With releases on Carl Craig’s Planet E, R&S, Cocoon and Tresor, it’s been a meteoric rise for the Irish duo since 2008. Here they explain the importance of persistence, keeping workflows fresh and why outboard gear works for them.
Find out how to create the catchy synth lead line from David Guetta’s electro pop hit “Bad Little Girl” using Native Instruments’ Massive.
Bring your disco productions to life with some classic disco lazers. Marc Adamo shows you how in this exclusive video tutorial.
Thijs de Vlieger, one third of world-conquering Drum & Bass outfit Noisia, shares his thoughts on studio schedules, knowing their spectogram inside-out and why every studio tool is ultimately replaceable.
The Dim Mak and Ultra regular and Dizzee Rascal remixer discusses the challenges of producing on the road, his essential mixing tools and name-checks his current favourite synths.
The Spectral Sound regular shares some EQ tips, lists her essential studio weapons and explains why the last 5% of making a track is always the hardest.
Marco Adamo dissects the synth lead and drum beats behind Dirty South’s electro rework of Diddy’s Coming Home in another revealing S2S video walkthrough.
The UK house music legend talks about his analogue-packed studio, offers up an EQ tip and explains why the artist should always read the contract.
Find out how to build Duck Sauce’s sample-heavy smash Barbara Streisand from the ground up in another S2S video tutorial exclusive.
Marc Adamo puts layered claps and snares under the microscope, dissecting the process and showing you how to build your own one-shots in this essential beat-making video tutorial.
Learn the secret ingredients to Skrillex’s signature talking future dubstep basslines in Marc ’01′ Adamo’s exclusive video walkthrough.
Sleazy fidget sounds are all about wonky beats, stacked claps, pushed swing and wobbly, rasping basslines. Hedflux serves up a selection of his turn-to tips.
The progressive tech-house don takes to the S2S hotseat and tells us why great productions are all about investing time, quiet monitoring – and rolling away non-bass frequencies at 125Hz.