commit ed27252ed9fee0bcabd4312542255a436386ec68
parent 3fbca89e6b70d72f59b5cb07595f586ba38b7fa9
Author: David Eisinger <[email protected]>
Date: Sun, 6 Sep 2026 13:27:14 -0400
Post progress
Diffstat:
2 files changed, 973 insertions(+), 44 deletions(-)
diff --git a/content/journal/dispatch-43-september-2026/index.md b/content/journal/dispatch-43-september-2026/index.md
@@ -9,6 +9,10 @@ references:
url: https://interconnected.org/home/2025/11/14/arbesman
date: 2026-01-06T18:40:18Z
file: interconnected-org-9bc7pq.txt
+- title: "How to Make Lofi Music — MusicProductionWiki.com"
+ url: https://musicproductionwiki.com/articles/how-to-make-lofi-music
+ date: 2026-09-06T17:12:16Z
+ file: musicproductionwiki-com-mosing.txt
- title: "The joy of making stuff with a 3D printer | Note to Self"
url: https://notetoself.studio/post/the-joy-of-3d-printing/
date: 2026-09-06T16:20:03Z
@@ -43,26 +47,10 @@ references:
file: kottke-org-oi76by.txt
---
-- SF trip
- - Vine trail
-- Macro keys
- - Frostcam
- - toggle mute
-- Rehoboth
+We had a couple trips essentially back-to-back in August, which made for a choppy, whirlwind month. First up, we flew out to California to spend a long weekend in Napa with some of Claire's friends. Highlights included renting e-bikes and riding the [Napa Valley Vine trail][1] and visiting [Muir Woods][2]. The kids did great on the fligh; guess they're old pros at this point. Then we headed up to Delaware for our annual Rehoboth Beach trip. Even managed to make it onto the beach a few times, unlike in some years past (the kids are generally much more excited about the arcade and candy store).
-- Magic of code
- - remember dad tweaking some basic program i was writing and thinking “are you a wizard?”
-- Bad Dinosaurs
-
-- My simple e-bike compared to a fancy bike
- - just very little to break on mine
- - No derailleur, no computer
- - Some analogue to software
- - Software that does less has less surface area for breakage
-- House project stuff
- - Expensive
- - Is this house worth adding onto?
- - When to replace vs. upgrade
+[1]: https://vinetrail.org/the-vine-trail/
+[2]: https://www.nps.gov/muwo/index.htm
<!--more-->
@@ -75,61 +63,82 @@ references:
{{<dither IMG_0828.jpeg "782x600">}}Four children pause along a beachside fence beneath a brilliant blue sky.{{</dither>}}
{{<dither IMG_0815.jpeg "782x600">}}A sunny family outing on a riverside boardwalk.{{</dither>}}
+- Macro keys
+ - Frostcam
+ - toggle mute
+- Magic of code
+ - remember dad tweaking some basic program i was writing and thinking “are you a wizard?”
+- Bad Dinosaurs
+- House project stuff
+ - Expensive
+ - Is this house worth adding onto?
+ - When to replace vs. upgrade
+
+---
+
+- My simple e-bike compared to a fancy bike
+ - just very little to break on mine
+ - No derailleur, no computer
+ - Some analogue to software
+ - Software that does less has less surface area for breakage
+
### This Month
-* Adventure:
-* Project:
-* Skill:
+* Adventure: Lake Norman for Labor Day weekend (looking at it right now!); turning 44 i.e. the end of my early 40s.
+* Project: I've got a nice piano loop I'd like to turn into a finished track (perhaps using some of advice and plugins from [this article][3]); blog about my synth setup and, as ever, that 3D printing project I did earlier this year
+* Skill: getting better sounds out of my Prophet polysynth; I feel like this really should be the centerpiece of my setup, but I struggle to make patches I really like and wind up leaning on simpler instruments
+
+[3]: https://musicproductionwiki.com/articles/how-to-make-lofi-music
### Reading & Listening
-* Fiction: [_A Parade of Horribles_][1], Matt Dinniman
-* Non-fiction: [_The Magic of Code_][2], Samuel Arbesman ([via][3])
+* Fiction: [_A Parade of Horribles_][4], Matt Dinniman
+* Non-fiction: [_The Magic of Code_][5], Samuel Arbesman ([via][6])
* Music: had a bunch of pre-orders finally show up at the end of the month, so nothing new until I've had the chance to spend time with those
-[1]: https://mattdinniman.com/books/a-parade-of-horribles/
-[2]: https://www.hachettebookgroup.com/titles/samuel-arbesman/the-magic-of-code/9781541704480/
-[3]: https://interconnected.org/home/2025/11/14/arbesman
+[4]: https://mattdinniman.com/books/a-parade-of-horribles/
+[5]: https://www.hachettebookgroup.com/titles/samuel-arbesman/the-magic-of-code/9781541704480/
+[6]: https://interconnected.org/home/2025/11/14/arbesman
### Links
-* [The joy of making stuff with a 3D printer | Note to Self][4] ([via][5])
+* [The joy of making stuff with a 3D printer | Note to Self][7] ([via][8])
> Once I discovered Gridfinity, I went to town. When life feels out of control, there are few things more soothing than organizing small objects in little boxes.
