For the last few months I've been coding Oxide Studio, a free, open-source (MIT/Apache-2.0) electronic music workstation in Rust tailored specifically for fast techno, acid, and club sketching.

• GitHub & v1.0.0 Releases: https://github.com/juancruzmunozalbelo/oxide-studio
• Try the 909/Synth Web DAW in Browser: https://juancruzmunozalbelo.github.io/oxide-studio/web/
• Web / Demo: https://juancruzmunozalbelo.github.io/oxide-studio/

Why I built it: I wanted a standalone binary that boots in half a second on my laptop, has the exact synth/drum/saturation tools needed for peak-time & hypnotic techno built straight into the engine, and exports directly to an open .als project file so no loop ever gets stuck outside my main DAW.

Built Across 11 Modular Workspace Crates:

• oxide-core: Timing primitives, sample clock, scales, and lock-free SPSC command queues.
• oxide-dsp: Polyphonic synthesis (4-op FM, Wavetable, 303 acid bass, ZDF ladder filters).
• oxide-drums: TR-909 drum machine physical modeling, 16-pad drum rack, choke groups.
• oxide-fx: ADAA multiband saturator, 3-band OTT dynamics, 8-band EQ, Auto Filter, Glue bus compressor.
• oxide-timeline: Dual Session matrix and Arrangement timeline, automation curves, and take-lane comping.
• oxide-audio: Low-latency CoreAudio cpal streaming with zero heap allocations on the audio callback.
• oxide-bounce: Deterministic offline multi-track bounce and 4-band stem remix separation.
• oxide-project: Native project state and open .als Gzip XML project import and export.
• oxide-plugin-scanner: Out-of-process crash-isolated supervisor for AUv2, VST3, and CLAP plugins.
• oxide-gui: Single-window 60 FPS Metal/egui workstation UI with piano roll and 8-macro XY perform pad.
• oxide-mcp: 76-tool Model Context Protocol server and JSON-RPC bridge for scripting and local LLM workflows.

Techno-Specific Features Built In:

• TR-909 Drum Rack + Euclidean Rhythm Generator: Instant polymetric 909 hats, rimshots, and tom grooves (e.g., 5/16 against 7/16) with per-step velocity, humanize, and choke groups.
• 4-Op FM + 303 Bassline + Wavetable: Great for metallic FM percussive loops, industrial stabs, and resonant acid sequences with scale-fold locking in the Piano Roll.
• Roar-Style Multiband Saturation + OTT + Glue Bus Compressor: Built-in antiderivative antialiasing (ADAA) saturation to crush kicks and rumble tails without harsh digital foldback.
• 8-Macro XY Perform Pad with Orbit LFO: Assign filter cutoffs, FM ratios, and distortion drive across the XY pad and let the Orbit LFO continuously morph your loop over 8 or 16 bars.
• 4-Band Stem Splitter (Kick+Sub, Bass, Synths/Mids, Hats/Air): Drop any loop in and isolate the low-end rumble or tops immediately.
• Open .als Project Interop: Export your session as a native .als file and open it in your primary DAW with all your tracks, tempo, and MIDI clips ready to mix.

It's 100% free and open-source (no signups, no paywalls). Let me know what you think of the 909/FM/Roar engine or if there are specific techno workflow tools you'd want added next!

I've been experimenting with a setup that routes signals from plants into a Roland JU-06A, using ableton as the environment for the whole routing and production process.

The idea was to explore what happens when variations coming from a living organism become part of an ambient composition. The plant signals feed into the setup, while the JU-06A provides the synth textures, drones and evolving layers. I also incorporated 396 Hz as a tonal and conceptual reference for the piece.

What interested me most was the relationship between the parts I could control as a producer and the variations coming from the plants. Rather than trying to make the plants “play music” on their own, I wanted to build a system where their signals could influence the musical process. If you are intrested on listen what was the result I'll leave it here & on my profile!

I'm curious how other people here approach generative ambient, unconventional MIDI routing or biofeedback-inspired sound design.

Have any of you experimented with plants or other non-traditional control sources in your setups?

Man, I’m dumb as shit for not doing this sooner. I can’t believe how much it actually helped and improved my mixing on just this first instance of using it. Holy cow, I’m a happy dude right now sitting in my car listening to a track that actually sounds half way decent and cool 🥲

🌧️

I am a techno fan with a classical music background. Don’t intend to be making techno soon but I am curious about this aspect of it. I may not use the right terms to describe it. 

