From demo to dancefloor.

Q: Tell us about a project you worked on you are especially proud of and why. What was your role?

A: “Sofia” (Clairo) — Hypertechno Cover This is the project I’m most proud of because it proved my full-stack approach—from concept to master—can turn a loved indie song into a club-ready record listeners replay. I re-imagined “Sofia” in a hypertechno lane and produced it 100% myself: arrangement, drum/bass architecture, synth sound design, vocal production/editing, mixing and mastering. The challenge was keeping the emotional core of the original while delivering the speed, impact, and low-end authority expected in modern dance sets. I built tension/release around a call-and-response synth motif, locked the kick–bass for translation, and kept the vocal upfront with clean, glossy mids. Result: it became my most-streamed song and helped push my catalog past 2M+ global streams. Beyond numbers, it opened doors with labels and artists because it showcases exactly what I bring—hook-first writing, modern sound design, and mixes that hit playlists and clubs. My role: end-to-end producer, mixer, and mastering engineer.

Q: What are you working on at the moment?

A: I’m building a new conceptual era—a night-drive electronic world that blends house, hypertechno, UK garage, and synth-pop. I’m developing a trilogy of singles with companion radio/extended/club edits, vocal features, and a cohesive visual direction (dusk → midnight → dawn). Sonically it’s hook-led writing, UKG-leaning drums, big but controlled low-end, and glossy synth textures designed to translate on playlists and in clubs. Alongside that, I’m finishing mix/master work for a few artists in similar lanes and testing new sound-design chains (Serum/Diva + FabFilter/Soothe/Ozone) that I’m rolling into client projects. I keep 2–3 slots open each month for SoundBetter collaborations—so if your track fits this vibe, I can plug it into the same high-impact workflow and aesthetic.

Q: Is there anyone on SoundBetter you know and would recommend to your clients?

A: JadenGracia, talent guy.

Q: Analog or digital and why?

A: Both, Digital for speed, precision, and instant recall (editing/tuning, surgical EQ, automation, versioning). Analog/analog-style color for vibe: subtle tape/tube/console saturation, gentle compression, and nonlinear “glue” that makes hooks feel alive. I mix in-the-box for reliability and revisions, then add tasteful analog character (emulations and occasional re-amping) so you get emotion + competitive sonics.

Q: What's your 'promise' to your clients?

A: On-time, on-brief, release-ready. Clear comms, honest feedback, 3 revisions, and transparent terms—so your song feels unforgettable and sounds undeniable.

Q: What do you like most about your job?

A: I love turning a rough idea or voice note into a record people replay. That moment when the hook clicks, the vocal shines, and the low-end locks so the mix translates on phone, car, and club—that’s the rush. I live for collaboration: shaping emotion with arrangement and sound design, guiding artists to say more with less. Hearing a client’s first “whoa,” then watching the song travel—playlists, shows, memories—is why I do this.

Q: What questions do customers most commonly ask you? What's your answer?

A: Here are the FAQs I get most—and my go-to answers: What’s included? Full production or mix/master, up to 3 revision rounds, and delivery of 24-bit WAV master (44.1/48 kHz), instrumental/TV mix, a cappella, and organized stems if agreed. Project/session files aren’t included unless added. What do you need from me? 2–3 reference tracks, demo/topline/lyrics, key & BPM, notes on vibe/goal (playlist/club/radio), and cleanly labeled stems (24-bit, 44.1/48 kHz, dry where appropriate). Turnaround? I work milestone-based; typical songs are completed in a few business days after assets arrive. Rush options available subject to schedule. Do you tune/edit vocals? Yes—transparent or stylized per your references. It’s included with full production/mixing when needed. Can you match my style? I specialize in house, hypertechno, speed house, UK garage, and synth-pop. Share refs and I’ll tailor arrangement, sound design, and mix to your lane. How many revisions are included? Three rounds within the agreed scope. Extra revisions or alternates (radio edit, extended, remix) can be added. Who owns what? By default, you own the master upon full payment. If we co-write, publishing splits are agreed in writing. Credit: “Produced/Mixed/Mastered by NO153.” Mixing vs. mastering—what’s the difference? Mixing balances and shapes tracks (EQ/comp/FX) for emotion and clarity. Mastering finalizes tone/loudness and ensures translation across systems. Will it be as loud as my references? Yes—competitive loudness within streaming norms while preserving punch and dynamics. Can you fix a bad recording? I can improve it, but source quality rules. I’ll flag re-record needs and share mic/room tips if helpful. How do you deliver files? Via SoundBetter: master WAV + requested alternates; stems if included in scope. Metadata/credits confirmed at handoff. Do you offer bundles or deals? Yes—Mix+Master bundle pricing and new-client promos (e.g., free mastering with a mix) are available; ask for current offers.