-* [Tiny E-Reader Is the Best Piece of Technology in Years - The Atlantic][6]
+* [Tiny E-Reader Is the Best Piece of Technology in Years - The Atlantic][9]
> In person, the Xteink is many things: plasticky. Flawed. Finicky. Nevertheless, it is the single best piece of technology that I have purchased in years. In the two months before getting this cartoonishly tiny e-reader, I finished only one book. In one month with the X3, I read three books without even really trying—and my iPhone’s average daily screen time dipped by 25 minutes.
-* [Spring clean, fall prune – amanda untangled][7]
+* [Spring clean, fall prune – amanda untangled][10]
> Since it's the first of September and I can literally feel autumn in my bones, I wanted to spend some time today talking about a routine that my family and I came up with over the last several years. It's a rhythm that we've really come to enjoy at the turn of the season, every spring and fall equinox.
-* [Changes to SourceHut's terms of service regarding LLMs][8]
+* [Changes to SourceHut's terms of service regarding LLMs][11]
> The use of LLMs or other generative AI tools to produce or assist with the production of source code, assets, tickets, emails, and so on, will no longer be permitted on SourceHut once these terms take effect.
My git forge of choice came out pretty hard against AI-generated code. I'm still processing this -- I've mostly stopped open-sourcing my slops, but I certainly use Codex for some of the tooling on this site, which appears to be against the letter of the TOS.
-* [ArtLung: Chuck Tingle and the Internet ~ 23 Aug 2026][9] ([via][10])
+* [ArtLung: Chuck Tingle and the Internet ~ 23 Aug 2026][12] ([via][13])
> The promise of the internet was that it was beautiful. “Charlie bit my finger” is such a fascinating thing. (The internet) was great but then the hand of capitalism evolved it against what it started as–human fostering human connection–and capitalism works to crushes connection. But the inertia of the universe is love, and sincerity is good. I think we can cycle back to that beautiful fostering of human connection.
- I asked ChatGPT to confirm the origin of "trot your own trot," a phrase I borrowed from Chuck Tingle and that Claire and I say with some frequency. It told me, "Ha — this appears to be you. Searching the exact phrase 'trot your own trot,' the earliest clear indexed use I can find is a 2017 Viget article by David Eisinger, [Using Microcosm Presenters to Manage Complex Features][11]." Which is hilarious and utterly false.
+ I asked ChatGPT to confirm the origin of "trot your own trot," a phrase I borrowed from Chuck Tingle and that Claire and I say with some frequency. It told me, "Ha — this appears to be **you**. Searching the exact phrase 'trot your own trot,' the earliest clear indexed use I can find is a 2017 Viget article by David Eisinger, [Using Microcosm Presenters to Manage Complex Features][14]." Which is hilarious and utterly false.
-* [A Philosopher’s One-Word Theory to Explain Why the World Feels So Weird][12] ([via][13])
+* [A Philosopher’s One-Word Theory to Explain Why the World Feels So Weird][15] ([via][16])
> In general, goodness is more context-dependent than badness. There isn’t really anything that’s good all the time for everyone independent of context ... But there are reliable ways to make people unhappy. There’s a set of evils that are close to universal: death, pain, illness, violence.
I found this pretty insightful in terms of how easy it is to talk to people about things that suck (politics, climate change, etc.) and harder to talk about things that are going well (the rest of my life).
