• Transients decide if your groove hits or flops. No sharp attack, no real groove.
• Transient shaping gives you control where EQ and compression just guess.
• Shape your kick, snare, and hats first. Make them cut and let everything else sit back.
• Want a 3D mix? Control the transients. Sharper means closer, softer means

• Start with sound, not theory
• Stick to one key and keep it simple
• Build melodies around rhythm, not pitch
• Use space to create phrasing
• Let modulation do the movement
• Keep percussion minimal and supportive
• Arrange in phases, not sections

• How sound design sets your track up for success
• Why saturation is so essential
• Controlling the dynamics
• Life through modulation
• Why automation is half the battle
• MIDI Voicings = Sound design?!
• Never forget to limit (when necessary)

• Why seeing and hearing professional structures is a game changer
• How to pull off better automation
• When to use repetition vs variation
• Demystifying processing chains
• Conquering blank canvas syndrome

• Stop hunting for the “perfect” sample—start picking the right one for the track you’re building.
• Judge samples fast by their transient, body, and vibe, not by how cool they sound solo.
• Learn how every sample you choose either pushes the track forward or drags it sideways.
• Fix good samples with simple moves—EQ, transient

• Creative sidechaining.
• Beyond the basic reverse reverb tricks.
• Using reverb’s pitch to your advantage.
• Gating and removing reverb bleed.
• Getting the most from pre-delay.
• Treating reverb like an instrument.
• Processing your reverb to define “your sound”.

• How to approach sample selection to find perfect samples
• Why context is more important than content
• Why practicality is more important than complexity
• How to avoid over-processing your loops
• Only keeping the best parts of a loop
• Intention, intention, intention
• Above all else, trust your taste

• Figure out if your sample library is helping you or just slowing you down.
• Get everything into one folder and start cutting ruthlessly.
• Delete anything that doesn’t immediately spark an idea—no second chances.
• Test new samples inside real projects, not in a vacuum.
• Organize by tone and vibe, not by random