I finally hit my first $1,000 day — here’s what actually moved the needle (no fluff): 1. 1 winning product (solved a clear problem, no guesswork) 2. UGC-style ad (raw, real, 15s video — crushed it) 3. Simple 1-product store (no distractions) 4. TikTok + FB retargeting (top & bottom funnel combined) If you're chasing your first $1K day, copy the blueprint. I’ll keep sharing what’s working. Follow if you want more behind-the-scenes insights.

Hope all is well team Have recently found myself loving how streamlined this synth is. I am relatively new to producing but everything about how this device is laid out feels super intuitive (and different enough to other synths to help with inspiration). Also feels like lots of direct access for easy automations (e.g. that Shape toggle is pretty cool!). I personally find myself using it for more hypnotic style sounds (so far that is!). Anyone else find themselves using it more also? Why / why not? Adam

Good morning everyone, First of all I'd like to wish you a Happy New Year 🥳 As Santa brought me a Push 3 (standalone) can you please do some videos on sound design using ableton stock plugins, pretty please? I already bought all the preset packs from Audioreakt, who does an amazing job, but I'd like to have some, if possible, also from you. Many thanks. Regards, Daniel

A few weeks ago, I trained a GPT model to become the perfect "Techno producing mentor". That means you can ask it any question related to music production (no matter how detailed) and get a goal-oriented response. (This one is specially trained in electronic music). Here is an example of a recent conversation with the AI I trained: Me: how can I make my track arrangement more interesting to the listener, especially when entering the main drop section? AI: Creating an engaging arrangement, particularly around the main drop section, is key to keeping your listeners interested. Here are some tips to enhance your arrangement and make the transition into the drop more impactful: 1. Build Tension Before the Drop: Use risers, snare rolls, and other building elements to create a sense of anticipation. Automating parameters like filters, pitch, or reverb can also help in building tension. 2. Create Contrast: Make sure there's a distinct contrast between the build-up and the drop. This can be achieved through dynamics, frequency content, and rhythm. For example, you might have a thinner texture in the build-up leading to a full, bass-heavy drop. 3. Use Silence Strategically: A brief moment of silence or a significant reduction in elements just before the drop can make the impact much stronger. 4. Play with Expectations: Sometimes delaying the drop by a bar or adding an unexpected element right before it can catch the listener off guard, making the drop more effective. 5. Change Up the Drum Pattern: If you're using a typical four-to-the-floor beat in the build-up, try switching to a different rhythm or adding new percussive elements in the drop. 6. Add New Elements: Introducing a new lead sound, vocal chop, or any distinctive sound at the drop can refresh the listener's interest. 7. Automate Effects: Right before the drop, you could automate a high-pass filter to gradually remove the low end, then bring it back in full force at the drop. 8. Foreshadow Elements of the Drop: In the section leading up to the drop, subtly introduce elements that will be prominent in the drop. This can create a sense of cohesion. 9. Vary Your Arrangement Techniques: Don’t always follow the same formula for every track. Experiment with different arrangement techniques to keep things interesting. 10. Utilize Breakdowns and Bridges: Before the main drop, a breakdown or bridge can provide a change in energy and mood, setting up the drop effectively.

We all know that dynamics and dynamic control is an integral part of building a groove and mixing. But a lot of producers only apply compressing, clipping and limiting to obviously transient elements such as drums and synths with bright attacks. But when you have, say, a beautiful pad part with a different number of notes playing each chord, or an atmosphere that stays quiet but nonetheless changes dynamics and you lose some of the sounds, limiting can be of help. So, what you can do is load up a limiter on the channel with you pad or atmosphere, we will be using Pro-L 2 from FabFilter since it makes the waveform really obvious but pretty much any other can do the job. In Pro-L 2 hold Alt and drive the gain up, this will automatically adjust the output loudness to the same level. So, with a high gain and a big lookahead the pad is now limited without audible distortion. What is the point? You now have a sound which carries the same information and function, but isn’t as overpowering in it’s louder moments and it’s more consistent dynamically, which can really be a boon with complex synth parts and layered productions