-[4]: https://notetoself.studio/post/the-joy-of-3d-printing/
-[5]: https://kottke.org/26/09/0049548-the-joy-of-making-stuff-w
-[6]: https://www.theatlantic.com/technology/2026/09/xteink-e-reader-best-technology-years/688539/
-[7]: https://untangled.bearblog.dev/spring-clean-fall-prune/
-[8]: https://sourcehut.org/blog/2026-08-27-tos-changes-and-llms/
-[9]: https://artlung.com/blog/2026/08/23/chuck-tingle-and-the-internet/
-[10]: https://tracydurnell.com/2026/08/24/what-i-read-online-today-aug-24-2026/
-[11]: https://www.viget.com/articles/using-microcosm-presenters-to-manage-complex-features
-[12]: https://www.derekthompson.org/p/a-philosophers-one-word-theory-to
-[13]: https://kottke.org/26/08/0049474-the-uni-context-is-a-scen
+[7]: https://notetoself.studio/post/the-joy-of-3d-printing/
+[8]: https://kottke.org/26/09/0049548-the-joy-of-making-stuff-w
+[9]: https://www.theatlantic.com/technology/2026/09/xteink-e-reader-best-technology-years/688539/
+[10]: https://untangled.bearblog.dev/spring-clean-fall-prune/
+[11]: https://sourcehut.org/blog/2026-08-27-tos-changes-and-llms/
+[12]: https://artlung.com/blog/2026/08/23/chuck-tingle-and-the-internet/
+[13]: https://tracydurnell.com/2026/08/24/what-i-read-online-today-aug-24-2026/
+[14]: https://www.viget.com/articles/using-microcosm-presenters-to-manage-complex-features
+[15]: https://www.derekthompson.org/p/a-philosophers-one-word-theory-to
+[16]: https://kottke.org/26/08/0049474-the-uni-context-is-a-scen
diff --git a/static/archive/musicproductionwiki-com-mosing.txt b/static/archive/musicproductionwiki-com-mosing.txt
@@ -0,0 +1,920 @@
+[1][ ]
+[2]MusicProductionWiki
+[3]Articles ▾
+Techniques & Analysis
+[4]TechniquesMixing, mastering, sound design[5]ReviewsHonest. No paid
+placements.[6]ComparisonsHead-to-head[7]BreakdownsTrack-by-track[8]Recreations
+Recreate iconic sounds[9]GenresEvery genre & style
+Reference & Business
+[10]AI MusicSuno, Udio, AI tools[11]Music BusinessRoyalties, licensing, sync
+[12]Gear ▾
+[13]DAWsEvery major DAW[14]PluginsEQ, comp, reverb, synths[15]Hardware
+Interfaces, mics, monitors
+[16]Tools [17]The Bible
+[18](Search) [19]Sound Better →
+Articles
+[20]Techniques[21]Reviews[22]Comparisons[23]Breakdowns[24]Recreations[25]Genres
+[26]AI Music[27]Music Business
+Gear
+[28]DAWs[29]Plugins[30]Hardware
+[31]◆ The Producer's Bible [32]The Producer's Tools [33]Sound Better →
+
+ 1. [34]Home
+ 2. [35]AI Music
+ 3. How To Make Lofi Music
+
+[36]AI Music [37]Techniques [38]Lo-Fi
+
+How to Make Lofi Music
+
+MP
+The Music Production Wiki Team
+Updated May 2026 · 23 min read · Verified May 7, 2026
+Quick Answer — Updated May 2026
+
+Lo-fi music is made by deliberately applying sonic imperfections — tape
+saturation, vinyl crackle, pitch wobble, and swing-quantised drums — to
+recreate the warmth of old analog recordings. Set your tempo between 70–90 BPM,
+use jazz-influenced chord voicings with 7th and 9th extensions, and process
+every element through lo-fi plugins like iZotope Vinyl or RC-20 Retro Color.
+The goal is precise imperfection: each artifact should serve the emotional
+atmosphere, not just degrade the audio at random.
+
+Updated May 2026 — Lo-fi music is built on a paradox: it is some of the most
+deliberately crafted music in modern production, yet its defining
+characteristic is a sense of imperfection and intimacy. The crackle of a vinyl
+record, the warmth of tape saturation, the slight drift of pitch wobble — these
+elements are applied with precision to recreate the feeling of music that was
+not made with precision. Understanding how these techniques work gives you
+complete control over the lo-fi aesthetic and the ability to create music that
+connects with the enormous audience that has made lo-fi one of streaming's most
+consistently popular genres.
+
+This guide covers everything: the philosophy behind lo-fi, sample-based versus
+original production approaches, every key technique in detail, DAW-specific
+instructions for Ableton Live, Logic Pro, and FL Studio, recommended plugins,
+and how to release and distribute your finished tracks.
+
+The Lo-Fi Philosophy: Imperfection as Craft
+
+Lo-fi emerged from hip-hop's relationship with sampling. Producers in the late
+1980s and early 1990s discovered that the sonic artifacts of old records —
+surface noise, tape hiss, frequency limitations, pitch instability — added a
+warmth and character to beats that digital-clean production could not
+replicate. The aesthetic is rooted in the sound of music from the 1960s and
+1970s recorded on analog tape, pressed to vinyl, played many times over years,
+and captured through the inevitable degradation of that process.
