Here’s a track from the forthcoming FatGyver EP, Espresso Addicts Anonymous, out on Redef Records on Aug 21.

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Tips for aspiring producers (and advanced ones, too)


Making music > gear..even though I love it!

Every once in a while, I get asked a few quick and/or important general tips for making music. I’ve been making music for a little over two decades, and made a few tunes every now and then, so maybe that’s why. Or, at least that’s an indication that I manage to finish my feeble efforts.

I’m planning to update this blog a bit more often with production-related material (there already is some), and this time I wanted to get busy with some of the basics.
I started keeping a notepad so that I’d write a blog post on the “useful tips for beginners” topic, and this is it. It’s definitely more of a general one than a technique-specific one.
I’m definitely not a “master” of making music, but these topics are something I can look back on and say at least I’ve learned something valuable regarding them and all of this is based on experience.

These are in no particular order.

1) DO YOUR OWN THING.  Continue reading

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Crusty-ass DS165

A crusty new jungle track for ya.
Soundcloud link / Bandcamp link / Youtube

It’s a nudge towards the old days when crusty breaks and beats were kings and when the production was not über-polished. The vibe mattered.
Akai samplers doing the beats, Moog Minitaur doing the bass.
Inspired to a great extent by the Droppin Science label.
Contains samples from Bill Murray and Yona.

If it’s nice, give it a price.
If it’s not, well, then I suck.

Written, mixed and mastered by yours truly.

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Dynamic EQing / frequency-specific compression in Ableton Live 9

This one’s for Ableton heads…
I did a video that demonstrates how you can do dynamic EQing in Ableton Live 9 using Envelope Follower (part of Max4Live) to cut a specific area of sub off of the bassline every time the kick hits instead of compressing the whole signal as in regular sidechaining.

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How to find unwanted/ringing frequencies in your mix and carve them out?


It often happens that the sounds we use in music contain a bit of useless noise that only fills up the bandwidth. Our ears get so used to hearing our songs, we may not hear these things while we’re mixing, so this is a good way of removing what’s unnecessary. We end up getting all kinds of small things with funny resonance in our mix, and Continue reading

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AMA session over at Reddit (@ /r/EDMproduction)

fanureddit-sqThe kind fellas over at Reddit’s edmproduction forum suggested I’d do an AMA (ask me anything) session, and we did. A lot of music-production-related talk. Check it out.


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Breaks & Beats Podcast #10: ”Focus On Drums”

[art by Ingrid]

This time, instead of going for more contemporary material, the podcasts focuses on wicked drumworks in D&B. A lot of this stuff is old, and I wanted to include tunes from whom I consider to be among the masters of drumworks in D&B. Continue reading

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Bandcamp vinyl upload

I added a bunch of my old vinyl releases as rips on my Bandcamp today.
Some of those releases are pretty hard to find, so getting a vinyl rip is the closest you may get to “the real thing”.
Peep them at https://fanu.bandcamp.com

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Bristol–Helsinki EP

Bristol–Helsinki EP, the much-promised first Fanu x Coleco release, is here.

Why the name? The whole EP started sort of accidentally by Coleco sending me a break and saying I could try working with it Continue reading

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FatGyver: “Talk To Strangers” now up on Fanu’s Bandcamp page

You can now get my hip hop debut thru my Bandcamp as well (previously released thru Redef Bandcamp).

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Production: get your sub bass right!!

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Here’s a thought relating to sub bass in bass music – i.e., music where the sub bass usually sits below the kick on the frequency range. This doesn’t apply to genres such as rock or house, for example, for there you may have your kick lower than your bass in general.

In bass music, we want to have our sub strong enough around 40–60 Hz area, because that’s where the meat is. Continue reading

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About mastering


I have been receiving questions about my mastering chain and how it’s all done, so I thought I’d write about how it started for me and how I do it today.

Having made electronic music since 1992, if I recall correctly, I have always been interested in all its aspects and obsessed with it in various ways. Super-fast-forward till 2.5 years ago or so: mastering was the logical next step, having tackled pretty much everything else relating to music (production, mixing, DJing, performing live, traveling around the world to spread it, being my own agent, being/running a record label).

I started messing around Continue reading

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