip would be to make sure you’re well equipped with your favourite beverages, snacks and maybe even your comfiest pair of slippers!” : What about from playing live? RH:

It sounds super obvious but as a DJ, organising music in a way you’re comfortable with is so important. I personally don’t prepare a whole set but often I’ll have a vague idea what vibe I want to go for with the set, so I’ll make a folder on my USB for each show.

“Some people arrange their music by genre or BPM; it’s whatever works for you. I’ve had many nightmares about being on stage and a track is coming to the end but I can’t find the next track I want to play.”

What about production advice? RH: :

“This is easier said than done for me, but try not to overthink things or be too critical during the creative process, especially in the early stages of a track, I find the best music happens when I’m experimenting and having fun whilst getting all the ideas down.

“Once I’ve got a vibe and some parts down, I’ll work out what I’m gonna keep and start to loosely structure the track. I do some mix processing while I’m making a track, but I think it’s important to try not to get too involved in that early on as it can put a pause on the musical ideas. Unless it’s some sort of processing that is a stylistic effect. Most importantly though – as clichéd as it sounds – have fun!” : What have you got coming up? L&L:

“I launched my label called Make ‘Em Move this year. The first track was one of mine called

Cubanito. I’m excited to have it up and running. It’s really allowed me to get creative without the pressure of wondering if it’ll get signed: if I like a tune I can just put it out which I love.

“The other main reason for the label is to put out music from producers that I’m into, whether they’re upcoming, local producers or already getting good support/releases.”