I SAID NICE ONE BRUVVA !!!

Todd Edwards - Saved My Life

Can't Tell It All

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Mike Send - Can't Tell It All

A1 - Unknown Artist - Born This Way [SUS006]

Producing my best house track so far in Ableton Live was a turning point in my journey as a producer. The goal from the beginning was not to overcomplicate things, but to focus on groove, atmosphere, and emotion. I wanted the track to feel warm, laid-back, and immersive—something that slowly pulls the listener in rather than demanding attention right away.

The process started with a simple drum groove. In Ableton, I built the foundation using a clean kick with a soft low end, paired with a shuffled hi-hat pattern to create movement. Subtle swing was essential, so I spent time adjusting the groove pool and MIDI timing until the rhythm felt natural and human. Once the drums were locked in, everything else was built around that pulse.

For the bassline, I kept it minimal and deep. I used a simple synth patch, focusing more on filtering and automation than on complex sound design. Automating the cutoff and resonance over time helped the bass breathe and evolve, which gave the track a sense of progression without adding unnecessary elements. Sidechain compression to the kick was carefully dialed in to keep the low end clean and bouncy.

Chords and textures played a huge role in defining the mood. I layered soft house chords with subtle pads, using reverb and delay to create space and depth. Ableton’s automation lanes were key here—slow filter sweeps, reverb sends, and volume fades helped the track feel alive and constantly moving. Small details, like background noise and vinyl-style textures, added character and warmth.

Arrangement was all about patience. Instead of big drops, I focused on gradual changes and smooth transitions. Elements were introduced and removed slowly, keeping the listener engaged without breaking the chill vibe. Ableton’s Session View helped me experiment freely with ideas before committing to the final arrangement in Arrangement View.

The final stage was mixing and polishing. I kept the mix clean by cutting unnecessary frequencies and leaving space for each element. Light bus compression and subtle saturation helped glue everything together without sacrificing dynamics. In the end, the track felt balanced, emotional, and true to my vision.



Happy to Be Deep

R.I.P. Productions

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