Q: What's the biggest misconception about what you do?

A: That I just “add a beat” or “make it louder.” Great records aren’t presets—they’re songcraft + taste + translation. Most of my work is shaping emotion (arrangement, hooks, sound design), elevating performances (editing/tuning), and building a mix that holds up on phones, playlists, and clubs. Mastering isn’t a volume knob; it’s consistency and impact across systems. Tools help, but the difference is ears, decisions, and collaboration—knowing what to add, what to cut, and when to stop.

Q: What questions do you ask prospective clients?

A: Vision & References What’s the goal (playlist/club/radio/sync) and target audience? Share 2–3 reference tracks (what you love about each: vibe, drums, mix, vocals). One sentence: how should the listener feel? Song Assets Do you have a demo/topline/lyrics? Key & BPM? Who’s singing—you or a vocalist? Need vocal editing/tuning? Any must-use elements (samples, motifs) or things to avoid? Style & Arrangement Preferred genre/sub-genre (house, hypertechno, UKG, synth-pop, etc.)? Desired structure (intro, drop/chorus, bridge, length/radio edit/extended)? Technical Prep Stems format: sample rate/bit depth, mono vs. stereo, naming. Do you want instrumental/TV mix, a cappella, organized stems in delivery? Logistics Deadline and milestones? Any promo/release date locked? Revision expectations (I include up to 3 rounds). Business & Credits Budget and payment terms (deposit/balance)? Ownership: master buyout vs. license; any publishing if we co-write? Credits wording (e.g., “Produced/Mixed/Mastered by NO153”). Collaboration Who’s the decision-maker? Preferred communication cadence (EN/ES)? How will we measure success (A/B vs refs, club test, playlist fit)?

Q: What advice do you have for a customer looking to hire a provider like you?

A: Here’s a quick checklist to hire the right producer/mixer: Define the goal: 2–3 song refs + feel (playlist/club/radio), key BPM if known. Share assets cleanly: consolidated stems, sample rate/bit depth, tempo/key, lyric sheet. Agree on scope: full production vs. mix vs. master; vocal editing, additional prod, sound design. Deliverables: master WAV, instrumental/TV mix, a cappella, organized stems, (project files if included). Timeline & revisions: milestones, due dates, and how many revision rounds are included. Budget & payments: deposit %, balance, rush/extra version pricing. Credits & ownership: how you’ll credit, who owns the master, any songwriting/publishing splits. Communication: preferred channel, update cadence, single decision-maker. Quality bar: ask for before/after in your genre and translation checks (phone, earbuds, club). Start small: do a paid pilot (1 track) to confirm vibe before a bigger bundle.

Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?

A: Laptop w/ FL Studio + essentials (Serum, Diva, FabFilter, Ozone) — full studio in a bag. USB-C interface w/ high clean gain (e.g., Focusrite/UA) — quiet, reliable recording. HD650 + Sonarworks — honest monitoring that translates everywhere. Shure SM7B — durable, forgiving vocals & field samples (wind, waves). Arturia Keystep 37 — compact keys/sequencer for fast ideas & hooks.

Q: What was your career path? How long have you been doing this?

A: I’m a self-taught (autodidact) producer with 10+ years in the game. I started in 2014 reverse-engineering my favorite records in FL Studio—bootlegs, remixes, then full productions and mix/master work. Over time, that evolved into end-to-end production for artists: building songs from topline or reference to release-ready masters. Recent credits include releases on Future House Cloud, Chapter Eight, Sundle (distributed by Warner Music Italy) and Hit Music Group (distributed by Warner Music Sweden), with 2M+ streams and 50k monthly listeners on Spotify. Today I specialize in house, hypertechno, UKG and synth-pop, bringing hook-first writing, modern sound design, tight low-end, and mixes that translate on playlists and in clubs.

Q: How would you describe your style?

A: Emotional dance music: melody up front, groove underneath. From intimate synth-pop to peak-hour house/hypertechno—always clear, loud, and ready to release.

Q: Which artist would you like to work with and why?

A: Calvin Harris — because he’s the gold standard for hook-first dance records that work on radio and in clubs. Melody & structure: He distills progressions and toplines into something timeless and replayable—exactly where I live as a producer. Vocal curation: He pairs the right voice to the right groove and leaves space. I excel at vocal polish/tuning and building arrangements around a singer’s strengths. Sonics that translate: Tight low-end, clean mids, glossy synths (think Funk Wav warmth + modern house punch). My mix/master focus is translation across phones, playlists, and big rooms. Dream collab concept: 124 BPM, minor-key night-drive house with a UKG swing on drums, Reese bass in the verses, and a call-and-response synth hook in the drop. Soulful topline, understated pre, then a lift with bright stabs—playlist-ready, club-tested.

