25 Track in 25 Days (Part 2)

In January 2025, I produced 25 tracks in 25 days = 25/25/25

You can give it a listen here (if you like it, follow me on Soundcloud) 👇

This essay part 2 of a two-part series about this project:

1. 25 Tracks in 25 Days (Part 1): An in-depth account of the what/why/how of this project
2. [This post] A technical overview of my biggest learnings.

I'll be completely transparent and lay all my learnings, tips & tricks bare.

I hope you’ll enjoy it ✌️

#1: My Ableton Template: Start with Structure

The biggest time saver (by far) was starting to work off of a template.

Working Without a Template

While producing, the first 10 tracks, I started every single day from a completely empty Ableton Live file 👇

There's nothing wrong in starting 'fresh.' Some benefits include:

• 🧭 Learning the Navigation of the Software: Especially early on it helps to get the reps in to orient yourself in the DAW.
• ⌨️ Learning Shortcuts: Starting from a blank file forces you to use shortcuts. Otherwise, you'll end up wasting a looooooot of time. My favorite shortcuts are
  • (Cmd + F) + (type what you are looking for) + (hit ENTER) → this way, you don't need to use the mouse to select and load stuff into your work view.
  • Cmd + Option + 3/4/5/M → On/off switch for different views: (3) Clip View, (4) Instrument/Effects Rack, (5) Browser View, (M) Mixer View.
  • (Cmd + C) + (Cmd + D) → Copy + Duplicate of whatever you have selected .
  • (Cmd + J) + (Cmd + E) → (J) Consolidate selected files and (E) cut samples at the position of the cursor.
• 🧪 Experimentation: Without a template, you can eventually run into happy accidents and discover something that you might have not if you would have gone through your "standardized workflow."

But after a while - in my case it was around track 10 - the lack of a template leads to a lot of repetitive work. You start to waste a lot of time.

The day of track 11, I turned the working file for track 10 into a template. Massive shoutout goes to producer Westend who created this killer tutorial.

Working With a Template

Now, every time I start producing a track, I load the current version of my personal template.

A few concepts, I use in my template architecture:

• 📒 Starting Point → The template is a helpful reference. Not more, not less. If I feel like I don't need certain elements or (especially) feel like there's something missing, then I just change it.
• 🗂️ Grouping → Sounds that are either (a) in a similar frequency range (e.g. Low end, Percussion, etc.) or (b) serve a similar purpose (e.g. Vocals, FX/Supplemental Sounds, etc.) are grouped together. A few benefits include:
  • Combined Processing: It allows for top-down processing of the signal (h/t to Kilian for teaching me this method).
  • Clean Workflow: It's much easier to find elements if you are looking among 20+ separate tracks. If it's a bass, I know to look for it in the Low End group. If it's a hihat, it's in the PERC group.
• 🎨 Color Coding: I color code all elements for an even easier navigation in the project file.

I'll introduce it to you via 2 screenshots. The first focuses on the Low End group.

The Low End group includes:

• KICK (group) = combined signals of:
  • Kick_audio → If I work with an audio sample
  • (or) Kick_MIDI → If I work with a MIDI kick
  • sc_silent Kick → Sometimes I use the kick as a muted (auxiliary) track, which runs start to finish so I can sidechain other signals against it
  • Polyrhythm (group) → actually this is incorrect naming. It should be Polymeter. I like this, since it adds interesting groove variations in the low-end drums.
    • PR_Tom_1 → First polymetric off-beat tom
    • PR_Tom_2 → Second polymetric off-beat tom
• BASS (group) = combined signals of:
  • Bass → If I work with MIDI
  • Bass (MIDI resample) → If I resample the MIDI signal into audio

All of the above, gives me (a) enough guidance to start the project, since in most electronic music, you'd like a groove consisting of at least a kick drum and a bass and (b) it saves me valuable time, since I have group-level effects already in my template.

Let's look at what else this template has in store for me.