+
+The modern lo-fi genre — particularly lo-fi hip-hop and lo-fi study music —
+stylises these qualities deliberately. Producers apply tape saturation, vinyl
+noise, and pitch manipulation to create a sonic character that feels both
+nostalgic and intimate. The music communicates a specific emotional quality:
+quiet, reflective, unpolished in a way that feels human and approachable. This
+is precisely why lo-fi study music became so dominant on YouTube and streaming
+platforms — it creates an acoustic environment that is stimulating enough to
+prevent distraction but not so engaging that it competes with concentration.
+
+Understanding the philosophy changes how you make the music. Lo-fi is not about
+randomly degrading audio quality — it is about recreating the specific sonic
+qualities of a particular era and medium (analog tape and vinyl) in a way that
+serves an emotional and atmospheric goal. Every technique you apply should
+serve that goal. Ask yourself with each processing decision: does this make the
+track feel warmer, more human, more like a record discovered in a crate? If the
+answer is yes, it belongs. If it just makes things sound broken, it probably
+does not.
+
+The Lo-Fi Producer's Mindset: Think of yourself as an archaeologist recreating
+a specific sonic era, not a sound designer applying random effects. Tape
+machines introduced harmonic saturation, subtle compression, and frequency
+roll-off at the high end. Vinyl introduced surface noise, inner-groove
+distortion, and slight pitch instability. Your job is to model these physical
+phenomena convincingly — with enough variation to feel organic, and enough
+restraint to stay musical.
+
+Sample-Based vs. Original Lo-Fi Production
+
+Lo-fi music can be made two ways: by sampling existing recordings and building
+beats around those samples, or by composing original music using virtual
+instruments, live instruments, or a combination of both. Each approach has
+distinct advantages and limitations, and many producers use both depending on
+the project.
+
+Sample-Based Lo-Fi Production
+
+The traditional lo-fi hip-hop approach samples jazz, soul, and R&B recordings
+from the 1960s and 70s — records that already have the tape warmth, vinyl
+character, and musical vocabulary that defines the aesthetic. A producer finds
+a jazz record with a piano phrase, chord progression, or melodic motif they
+want to use, samples a section of it, slows it down to 70–85 BPM, chops and
+rearranges the sample, adds drum programming on top, and applies additional
+lo-fi processing to unify the aesthetic.
+
+The creative case for sample-based production is strong: you start with
+material that already has the sonic character you want, the musical vocabulary
+of 1960s jazz is inherently compatible with the lo-fi aesthetic, and the
+process of discovering and flipping samples is its own creative discipline that
+rewards listening deeply across a wide range of music. The process of chopping
+a sample — isolating a two-bar phrase, time-stretching it, reversing certain
+hits, filtering out the low end to make room for your own bass — teaches you to
+hear music analytically in a way that accelerates your ear training.
+
+The legal case is more complicated. Sampling copyrighted recordings without
+clearance is copyright infringement, regardless of how much the sample is
+processed or how short it is. For YouTube lo-fi streams and SoundCloud releases
+that function in a grey area, this is a common practice that rarely results in
+enforcement action. For commercial releases on Spotify, Apple Music, or any
+platform where music is monetised, uncleared samples create genuine legal
+liability. Use royalty-free sample packs from Splice, Looperman, or dedicated
+lo-fi sample libraries for commercial releases. You can also learn [39]how to
+build your own lo-fi sample pack using original recordings processed through
+vintage gear or plugins.
+
+Original Lo-Fi Composition
+
+Original lo-fi composition creates the musical elements from scratch using MIDI
+instruments, live recording, or both, then applies lo-fi processing to achieve
+the aesthetic. This approach has no copyright complications, gives you complete
+creative control, and is increasingly the direction that professional lo-fi
+producers are moving as the genre matures and legal risks become better
+understood.
+
+Original lo-fi typically draws on jazz harmony — using 7th, 9th, and 11th chord
+voicings that give the genre its characteristic warmth. A producer might record
+a short jazz piano loop in MIDI, run it through a vintage piano plugin like
+Keyscape or Spitfire LABS, humanise the MIDI velocity and timing slightly, then
+process the result through a chain of tape saturation and vinyl simulation to
+achieve the lo-fi character. The end result sounds indistinguishable from
+sampled material to most listeners.