Q: Can you share one music production tip?

A: Pick your key first, then tune the sub bass to the root. Choose a kick whose fundamental sits ~45–60 Hz (house sweet spot). Sidechain the bass to the kick: attack 0–5 ms, hold 20–40 ms, release 120–160 ms at 120–128 BPM (adjust by ear). Carve space: gentle EQ dip on bass at the kick’s fundamental; boost bass an octave up if needed. Mono-check <120 Hz, widen >200 Hz only. Keep -6 dB headroom on the master; loudness comes later in mastering.

Q: What type of music do you usually work on?

A: Modern electronic music—primarily house (tropical/deep/tech), hypertechno, speed house, UK garage, and synth-pop/electro-pop. Vocal-led dance records with melodic hooks, punchy low-end, and mixes that translate to playlists & clubs.

Q: What's your strongest skill?

A: Turning ideas into release-ready records. Hook-first arranging + modern sound design, then mix/master translation that keeps vocals clear and low-end powerful across playlists, phones, and clubs. Fast, tasteful decisions—what to add, what to cut, when to stop.

Q: What do you bring to a song?

A: I bring a blend of emotion + competitive sonics. In practice, that means: Hook-first writing & arrangement — clear arcs, memorable motifs, tension/release. Signature sound design — modern textures that feel fresh but serve the song. Low-end authority — drums/bass that move the room without muddying vocals. Vocal polish — editing/tuning that keeps character while lifting emotion. Mix translation — balances that hold up on playlists, phones, clubs, and radio. Mastering for impact — loud, clean, and within streaming specs/club headroom. A&R ears — I suggest what to cut, where to raise stakes, and how to finish strong. Reliable process — fast communication (EN/ES), clear milestones, up to 3 revisions.

Q: What's your typical work process?

A: Discovery & Scope — We align on vision, references, deliverables, and deadlines (via SoundBetter). I outline milestones; 3 revision rounds are included. Pre-production — Moodboard, key/BPM, structure map (intro–drop/chorus–bridge). You approve the direction before full build. Production — I craft drums/bass, harmony, hooks, and sound design. I send a 60–90s preview to lock vibe early. Vocals — Editing, timing and tuning; I’ll request alt takes/doubles/ad-libs if needed for impact. Mixing — Balance, EQ/comp, saturation, spatial depth, and translation checks (studio, headphones, small speakers). Mastering — Release-ready loudness and tone for streaming and club. QC against your refs. Revisions — You give notes; I iterate up to 3 rounds (within agreed scope) and version everything clearly. Delivery — 24-bit WAV master (44.1/48 kHz), instrumental/TV mix, a cappella, and organized stems on request. Metadata/credits finalized. Aftercare — Light post-release tweaks (radio edit, clean/extended) and guidance on best practices.

Q: Tell us about your studio setup.

A: A simple studio, jus my daw, pc, headphones and a mics

Q: What other musicians or music production professionals inspire you?

A: House / Dance-Pop Calvin Harris, Kygo, MEDUZA, Joel Corry, Duke Dumont, Robin Schulz, Zedd, Topic Tech / Club-ready Chris Lake, Fisher, John Summit, James Hype, Mau P, Vintage Culture, Anyma (melodic) UK Garage / Speed Garage Disclosure, Sammy Virji, Conducta, MJ Cole, Artful Dodger, Interplanetary Criminal Synth-Pop / Electro-Pop The Weeknd (After Hours era), CHVRCHES, M83, The Midnight, Dua Lipa, Troye Sivan, The Chainsmokers Tropical / Chill & Cinematic Kygo, Gryffin, Petit Biscuit, ODESZA

Q: Describe the most common type of work you do for your clients.

A: Most clients hire me for end-to-end electronic production plus mix & master. I take a topline, rough demo, or reference playlist and turn it into a release-ready record—building drums/bass/harmony, designing synths, arranging drops/choruses, and crafting transitions. I edit & tune vocals, add tasteful additional production, and deliver a clean, punchy mix that translates on playlists and in clubs. Masters are optimized for streaming loudness. I include up to 3 revision rounds and can deliver instrumental/TV mix, a cappella, and organized stems on request. Typical styles: house (tropical/deep/tech), hypertechno, speed house, UK garage, and synth-pop.