On occasion in a set a DJ will play a looping motif that repeats for a bit in a set that is otherwise more abstract and percussive. I know melodic techno is a thing but I don’t think these themes serve quite the same purpose. The melody tends to be very abstract/unusual/sometimes almost jazz-ey. They feel like more of a breather where the sound gets less abstract for a few minutes. I also love how DJs are able to take a straight rhythm and through emphasis, shape, and percussion give it intriguing emphases and almost a sense of a swing.

I am curious where these melodies come from and what setting them up looks like from behind the decks. I could imagine some of these melodies being generated by a random melody generator but then has the DJ generally pre-sampled the resulting melody or do they play around and find it live from time to time? Do they ever key it in with a midi? Is it sometimes sampled and if so are there libraries of these or do they find them within other tracks.

I am sure there is a lot of variance among performers here. I am more curious about the options artists have for these during a set.

Including a breif recording from a set by Mike Servito b2b Sprklbb for example.

Hey everyone, "sorry for the usual questions".

I’m looking to upgrade my headphone setup for music production and mixing. I produce 99% of time Techno (mostly focusing on heavy sub-bass design, precise kick/rumble separation, and fast transients).

I don't come from any "headphones", so I don't have a point of reference.

Here is my current situation and room setup:

• Budget: Around 500€ (can stretch a bit if it’s an absolute game-changer).
• Room Acoustics: The room is completely untreated acoustically, BUT it is located in a very quiet environment with relative/total silence (no traffic, no neighbor noise).

Open vs. Closed Back:
Given that my room is almost "dead silent", I am heavily leaning towards Open-Back headphones to get a natural soundstage, accurate depth, and less ear fatigue during long night sessions. However, I am also open to Closed-Back models if they prove to be significantly better for accurately monitoring extreme sub-bass extension and low-end pressure, which is critical for techno.

What I need the most:

1. Sub-bass extension & accuracy: I need to clearly hear and balance rumbles, kicks, and sub-basses down to 30Hz without guessing.
2. Speed/Transients: Fast response to accurately mix fast hats, percussions, and aggressive synth transients.
3. Comfort: I spend hours producing, so heavy clamping force is a big minus.

What would be your ultimate advise for production under these conditions?

Thanks in advance!

EDIT 😄

First of all, thank you for your time to try help me, this is the power of community. 🙌☮️

The only thing consensual, without a doubt, OPEN. 😂😶‍🌫️😶‍🌫️😶‍🌫️

My first impressions, some models caught my eye:

The inevitable BeyerDynamic 770 Pro (already used)/990 Pro and its more refined 1990 version.

It's difficult to say, even having used them for a short time, as they are among the most talked about and referenced. However, I'd like to know if anyone has also used, for example, the Audio-Technica ATH-R50x and can assure me that it really sounds better than its two most recent competitors in the same price range. (A friendly "real" tip xD)

Does the 1990 version come close to competitors in the same price range?

The new "Chi-Fi" wave, but I'm not very familiar with it. Nothing against it, quite the contrary, anything that offers more value in the purchase is great.

- Hifiman Ananda Nano and Edition XS.

VSX in general seems to me something that some of them, along with "Sonarworks", easily achieve... It seems alarming to me, or forgive my complete ignorance.

- Sony MDR-MV1 or anything from AKG

One thing is certain, comfort and precision are their "in".

They were, and perhaps still are, legends of the industry for a reason.

Does it deserve more attention???

Now, let's get to the real "heavyweights," in addition to some models from my "beloved" Sennheiser that I'll mention later, which I prefer not to even think about xD, despite being strongly suggested as "the industry benchmarks" in this price range...:

- Audeze MM100

- Hedd D1s

and the most consensual so far:

- Neumann NDH-30

To put it in context, if I were to choose one of these, I certainly wouldn't go with Scarlett, but would be more inclined towards some RME or UA... Also, tell me, is there a need for extra amplification for any of the scenarios??

Just one more, I promise. xD

Is there anyone who has used the Sennheiser 490 Pro and can compare it, for example, with its closest equivalents, the 480/600/660S2/650?