One of the main elements is the Percussive group:

• PERC (group) → this group is a monster and a workhorse
  • Clap 1 → standard clap on the 2 and 4
  • Clap 2 → additional layering and texture for the clap sound
  • Hat1_main → Hihat sound
  • Hat2_bigger → additional hihat for layering and texture
  • Ride → Ride sound w/ a tasty reverb 🤤
  • Perc Loop → Percussive loop to fill the top of the frequency spectrum
  • Top Loop → Auxiliary top loop for complementary sound scape
  • Shaker → Make it organic
  • Perc Supplement 1 → Supplemental percussive sample at random points
  • Perc Supplement 2 → Similar as above
  • Fill Perc → Similar as above

The amount of percussive elements might seem overkill but it actually serves a very specific purpose:

• Layering & Texture: Rhythmic elements in the top end drive the track forward and provide additional movement
• Easier Arrangement: Having 10+ percussive elements allows me to be very creative in arranging the track. There are constantly things coming in and out of the track.
• FX/Modulation Paradise: The amount of elements allows you to apply effects or modulations creatively and generate additional "movement" in your track/arrangement.

Honestly speaking, this PERC group was one of my main takeaways from this 25/25/25 project.

👀 One important thing is that the signals from both the Low End group and the PERC group get summed up into the LE(Kick+Bass)+PERC group.

Why, because electronic music lives off of the groove. And I'd argue that the groove is the combination of all of those elements.

In my production sessions, I would then solo the LE(Kick+Bass)+PERC group and listen to it for a couple of minutes on repeat. If I don't get bored and if it's making me dance/move I know that I'm on the right path 👀

The other groups include:

• MELO (group)
  • Melo_MIDI → Melodic elements (e.g. synths; guitars; keys; pads; etc.) as MIDI clips.
  • Melo_audio → Melodic elements if I work with audio clips.
• VOX (group)
  • VOX_Main → If I work with a vocal, then I usually have a main vocal that carries the arc of the track.
  • VOX_Support → I support the main vocal with support vocals, which are usually chopped up samples from the original vocals with heavy effects processing and modulation.
• ATMO & FX (group)
  • Atmo Loop → This can be a continuous background loop that adds a vibe or a texture to the track.
  • FX1 → Effects sound that is sporadically placed.
  • FX2 → Similar as above.

And there you have it: My Ableton Live template 🗂️

You can download it here for free 👇

#2: Standard Workflow: Start with 2-Bar Loop

This one had a massive impact on my production quality: Starting small.

My buddy Lukas (aka Fermat) told me that the best techno producers he knows are always starting with a 2-bar loop (8 beats in total).

The basic idea is to (1) start with a small loop [e.g. 2-bar loop, 4-bar loop] and (2) iterate until it sounds good.

You set yourself this constraint, start with your basic composition (chords; theme; etc.) and eventually progress to instrumentation (selecting your instruments/sounds).

The constraint of a two-bar loop allows you to nail the idea before you expand it to the whole song/track via your arrangement.

In an older essay, I shared how the legendary Hans Zimmer thinks about this concept:

Core Idea: How to Find Inspiration?

I recently watched a Masterclass with Hans Zimmer (film composer) where he talks about starting with a core idea.

Usually something simple enough to play with one finger on a piano. It is easier to expand a simple idea than finding simplicity in a complex idea.

When I start working on a pice of music I go through the following points:
Emotion: Which emotions do I want to trigger? Is it rather melancholic or happy?
Tempo: Is it fast or slow?
Sound: Does the sound need recognizable elements? Classical music has orchestral sounds, Maya music has flutes and wooden mallets, etc.
Inspiration: For a remix, do I like the vocals, the synth, the bass line, the percussion? What can I start with – remove the rest – and then build upon?

During my 25 track challenge, I committed to starting most productions with a 2-bar loop constraint. So much so that my template has a 2-bar loop marker set at the 'Drop 2' marker.

That way, I always start producing the most energetic part of the track and then have the possibility of arranging my way to it.