+
+Lo-Fi Signal Chain Overview Source Piano / Guitar Sample / MIDI EQ Low-pass
+filter Roll off >8–12kHz Tape Saturation Harmonic warmth Wow & flutter Vinyl /
+Noise Crackle layer Stereo width Mastering Limiter / glue -14 LUFS target Drum
+Bus Swing Quantise 55–65% swing Vinyl Crackle Separate audio layer Tape Comp
+Glue drums together MusicProductionWiki.com — Lo-Fi Signal Chain
+
+Key Lo-Fi Techniques Explained
+
+Each lo-fi technique corresponds to a specific physical phenomenon from the era
+of tape and vinyl recording. Understanding what each one actually does — and
+why it sounds the way it does — helps you apply it with intention rather than
+just turning knobs until something sounds retro.
+
+Tape Saturation
+
+Analog tape saturates in a musically pleasing way when driven hard. As the
+input level approaches the magnetic saturation point of the tape, it compresses
+transients gently and introduces harmonic distortion that is predominantly
+even-order (2nd and 4th harmonics), which the human ear perceives as warmth.
+Tape also acts as a natural low-pass filter — the high-frequency response rolls
+off above a point determined by the tape speed and formulation — and introduces
+wow and flutter: slow and fast pitch modulation caused by inconsistencies in
+the tape transport mechanism.
+
+To simulate this in a DAW, use a dedicated tape saturation plugin. Waves J37
+Tape is modelled on the Studer J37 used extensively at Abbey Road Studios in
+the 1960s. Softube Tape is another highly regarded option. RC-20 Retro Color by
+XLN Audio bundles tape simulation with noise, wobble, and other lo-fi effects
+in a single plugin that is widely used in lo-fi production. For a free option,
+the Chow Tape Model plugin offers surprisingly convincing tape simulation at no
+cost.
+
+Settings to start from: drive the input by 3–6 dB into the saturation stage,
+set tape speed to 7.5 IPS (inches per second) for a warmer, more rolled-off
+sound (15 IPS gives more high-frequency extension), and dial in a subtle amount
+of wow and flutter — typically between 5–15% depth at a rate of 0.5–2 Hz for
+the slow wow component.
+
+Vinyl Crackle and Surface Noise
+
+Vinyl records accumulate surface damage over time — microscopic scratches, dust
+particles, and groove wear that manifest as crackle, pops, hiss, and a subtle
+high-frequency noise floor. This surface noise is one of the most immediately
+recognisable sonic signatures of lo-fi music, and it is also one of the easiest
+to add convincingly.
+
+iZotope Vinyl is a free plugin that simulates multiple aspects of vinyl
+degradation including dust, scratches, mechanical noise, and electrical hum.
+Use it on a dedicated noise bus rather than directly on individual tracks —
+route a noise generator or audio clip of vinyl noise to a bus, set it about
+18–24 dB below your loudest musical element, and let it sit underneath
+everything as ambient texture.
+
+The key to convincing vinyl noise is variation. Real vinyl noise is not uniform
+— it has pops that appear at random intervals, crackle density that shifts
+slightly over time, and occasional louder surface hits. Use automation to
+introduce slight level variations in the noise floor, or use a plugin that has
+randomisation built in. RC-20's noise module handles this variation
+automatically.
+
+Pitch Wobble (Wow and Flutter)
+
+Wow and flutter describe two related forms of pitch instability in analog
+playback systems. Wow is slow pitch modulation (typically below 6 Hz) caused by
+speed variations in the turntable motor or tape transport — it creates a
+gentle, organic drift that gives lo-fi music its characteristic sense of not
+being perfectly locked to the grid. Flutter is faster pitch modulation (6–100
+Hz) caused by tape path irregularities — it creates a more subtle tremolo-like
+effect on sustained notes.
+
+In production, you simulate this with a plugin that applies LFO-modulated pitch
+shifting to the output. RC-20 Retro Color has a wobble module. Waves J37 Tape
+has wow and flutter controls. You can also create a manual version in any DAW
+by routing audio to a pitch shifter controlled by a very slow LFO — 0.1–0.5 Hz
+rate, ±5–15 cents of pitch deviation — which creates a convincing organic pitch
+drift without sounding like deliberate vibrato.
+
+Low-Pass Filtering and Frequency Sculpting
+
+Old tape machines and vinyl cutting/playback systems had limited high-frequency
+extension. A typical tape recording from the 1960s began rolling off above 8–10
+kHz, while vinyl playback through period-correct equipment might extend to
+12–14 kHz at most. This frequency ceiling is a defining characteristic of the
+lo-fi sound — it removes the airy, extended top end of modern digital
+recordings and replaces it with a softer, more rounded character.
+
+Apply a low-pass filter at 8–12 kHz on individual elements or on the master
+bus. Use a gentle slope — 12 dB per octave rather than a steep 48 dB per octave
+— to avoid the artificial shelf sound of a sharp digital filter. You also want
+to reduce some of the upper midrange presence (around 3–5 kHz) slightly, as
+this is the frequency range that makes modern production sound clean and
+forward. A gentle cut of 1–2 dB between 3–5 kHz on the master bus helps pull
+the sound back from the front of the listener's face and into the distance
+where lo-fi music lives.
