Eluize’s advice to producers: “Be nice to yourself and keep going”

Why Richard Fearless (Death In Vegas) loves his SAM-16 hardware sequencer

Techno icon Luke Slater on how hardware jam sessions inspire his creativity

Neville Watson on why he loves the Akai S950

Improve your chord progressions with Expressive Chords in Live 12

UK garage legend MJ Cole at the piano: "Everything normally starts here for me"

"It's in every single thing I've ever made": How Eluize uses her voice in her club tracks

Why Nabihah Iqbal loves the EHX Memory Man: "A wash of sound for the audience to be engulfed by"

Eluize makes an acid house jam with a laptop-free setup using Ableton Push

Four Tet on the Yamaha Tenori-On

"Believe you're making magic": Adrian Sherwood

"It's a nice tool to open your drums up without it getting muddy" Flava D on mixing with convolution

Why Legowelt loves the Roland JV-2080: "You can get really freaky sounds out of it."

Adrian Sherwood: "The Jamaican producers' influence on hip hop and everything else is monumental"

How Lindstrøm used MIDI files out of context to create unique rhythms on Six Cups of Rebel

Model Man processes a drum break with his Boss SP-303

Using Ableton Live's Pedal emulation to beef up a kick drum

"You have to go into each genre as a different entity": Flava D on producing drum & bass vs garage

Is the Volca Bass Korg's best budget synth?

Creating a dub techno delay with Ableton's Roar distortion

Silva Bumpa on creating swing and groove for garage and bassline

Flava D on why drum & bass is the most challenging genre to produce

How Machinedrum created the resampled bassline of The Relic

Using a sidechained filter to create bass rhythms in Ableton Live

"It is not a polite instrument – nor is it clean, safe, or obvious": Cherry Audio Crumar Spirit

"Sometimes a different texture adding to a sound you've already got can make the track": Silva Bumpa

Is the SH-101 the ultimate beginner synth design? And is Donner's L1 a decent budget version?

Using a comb filter to bring chords to life in Ableton Live

"Music is as important as oxygen and food": Ezra Collective's Joe Armon-Jones on the value of music

Creating French house bass sounds with Ableton's new Vowel filter

Disciples: "I did a degree in music technology – that was 3 years of wasted time"

Flava D makes a liquid DnB beat from scratch in the studio

Silva Bumpa made an R&B hook just to remix into garage: "It sounds more like the music I grew up on"

Disciples: "You spend too long on the sound and you end up losing the energy in the room"

"I miss the weird mixes you'd get in the '70s": Ezra Collective's Joe Armon-Jones on mixing

"You've got to love processing": Disciples on why passion is the most important part of production

"Being a producer means being a Swiss Army knife": Fraser T Smith on the role of a producer in 2025

"I've got 200 unfinished projects": Demi Riquísimo on why it's OK not to finish every idea

Breaka on the benefits of using Logic over Ableton: "Ableton can look like an Excel spreadsheet"

"There's a lot of ego going on right now": Riva Starr on studio collaborations and b2b DJ sets

"The bit when you know what you're doing – that's boring": Paranoid London's essential studio tip

Nadia Struiwigh explains how she sequences beats on her hardware drum machine

"A different beast": Four Tet on using an analogue polysynth for the first time for Sing

Why spending £90 to buy his own album inspired Adam F to remake his DnB classic

Philippe Zdar on how Rick James influenced the recording of Wolfgang Amadeus Phoenix

Why Eats Everything ditched his hardware synths: "My productivity went through the roof"

"The average is 20 to 30 versions to get it right": Riva Starr on creating that 'final' version

ec2a boss Dr Dubplate explains what makes a demo stand out: "It makes it sound more authentic"