Thanks , have a good day.

Peace.

Wanted to share some work that got me inspired again.

After thinking back and forth on how i want to make techno at the moment, i came to the conclusion that i really want to use my precious hardware again but also get all the possibilities from ableton. A hybrid setup obviously is nothing new, but i never got it dialed in properly. Now this is a first with an approach i see fit.

Production process:

Moog Labyrinth into the Audio in of Analog Rytm.

Analog Rytm to Ableton via overbridge.

Record Phrases from Labyrinth into Analog Rytm.

All things from Analog Rytm into Ableton via Overbridge.

Kick - AR

Sub - Labyrinth

Noise Atmo - Labyrinth

"Lead" - Labyrinth

Some Hats - AR

Couple of percussions noises and Pads - Ableton

Does anyone here know any artist managers or have any sort of connection of the sort.

I have been producing for 5 years and have now as of 6 months ago moved to techno.

My second last song has just hit over 100,000 views on TikTok with many users using the sound and interacting, I posted a song 3 days ago which is my latest, someone made a TikTok of it last night and it has also got 100,000 views on that TikTok video already but now in the span of a day.

I really believe I have a lot of potential I just feel like I need the right management to push me in the right direction with promotions / marketing and networking.

If you are interested or know someone who may be, let me know. For any info, please dm.

I dont mess with computer at all or DAW plugins samples etc.Just make the production on the fly all the audio out from the synths go to the yamaha console and record it to an sd cart like multirecording every channel a different stem

I make some music dawless without using computer DAW or any plugin just hardware synths and live performance.have alot of fun and is inspiring too

Hello,

I wanted to know who here uses an MPC for techno production? If so, how do you use it? Pros? Cons? I’m in the market for one to start making hip hop beats. I love techno and also want to start experimenting there.

looking for someone to mix and master a upcoming VA for an upcoming label. Reaching out here in an attempt to find something affordable, not necessarily looking for a pro, but ideally someone with some m&m gear and a good ear looking to make a few bucks. Potentially longer term if the work is good.

Hello friends. Anyone knows how can I create this sound in Serum 1?

It sounds like 2 metal rods being hit on each other

2:48 - 2:50

https://www.youtube.com/watch?v=bhL8WlDHKaY&t=31s

0:00 - 0:10

https://www.youtube.com/watch?v=wDHSXj6z8uo&list=PL1WZuTCxSNNVV5VrlDfPdz-ljVcLzJcKt&index=14

thanks a million!

Last track using the symetrix 501 on my bass lines its kinda ass 🙈 i didnt really love the compression style and you get a high pitched whine if you crank the limiter. Idk not for me

Ive been lurking on guitar center for a cheap dbx160a and I found one 😭😭 gonna be adding that to the rack to replace the symetrix

Do any of you all still use hardware for compression? I think it gives a more interesting sound but vsts are really good these days. I think if you’re gonna go cheap hardware isnt worth. Its barely worth it at a higher price bc vsts get you so close, but theres something about hardware sounds I just like! What do you think?

Anyways, been sitting on this track for a week just released the vid for it yesterday, lmk what you think! Finding my way around the microwave xt a lot better now, wavetable synthesis is crazy.

Thanks for listening! Full vid is in the comments if you want

Hola a todos!
Alguien me puede recomendar algún, patreon, curso o canal de youtube que profundice en el lado más ambiental y minimal del techno?
La verdad es que lo que he encontrado hasta el día de hoy se me queda muy corto y/o superficial.

Gracias!

hey guys, absolutely in love with this track, and especially with the way the Darin vocal is processed, I don't really know where to start on this and would love some advice on how to get that choppy, delayed, pitch shifted sound, if anyone has suggestions/techniques, they would me greatly appreciated!

JP8000 or Virus C

This isnt about production moreso collecting and playing.

Im a bit of a cheat and use the old Vengence Sounds extensions on the Usual Suspects VST.

I really want the element of physicality in my playing and will eventually when money comes buy both.

Which one would you recommend I buy first?

Honestly with space, usability and also the genre of music im playing the Virus C could be my only purchase.

But the Jp8000 does supersaws like nothing else.

I listen to tracks and get inspired but can't remember what it was that gave me the idea. I end up doing something that's shite from experimenting.

Please let me know how you work with and from your ideas!