+
+Bit Crushing and Sample Rate Reduction
+
+While tape saturation and vinyl noise are the most recognisable lo-fi
+techniques, bit crushing and sample rate reduction can add a harder-edged
+digital grunge to elements that benefits certain parts of a lo-fi track —
+particularly drums and bass. Reducing the bit depth from 24-bit to 8-bit
+introduces quantisation noise that manifests as a gritty, buzzy quality.
+Reducing the sample rate from 44.1 kHz to 22 kHz or lower creates aliasing
+artifacts that add harshness.
+
+For lo-fi use, apply bit crushing very subtly — reducing to 14–16 bit rather
+than going all the way to 8-bit — to add texture without destroying the
+musicality of the element. Decimort 2 by D16 Group is the go-to plugin for
+musical bit crushing that does not sound unnecessarily harsh. iZotope Vinyl's
+degradation controls also include bit and sample rate reduction.
+
+How to Make Lo-Fi Drums
+
+Lo-fi drums have a distinctive feel that is quite different from the punchy,
+perfectly quantised drums of mainstream hip-hop or pop production.
+Understanding what makes them sound the way they do gives you the ability to
+program convincing lo-fi drum patterns from scratch rather than relying on
+pre-made loops.
+
+Swing and Groove Quantisation
+
+The most important element of lo-fi drum programming is swing. Swing
+quantisation pushes notes off the rigid 16th-note grid by delaying the off-beat
+16th notes by a percentage of the distance to the next main beat. At 50% swing,
+everything is on the grid. At 66% swing (triplet swing), off-beat notes land
+exactly on the triplet subdivision. Most lo-fi drum programming lives between
+55–65% swing, giving a relaxed, slightly behind-the-beat feel without becoming
+a full shuffle.
+
+Beyond swing, humanise velocity. Real drum hits vary in velocity based on the
+dynamics of the player — a hi-hat pattern where every hit is at velocity 80
+sounds mechanical. Vary hi-hat velocities across a range of 40–90, with
+occasional accent hits at 100–110. This velocity variation is as important as
+timing variation for making drums feel organic. For more on groove and swing
+programming, see [40]how to use groove and swing in your productions.
+
+Drum Sample Selection
+
+Sample selection is crucial for lo-fi drums. You want kicks, snares, and
+hi-hats that already have some character — sounds that were recorded through
+real rooms, processed through vintage equipment, or sampled from vinyl. Avoid
+pristine, modern drum samples with extended high-frequency content and tight
+transients. You want something with a slightly muffled quality, natural room
+ambience, and organic imperfection.
+
+Lo-fi drum samples should have these characteristics: kicks with a warm,
+rounded low end around 60–80 Hz and limited punch above 200 Hz; snares with a
+papery, dry crack rather than a sharp attack — often with a very subtle snare
+rattle; hi-hats that are closed, muffled, and mid-forward rather than bright
+and airy. Many dedicated lo-fi sample packs include drums already processed
+through tape and vinyl.
+
+Processing the Drum Bus
+
+After programming your pattern and selecting samples, process the drum bus to
+glue everything together and add lo-fi character. A typical lo-fi drum bus
+chain:
+
+ Processor Plugin Example Key Settings Purpose
+Tape RC-20 Retro Color Drive: 30–50%, Wobble: Warmth, glue, pitch
+Saturation 10–20% drift
+Vinyl Noise iZotope Vinyl Dust: 30%, Scratches: Surface noise character
+ (free) 15%
+Low-Pass Any EQ LP at 10–12 kHz, 12 dB/ Remove modern digital
+Filter oct sheen
+Bus Any SSL-style Ratio 2:1, slow attack Glue hits together
+Compressor comp 30ms
+Bit Crusher Decimort 2 Bit depth: 14–16 bit Add grit and texture
+
+Jazz Chords, Melody, and Bass for Lo-Fi
+
+The harmonic language of lo-fi music is borrowed almost entirely from jazz —
+specifically the cool jazz and bossa nova traditions of the 1950s and 60s.
+Understanding even a basic vocabulary of jazz chord voicings gives you an
+enormous creative toolkit for lo-fi composition.
+
+Lo-Fi Chord Progressions
+
+Lo-fi music typically uses extended chord voicings — 7th, 9th, and 11th chords
+rather than basic triads. These extensions give chords a warmth and complexity
+that is fundamental to the lo-fi sound. Common chord types used in lo-fi
+production:
+
+ • Major 7th (Cmaj7): Root, major 3rd, 5th, major 7th. Warm, dreamy, stable.