#3: Percussive Movement: Variance Galore

Most of us associate electronic music with a very present and penetrating four-to-the-floor kick drum. Umpf. Umpf. Umpf. Umpf.

But there's so much more to it. In his most recent interview, DJ Koze said the following when talking about newer genres from Africa (such as Amapiano and Thakzin (3-step)):

The bass drum is somehow exhausting. They only use it as a metronome or a heartbeat and everything around it is grooving and shaking.
- DJ Koze

Lesson learned: Percussive elements can carry the entire track.

I tried to push this idea to the extreme with my track 'Perc Dance.'

You can see that my arrangement mainly consists of 10 percussive tracks, 2 vocal chop tracks, and one rolling kick drum during the drop sections 👇

Meanwhile, many of the percussive signals are processed with effects and are being modulated automatically.

Just to give you a feeling for it: This is the effects rack for Hat 2_bigger:

What's going on here:

• Microfillz: This is a variation of the (built-in) beatrepeat plugin in Ableton. By playing with the setting you can automate percussive fills/movement. Very very helpful. H/t to Davide/Surt for the pointer.
• Auto Pan: The sound is narrowly moving/panning from left to right and back.
• Erosion: Distortion effect on the sound. It is being modulated by two LFOs (low-frequency oscillators) - see below.
• LFO 1 + LFO 2: The LFOs are moving perpetually according to their settings and their movement is controlling two parameters (Freq + Amount) in the Erosion effect. This helps achieve greater variance across the entire track.
• Saturator: Waveshifting effect to add a bit more depth.

You can find a full reference of Ableton's Effects here.

Beyond the variety in sounds, percussive elements allow me to arrange flexibly. Small sounds here and there can still tell the ear/brain that there's something new happening.

#4: Polymeter Everything: Math-Quizzing the Audience

A happy discovery was the application of polymeters in track 5.

In short, polymeter means using multiple meters (4/4 and 5/4) in the same track. So, drums go on 4/4, while a particular percussive or melodic element counts on 5/4. As such, the 5/4 would switch by one beat with every repetition.

Polymeters are frequently applied in techno music to keep a sense of progression and surprise. I found this tutorial to be very helpful.

In track 9, I took the polymeter concept a step further and applied it not only to various drum elements but also to vocals, which led to a rotating dance between the main vocals and the support vocals after the last drop.

The fascinating thing about polymeters is that they involve the listener. I like that and will definitely keep using it going forward.

#5: Buildup Automations

I loooooove breaks and buildups.

It provides a great opportunity to take a breather and build a drop (down to the bass frequencies) intentionally:

• Hi-Pass Filter Sweep: Take out the low frequencies via hi-pass filter + bring them all back at (or right before) the drop.
• Stereo Widening: I like to "open up" the Mid to Hi frequencies during the buildup to give it an aerial vibe. Then, at the drop, bring it all back to center for proper punch.
• Making It Weird: One interesting technique is to change a sound (vocals, bass, melo/pad/etc) via distortion/bit-crushing/etc. Literally, any effect processing can give it an interesting twist. I particularly like this effect on the main melodic element in the buildup (vox or synth).

A good example of these techniques is the buildup & drop of track 11:

#6: Arrangement Tricks

For this, I'll have to write a separate post.

There's just too much to cover. Here just to name a few concepts:

• Macro
  • Call & Response → Making it an interplay between elements
  • Symmetry → In/out arrangement with symmetry
  • Pre-Facing → Planting the sound seed before a new element hits
• Micro
  • Sample Edit → Chop, flip, cut, duplicate, etc. Anything goes to make a sample more interesting
  • Micro-Arrangement → Sample cleanup to allow for micro Call & Response

#7: Making Progress

Before starting the 25 tracks project, I was afraid that I might run out of time and out of ideas.

But if your goal is to produce and publish something every single day, then you don't have the luxury to sit idle.

Learning #1: Just Get Started

Don't waste time. Open your DAW and start experimenting even/especially if you don't have a clear idea.

The track will crystallize in front of your eyes as a result of you pushing forward.

