Tropical House Music Producer

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

A: I work with both instrumental and vocal tracks, but I always respect the vocals. Even when I produce instrumentals, I sometimes feel something is missing without a voice. I think this applies to all music. Just like each instrument supports the others, vocals are an important part of the track. If you collaborate with me, I want vocalists to express themselves freely. I create the track around that vision. Build-ups and drops are usually my part. Listen carefully to reference tracks, imagine your own voice or final work, and find sounds that match your vision. Most producers use similar synths, but each one creates their own unique sound, and I want vocalists to respect that. Finding your own sound takes a lot of time and effort.

Q: Tell us about your studio setup.

A: 🎹 Production: Apple MacBook Pro M4 Max (128GB RAM / 2TB SSD) – dedicated for production; Apple Mac Studio M1 Max (64GB RAM / 2TB SSD) – dedicated for mixing; DAW: Logic Pro X, LUNA; Audio Interface: Universal Audio Apollo Twin X Quad; Keyboards / Piano: Native Instruments Komplete Kontrol S61 MK3 – dedicated for composition; Yamaha CLP-775PE Clavinova – dedicated for composition and recording; Monitor Speakers: Genelec 8030CP, Yamaha HS5 – for production and mixing; Apple AirPods Pro 2 & 3, Beyerdynamic DT770 PRO – additional monitoring Car Audio Hi-Fi Systems: DENON DCT-Z1 Head unit; Sound Stream Human Reign, Da Vinci, Picasso Power Amplifier; Audio Technica Rexat speaker cables and power cable; Sound Stream Balanced connection (No RCA); Sound Stream EXACT 5.2 and 6.2, a/d/s 335 PX and 335 IS speakers; Monitor Volume Control: Mackie Big Knob; Studio Wiring: Full studio wiring with Oyaide PA-02 cables Software / Plugins: UAD Plugins (50+), Waves, FabFilter, Soundtoys, Keyscape, NEXUS, Sylenth1, Avenger 1 & 2; Native Instruments KOMPLETE 13 Ultimate Collector’s Edition, Serum 1 & 2, Addictive Keys; Celemony Melodyne 5 Studio, CableGuys, Shadow Hills, BrainWorks, Sonnox, SSL 🎧 DJ: Apple MacBook Pro M2 Pro (16GB RAM / 1TB SSD) – dedicated for DJ performance; Pioneer DJ DDJ-RZX, DDJ-RZ, Rekordbox DJ; Headphones: Pioneer DJ HDJ-X10; USB Cables: OYAIDE /d+USB Class S rev.2, OYAIDE /d+USB Class A rev.2 🔊 PA / Live: FOH: Turbosound iX15 (4 units); Monitors: Turbosound iX12 (2 units); Console: Mackie 2404VLX4; Equalizer: dbx iEQ-31 (2 units); Microphones: Shure SM58 (2 units); PA Wiring: Full PA wiring with Belden 8412 cables; featuring M’s Sound Studio’s full PA systems

Q: How would you describe your style?

A: I’d say it’s tropical house that pushes the limits of beauty and loudness. At dance music festivals, subwoofers are often used, but not everyone has them, and not every venue is equipped with one. So I produce while aiming for that fine balance a sound that feels beautiful yet powerful across all kinds of speakers. From the mid to high frequencies, I focus on clarity, space, and a sense of beauty; while from the mid to low range, I prioritise energy and impact. It’s a tricky balance when you push the low end, the highs can sound weaker, and when you highlight the highs, the lows can lose presence. I believe all frequencies are perceived as one connected sound by the human ear, which makes it even more challenging. Even during mastering tests outdoors before release, my engineer and I don’t use subwoofers. Most PA speakers can reproduce down to around 40Hz, and even though they don’t fully reach below that, I design the mix so it still feels pleasant and full. If listeners feel good while listening, or imagine something tropical as they do, that alone makes me happiest.