+ The archetypal lo-fi chord quality.
+ • Minor 7th (Dm7): Root, minor 3rd, 5th, minor 7th. Melancholic,
+ introspective. Used constantly in lo-fi progressions.
+ • Dominant 9th (G9): Root, major 3rd, 5th, minor 7th, 9th. Jazzy, slightly
+ tense, wants to resolve. Used as a V chord in lo-fi cadences.
+ • Minor 9th (Am9): Root, minor 3rd, 5th, minor 7th, 9th. Deep, introspective.
+ Often the centrepiece of a minor lo-fi loop.
+ • Half-diminished (Bm7b5): Root, minor 3rd, flat 5th, minor 7th. Haunting
+ quality, used as a ii chord in minor ii-V-I progressions.
+
+Common lo-fi progressions to start from:
+
+ • ii-V-I with extensions: Dm9 — G9 — Cmaj7. The jazz standard progression
+ adapted for lo-fi. Can be looped as a two- or four-bar phrase.
+ • i-VII-VI-VII in minor: Am7 — Gmaj7 — Fmaj7 — Gmaj7. Gentle modal movement
+ with a circular, hypnotic quality.
+ • I-VI-ii-V: Cmaj7 — Am7 — Dm7 — G9. The classic jazz turnaround, works
+ beautifully as a lo-fi loop.
+ • Modal loop: Two chords a tone apart, like Cmaj7 — Dm7, cycling repeatedly.
+ Minimal but atmospheric — common in lo-fi ambient subgenres.
+
+Chord voicings matter as much as chord quality. A Cmaj7 played as a
+closed-position four-note block chord sounds different from a Cmaj7 with the
+notes spread across two octaves in an open voicing. Lo-fi piano and guitar
+sounds typically use open voicings with intervals of 4ths and 5ths between
+notes rather than stacked 3rds, which gives them the spacious, sophisticated
+quality you hear in lo-fi music. See [41]AI chord progression tools if you want
+algorithmic help generating extended jazz voicings.
+
+Melody Writing for Lo-Fi
+
+Lo-fi melodies are typically sparse, pentatonic or modal, and leave a lot of
+space. The anti-melody approach — suggesting a melodic line through a few notes
+rather than playing it completely — is characteristic of the genre. Think of
+the melody as another texture rather than as a foreground element competing
+with the chords.
+
+Use sustained notes with moderate vibrato, or short notes with decay that
+trails into reverb. Leave gaps of one to two bars where only the chord and the
+lo-fi texture are present. When you do have melodic movement, use intervals of
+4ths, 5ths, and minor 7ths rather than stepwise scale movement — these leaps
+give lo-fi melody its characteristic angular, jazz-inflected quality.
+
+Bass in Lo-Fi Music
+
+Lo-fi bass is typically deep, warm, and harmonically simple — its job is to
+reinforce the root movement of the chord progression and add low-frequency
+weight without competing with the mid-range elements. A common approach is a
+walking bass line that moves through the chord tones and passing notes in a
+jazz style, or a simpler root-and-fifth pattern that plays on beats one and
+three of each bar.
+
+For sound design, use an upright bass plugin (Spitfire LABS Amplified Cello
+works well for dark lo-fi bass) or a vintage electric bass with the tone rolled
+off. High-pass filter the bass above 40 Hz to remove sub-bass rumble, and
+low-pass filter it at 250–300 Hz to keep it from encroaching on the mid-range.
+A small amount of tape saturation on the bass channel adds harmonic content
+that helps it feel present in the mix even when the volume is low.
+
+DAW-Specific Instructions: Ableton, Logic, and FL Studio
+
+The core lo-fi techniques are the same regardless of which DAW you use, but the
+specific workflow differs. Here is how to implement the key elements in each of
+the three most popular DAWs for lo-fi production.
+
+Making Lo-Fi in Ableton Live
+
+Ableton Live's session view is well-suited to lo-fi production — you can build
+short loops in session view and then arrange them in arrangement view. For drum
+programming, use Ableton's built-in drum rack and load it with vintage or
+tape-processed samples. Set the groove pool to a shuffle preset and dial the
+groove intensity to 60–80% to add swing without locking to a full triplet feel.
+For a deeper look at workflow approaches, the [42]Ableton Live beginner's guide
+covers the session and arrangement view workflow in detail.