Learning #2: Ideas Are Everywhere

On Day 13, I woke up to heavy rain.

I went to the window, recorded the sound, and used it as a sample for that day's track 👇

I didn't say it was good or anything. But you can get an inkling of an idea by looking all around you. A book. A sound. An idea. Literally anything.

Learning #3: Self-Directed Learning Is Wassup

Last summer, I was briefly considering doing a 4-week production course in Berlin. It cost €3,000+ and it didn't seem worth it at the time.

I was worried that I wouldn't get enough reps and that the pace of instruction would be a bit too slow.

Then, I remembered the following story from Derek Sivers:

The standard pace is for chumps. The system is designed so anyone can keep up. If you're more driven than 'just anyone' — you can do so much more than anyone expects. And this applies to ALL of life — not just school.

Honestly, I recommend you read how Derek graduated Berklee College of Music in 2 years (instead of the standard 4).

As my friend Bore/Ritual Cycles puts it: YouTube University beats it all.

You have tons of great instructors, topics, and difficulty levels for every taste. Some of my favorites include:

• Pharrell x Rick Rubin - A must watch for everyone.
• Westend - Most helpful 60-minute tutorial start to finish.
• Jonas Saalbach - Look over the shoulder of one of the greats.
• Andrew Huang - Learn music theory in 30 minutes.
• Lady Gaga - Look behind the curtains of her track 'Disease.'

#8: Naming and Cover Art

But music production is not only about making the music. There are other elements too.

Naming of Songs: Don't Overcomplicate It

Honestly, just make it easy.

I would usually do one of the following:

• Pick the main word from the vocals (e.g. Hubava)
• Pick the inspiration for the song (e.g. Athena Sky)
• Pick the association with the song (e.g. Dream)

Trust your gut and don't overcomplicate.

Cover Art: Run with the Inspiration

Same applies for the cover art. It would usually be the result of the track sound + the track name.

I would think for 2 minutes what I associate with it and then just prompt it into Midjourney. The same obviously applies if you're working with a graphic artist or if you do it yourself. The idea is the same: Understand what you want and then describe it.

#9: What's Next?: Musical, Remixes, and an LP

This project was a blast and I achieved all of my stated goals.

I summarized my objectives in the previous blog post:

Master Ableton Live: I had previously produced with Apple’s Logic Pro production software and wanted to switch onto the standard production software for electronic music.

Improve My Workflow: Create a reusable template. Figure out which elements I need in my productions. Understand out how I want to architect the signal routing in my tracks.

Find My Sound: Develop a better understanding of what I like and don’t like. Find and/or create signature sounds that can be reused in future productions.

Mission accomplished ✅

But now what?

Project #1: Original Tracks for a Musical

One of the biggest surprises from the entire process was that people started reaching out to me.

• Words of affirmation
• Feedback
• and even an invite to collaborate

One of my friends reached out and told me that he's writing a musical. But his team was still looking for someone who could write three original tracks and hence asked if I'd be interested in collaborating.

Hell yes!

So, in the coming weeks, I'll be working on some pop-influence music for a musical. Exciting!

I'll keep you posted.

Project #2: Antarctica LP

And then there's going to be the big project: Producing my Antarctica LP 🇦🇶

In February, I traveled to Antarctica and - no exaggeration - it was a life-changing experience. I summarized some feelings and observations in this post:

But traveling down South, I figured it might make sense to record all the different sounds:

• Wildlife (penguins; whales; seals; etc.)
• Nature (water; waves; ice; wind; etc.)
• Ambient (ship; engines; expedition crew; etc.)

At first, I was afraid that there wouldn't be enough times where I could get a good recording.

But after the trip, I looked through the files and realized that it ended up being 100+ samples.

Now, the main question will be in which direction I'll want to take this record.

Currently, I'm inspired by what Jon Hopkins (Ritual; Singularity) and DJ Koze (Music Can Hear Us) are doing.

But who knows? Everything might change when I open Ableton 🤷‍♂️

Let's see where inspiration will take me.