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

A: Perhaps many people have the same curiosity. It’s not just about genre or music — the question I get asked most often is: “How do you come up with melodies and lyrics?” I usually answer, “I turn into sound what I’m feeling or thinking at the moment.” But there’s something important to add: you need a foundation — a chord progression that fits the theme. From there, I often imagine the melody and lyrics. I’ve realised that when I create music, I naturally tend to make bright, uplifting tracks. That’s probably why many of my songs are in major keys. I hadn’t really thought about it until now. I also have a chord progression that could be called my signature — in degree names, it’s often 6–4–1–5. However, to keep listeners engaged and to add a bit more emotion, I usually add a Sus2, an Add9, or a 7th, or an “on” chord somewhere within the two-loop cycle. This way, the progression stays interesting while still carrying the feeling I want to express.

Q: What's your strongest skill?

A: I’m good at creating music that lets you close your eyes and feel as if you’ve been taken to that very scene. For example, if the theme is the sea, I like to blend in the sound of waves, birds singing, or people enjoying themselves on the beach. You might think it’s just about adding those sounds, but it’s not that simple — some samples fit a track perfectly, while others completely change the atmosphere. If a song is meant to evoke a quiet, deserted island, hearing laughter from a crowded beach would feel out of place, wouldn’t it? When mixing, I carefully balance these sounds so they don’t interfere with the main elements. I always aim for the fine line between beauty and power. If you chase only beauty, the low–mid range tends to fade; but if you focus too much on low-end impact, you lose the sense of elegance. It’s also a bit of my personal obsession, but I always export and mix at 192kHz/24bit — and I ask the engineer to do the same. Maybe it’s just psychological, but I feel the high frequencies sound more open and refined that way. A four-minute track ends up around 300MB, but that’s fine with me. Before release, I usually test my tracks outdoors using a Pioneer DJ DDJ-RZX, though it only supports up to 96kHz/24bit. So instead of routing audio through the controller, I connect my DJ MacBook Pro directly to a Universal Audio Apollo Twin MK2, run Rekordbox DJ through that, and then output from the Apollo. It gives a wider soundstage and enhances the beauty of the mix — or maybe that’s just in my head. Of course, there’s a downside: you can’t monitor the cue in your headphones when doing it this way.

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

A: A: I’m especially proud of my track “Human Memories.” After releasing my song “Long Park,” one of my high school students with developmental disabilities came to me and said, “Sensei, I want to create my own song and sing it in front of people. I’ve never sung before, but I’ll practise hard. Please make a song like your ‘Long Park’ for me.” I was deeply moved, but I told him this: “When you stand on stage, remember that the people who come to listen have given their time and paid for travel to be there. Be grateful to the organisers, the staff, the sound engineers, the host, and everyone who comes to listen. Once you’re on stage, no one can help you so you must practise every day and build your own world.” The lyrics were written around the theme of *accepting the past and moving forward*: “The memories of childhood never fade, even as we grow up — but let’s face forward and keep living.” It became a song that expresses both the kindness and strength needed to live as a human being　something everyone in the world can relate to. He practised for nearly a year, crying and singing dozens of times every day. When we finally went into the studio to record his vocals, I felt so proud and happy for him. The track was later selected for Spotify’s algorithmic playlists in Japan, which made me truly happy that it reached so many people. I handled the entire production from writing the lyrics, composition and arrangement to mixing and the final mastering was done at M’s Sound Studio, located right in front of Shirarahama, the iconic beach of my hometown, Shirahama. Finishing the sound by the sea made me feel as though the breeze and air of Shirahama were living inside the music itself. This song taught me the power of music and the beauty of human connection. It’s one of the most important works of my life.

Q: What are you working on at the moment?

