For the producer with a folder full of loops and no finished records. Thirty-two full tutorials covering everything from choosing sounds and building grooves to arranging finished records, in the order Jon builds them.
After being a bedroom producer for almost a decade, this course brought me to a professional standard in a matter of months.Boon · Moxy, Dansu Discs














































Where a record starts. The template Jon opens every time, and how to choose sounds that carry a track instead of ones you fight later.
See inside Jon's production template: five delay sends, five reverbs with his exact decay and pre delay values, and his master chain with the Oxford Inflator at 15 percent.
Search Splice by the key of your track to find ear candy in under a minute, then place it so the arrangement stays interesting.
















Kick selection and shaping first, because everything downstream depends on it. Then two full drum chains.


Layer the low end of a reference kick under the top end of your own sample at a 360Hz split, then bounce the layers into a custom kick.
How Jon processed the drums on Your Love, his Leftwing : Kody release: the kick, the hats, the claps and the drum bus treatment.


Build a lo-fi drum sound inspired by Solid Grooves releases by driving saturation hard and dialling it back with the mix knob, on the kick and again on the bus.


















Bass written around the kick rather than squeezed in afterwards.


Get the kick and bass sitting together using transient design, EQ, saturation, compression and proper referencing.
Split the rolling bass into two layers, the main patch high passed at 80Hz plus a dedicated sub, giving you separate control over the sub and upper bass.
Build the offbeat organ bass with the Korg M1 organ, a Moog saw underneath, and a third organ with its mid signal stripped out for width.
Split one bass into sub, mid and top layers the way Jon did on Sensation, his Leftwing : Kody release on Realm Records. See his Serum sub settings, then EQ, widening, saturation and distortion so it holds up on big systems, small speakers and headphones.


















Chords, melody and vocals. The part most producers skip because it is the hardest to fake.


Build five note chord progressions in Scaler without piano skills, then pull the bass, pads and melodics from the same MIDI.
Layer the Korg M1 with two live pianos, then saturate and EQ in alternating passes for the in your face piano house sound Jon released on Armada Subjekt.


Drop the formant on a sampled vocal with Little AlterBoy, then stack hard panned formant layers plus an octave up and down for thickness.


















Turning a loop into a record. Tension, energy and the transitions that hold a nine minute club edit together.
Watch Jon drag a reference track into the project, map its sections, and turn a loop into a full arrangement.
Build and remove tension at the same time: delays on a loop texture, reverb on the vocal, drum bus filtered down underneath.
Build a high energy breakdown first, then strip elements back to get a low energy one. Jon's own working order, with the filter and atmosphere moves.
Stack five transition moves at once: high passed kick, a fill, a crash, a vocal tail through a telephone delay, and a piano stab as the exit point.
Jon's approach to building tension through arrangement and energy management rather than reaching for effects.




















Thirteen artists rebuilt from an empty project, so you hear the decisions that make each one sound like them. These are recreations of other artists' records.
Build the Gorgon City garage sound, from the JK Reese bass under FM top layers to the trance gate that makes the vocal iconic.
Build a Cloonee style tech house groove on sound selection alone, with one noise layer, a short sub kick and partial sidechain.
Recreate the Hugel Afro house sound across twenty three drum channels, layering shakers loose and unquantised and searching every loop in key.
The production choices behind the D.O.D sound, rebuilt from scratch.
Where the character in Fallon's bass actually comes from: portamento between three notes, a spread second oscillator and a shortened top loop.
Make eight VST layers sound like one live orchestra, using staccato and legato strings, brass and piano in paired octaves.
Six channels, huge drop. Drive claps and hats hard with saturation, then shorten them with a transient designer and clip the bus.
Tame the M1 organ with saturation above the first harmonic and tight top and bottom cuts, plus the SSL G Bus settings that glue the drums.
Split a rolling bass into a wide mid layer and a sub layer cut at 80Hz, then build the big emotive chords from the bass notes up.
Get the Toxic drop from ten channels: a tuned snare stack with transient design, plus multiband sidechained bass at 900Hz.
Build the acid 303 bassline in note mode with slide notes, then tame the 250Hz to 1kHz band so it stops swallowing the mix.
Recreate the Prospa sound from This Rhythm with disco drum loops, a Moog saw with envelope on cutoff, and a Rhodes triad moving only the top note.
Rebuild it with seven drum channels, white noise hats drawn in by hand, and one Ozone chain on the bass.




















































Releases Jon worked on, opened channel by channel. The real sessions, nothing recreated.




A full breakdown of Jon's collaboration with Hot Since 82, nearly eighty channels, showing how the drums, bass and builds were actually assembled.


How Jon mixed Fast Love from over a hundred stems, splitting bass into sub, mid and top and building the stereo field around a centred kick.


"This course was such a game changer for me. I just signed an EP with Hot Creations and have loads more labels interested, your course really connected the dots for me."
Micheal Joseph · Hot Creations, Cuff
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