A: I'm currently working on my second album, inspired by the sea, tropical beaches, and summer twilight. It's a melodic tropical house project that captures the warm, relaxing atmosphere of coastal Japan. In my first album, most of the melodies were written on the piano, but this time, the melodies will be carried by leads, plucks, and other instruments, bringing a tropical feeling from the very start. I imagine it like water flowing from a mountain stream down to the sea, where people arrive with all kinds of emotions some wanting a peaceful sunset, some wanting to celebrate summer, and where stories and encounters naturally unfold. Growing up in Shirahama, Wakayama one of Japan’s most scenic destinations surrounded by mountains, rivers, and the sea — gives me a unique perspective to express this through music. Many visitors come to relax and recharge, while others come to reconnect with everyday life. I want to convey all of that through seven notes and hope that listeners overseas will one day experience Shirahama for themselves. I would be thrilled if they could listen to my music there and create unforgettable memories. Since releasing my previous album, I’ve created around 20 to 30 new tracks and am carefully choosing which ones to include. I also want listeners both longtime fans and older audiences to be able to close their eyes and imagine a calm, tropical world. That’s why I plan to include some of my most meaningful tracks as piano versions for the bonus tracks. Altogether, the album will feature around 17 to 18 tracks. I can’t wait for everyone to hear it!

Q: What's your typical work process?

A: My creative process always begins with the key scale and chord progression — the foundation of emotion. From there, I start shaping the melody. I write chords on the piano, which I’ve played since I was five years old. It’s like an extension of my heart, and probably why it feels the most natural to me. When I want to change the mood or color of a song, I simply change the way I play the chords and let new ideas appear. Once the melody is complete, I move on to building the energy of the track — the build-up and drop. By the time Verse 1 is done, the session already has over 150 tracks, and by Verse 2, it grows to around 200. I add a limiter on the master to slightly lift the loudness, imagining how the track will sound to listeners. After the main production is finished, I export everything as audio files and start a new project in Logic or LUNA for mixing. This gives me a fresh perspective. Using UAD plugins, I rework each sound — removing what’s unnecessary, letting emotional sounds fade gently, and balancing everything until it feels alive. When I create the two-mix, I listen through AirPods Pro 2 & 3, my customized car audio system, and headphones — going back and forth between listening and adjusting, sometimes a hundred times or more. It’s a long process, but it’s where I find the true soul of the song. Finally, after mastering, I check the track with my engineer outdoors through a full PA sound system at a 5,000-capacity venue. Hearing it under the open sky is the moment I know it’s ready to be shared with the world. That’s how I bring my music to life.

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

A: I usually work independently, so I don't have any specific recommendations on SoundBetter. If AI counts, maybe that would be my assistant! 😄

Q: Analog or digital and why?

A: I mainly work in digital to keep everything precise in terms of BPM and timing. However, when I want something that software synths can’t quite express, I sometimes record piano chords using my carefully chosen Yamaha Clavinova CLP-775, connected to an Apollo Twin X Quad. It’s still an electric piano, but there’s a warmth and emotion I can only get from actually playing it. Ideally, I’d love to record with a real acoustic piano and microphones, but since I usually compose late at night, I have to be mindful of my neighbours so my home studio setup stays digital. My favourite piano sound, though, comes from the instrument at my engineer’s studio back in my hometown of Shirahama, M’s Sound Studio. It’s a beautiful Japanese piano by DIAPASON, one of Japan’s finest high-end brands. The keys aren’t too heavy or too light, and when you gently touch the high notes, the tone expands softly into the room it feels like the sound wraps around you. I’d love to one day record a piano medley of my own songs there and share it with the world. I use various synths in my productions, but my signature sound often features Nexus 5, Avenger 2, Sylenth1, and Logic Pro’s Sculpture. I don’t just rely on presets I shape the sound with tools like ADSR, Guitar Rig reverb, delay, and bitcrusher effects. For the drop melodies, I usually layer around eleven synth tracks to achieve the fullness I’m after. That’s where the real challenge begins without those layers, the track feels empty, but too many layers can increase reverb and make the attack too strong. So I experiment a lot. For example, if a pluck’s attack feels too harsh, I’ll bounce the track to audio, reverse it, compress it, and then flip it back. This process softens the airiness of the attack and creates space in the sound. That’s how I shape my tones bit by bit, until they feel alive.

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

A: I promise to work closely with my clients and see the project through to the very end. I commit to delivering a polished, high-quality track that reflects their vision while incorporating my signature tropical house sound.

Q: What do you like most about your job?

A: What I enjoy most is layering and shaping my own sound during production. Combining melodies, textures, and arrangements to craft the final track allows me to fully express the emotions and atmosphere I want to convey.

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

A: Some people seem to think that making tropical house is as simple as pressing a few keys in a sequencer, or that it’s easy and straightforward. Of course, tastes and production methods vary widely, but for me, everything starts with selecting the right sounds for each part the bass, leads, piano, kick drum, snare, hi-hats, percussion I listen carefully to each one, try different options, and constantly refine them. Of course, composing melodies, arranging, and mixing can take a great deal of time. Honestly, there are moments when things don’t go as planned and it can be tough. But the moment the track finally comes together after all that effort, it brings an incredible sense of joy. It’s a bit like climbing a mountain and finally reaching the summit the view at the top is something only those who’ve climbed can truly see. I have great respect for all music, knowing that each piece carries the thoughts and efforts of composers, engineers, vocalists, and many others. Being able to realise your ideas whether through chord progressions, background melodies, or the main melody is an amazing feeling.

Q: What questions do you ask prospective clients?

A: I ask about the client’s vision for the track, preferred BPM, key, and mood. I also like to know how committed they are to completing the project, as I work best with clients who are dedicated to seeing the song through to the end. If a client is unsure about lyrics or melody, I’m happy to offer guidance and collaboration.

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

A: 1. Apple MacBook Pro M4 Max – main production workstation 2. Logic Pro X – primary DAW for composing and arranging 3. Universal Audio Apollo Twin X Quad – audio interface for high-quality recording and monitoring 4. Native Instruments Komplete Kontrol S61 – for expressive composition and MIDI input 5. Yamaha CLP-775PE Clavinova – for realistic piano sounds and inspiration (P.S. Of course, electricity would be nice too!)

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

A: I started composing music in April 2021, teaching myself music production from scratch. Since then, I’ve released over 30 tropical house tracks worldwide across various international labels. Some notable releases include: - Rhaffa, JapBoy - Otro Verano Contigo (Midfall Promise LLC) - JapBoy - You’re My Treasure feat. Coco (Euphoric Echo Records) - JapBoy - Move On feat. Waco (Almighty1 Music) - JapBoy - Gemstones feat. Naci (Almighty1 Music) - JapBoy - Period To Scary Days (PTSD) (Big Tunes Records) My journey began with a deep love for the sea and the warm, nostalgic emotions of Japanese summer nights, which continue to inspire my sound today.

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

A: I would love to work with Kygo or Jonas Blue because their melodic tropical house style aligns with my own, and collaborating with them would allow me to explore new emotional textures and expand my creative horizons.

Q: Can you share one music production tip?

A: I think the most important thing is inspiration in the moment. Even a quick sketch is fine; the key is to capture it. There are plenty of How-to videos online, and using them as a reference is useful. But don't take everything at face value; always pursue your own originality. For Tropical House, there is no rule that you must use a certain kick. Find the sounds that feel right to you. And this might get some criticism, but when I am creating a melody, any phone notifications can completely break my focus. So my tip: turn off your iPhone while composing, haha.

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

A: Melodic and cinematic tropical house, chill house, and summer-inspired electronic music.

Q: What do you bring to a song?

A: I bring melodic and cinematic tropical house elements, creating chill grooves, expressive piano, and organic textures. I enhance vocal melodies, arrangement, and mixing to evoke summer evenings, nostalgic coastal scenes, and emotional depth in every track.

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

A: Kygo, Jonas Blue, Mike Perry

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

A: I produce melodic and cinematic tropical house tracks, provide vocal tuning and editing, and offer mixing and mastering for Spotify-ready releases.