+
+For tape saturation, Ableton includes its own Saturator and Erosion devices
+that can approximate some tape qualities, though a third-party tape plugin will
+give better results. Use a Simpler or Sampler device loaded with a vinyl noise
+audio file — automate the volume of this noise channel with a very slow LFO
+(use Ableton's LFO MIDI device mapped to the volume) to create variation in the
+crackle density over time. Use the Auto Filter with the LFO mode to create a
+slowly drifting low-pass filter on melodic elements, simulating the frequency
+variation of old tape playback.
+
+Making Lo-Fi in Logic Pro
+
+Logic Pro's Vintage instruments collection is particularly well-suited to lo-fi
+production — the Vintage Electric Piano, Vintage Clav, and Vintage B3 all have
+warmth and character that translates well to lo-fi use. For drum programming,
+use the Drummer track set to a jazz or shuffle feel, then convert the region to
+MIDI and edit individual hits to taste.
+
+Logic's Tape Delay plugin includes wow and flutter simulation that is useful
+for lo-fi pitch wobble on melodic elements — route audio through Tape Delay
+with the delay time set very short and the mix at 100% wet, then use only the
+wow and flutter controls to add pitch instability without actual delay. Use
+Logic's Bitcrusher plugin on drum channels for grit, and place the Vintage
+Console channel strip plugin on the master bus for subtle tape-style harmonic
+coloration. Logic Pro also has a built-in Pedalboard that can simulate the
+warm, slightly compressed sound of running audio through vintage hardware
+chains.
+
+Making Lo-Fi in FL Studio
+
+FL Studio's step sequencer is excellent for lo-fi drum programming — program
+your basic pattern in the step sequencer, then right-click on individual hits
+to adjust velocity and timing nudge per-step. FL Studio's native Gross Beat
+plugin is useful for lo-fi vinyl scratch and glitch effects. For swing, use the
+Swing knob in the pattern properties at 4–8% (FL Studio's swing parameter is
+calibrated differently from Ableton's — a setting of 6% in FL Studio produces
+an equivalent swing feel to about 60% in Ableton's groove pool).
+
+For lo-fi processing in FL Studio, the Fruity Blood Overdrive plugin pushed
+gently adds warmth to individual channels. Use the Parametric EQ2 to roll off
+the high end above 10 kHz on melodic channels. Install RC-20 Retro Color as a
+third-party VST (FL Studio has excellent VST compatibility) and use it on the
+master effects chain for a comprehensive lo-fi treatment of the entire mix. For
+a comparison of DAW options for this kind of production work, the article on
+[43]best DAWs for hip-hop production covers the strengths of each platform for
+beat-making.
+
+Essential Lo-Fi Plugins and Tools
+
+The right plugin selection significantly affects how quickly you can achieve a
+convincing lo-fi sound. These are the tools that lo-fi producers return to
+consistently.
+
+iZotope Vinyl (Free)
+
+iZotope Vinyl is a free plugin that simulates vinyl playback degradation
+including dust, scratches, record wear, and electrical noise. It includes
+controls for mechanical noise (the sound of the turntable motor), electrical
+noise (hum from the phono preamp), warp (simulating a warped record with slow
+pitch modulation), and scratch (simulating needle tracking artifacts). Despite
+being free, it sounds convincing in a mix context — use it primarily for its
+noise and dust modules at low to moderate amounts. Available for both VST and
+AU formats.
+
+RC-20 Retro Color by XLN Audio
+
+RC-20 Retro Color is arguably the single most used plugin in lo-fi production.
+It bundles six lo-fi processing modules into one plugin: noise (vinyl/tape
+noise generation), wobble (wow and flutter pitch modulation), distortion
+(harmonic saturation), lo-fi (bit and sample rate reduction), space (room and
+reverb ambience), and magnetic (tape-style dynamics and frequency response).
+The modules can be used individually or in combination, and the plugin handles
+the interaction between them musically. ~$99 from XLN Audio. Frequently on
+sale.
+
+Waves J37 Tape
+
+The J37 Tape plugin from Waves is modelled on the Studer J37 four-track tape
+machine used at Abbey Road Studios during the recordings of The Beatles and
+countless other artists from the 1960s. It includes controls for tape speed
+(7.5, 15, and 30 IPS), input drive, wow and flutter amount and rate, and tape
+formulation type. The high-frequency saturation and roll-off at 7.5 IPS is
+particularly useful for lo-fi production — it replicates the warmth of slow
+tape recording accurately. ~$29–$49 during Waves sales, which occur frequently.
+
+Decimort 2 by D16 Group
+
+Decimort 2 is a high-quality bit crusher and sample rate reducer that excels at
+musical bit reduction — reducing bit depth in a way that sounds characterful
+rather than simply broken. It includes anti-aliasing filtering controls that
+let you shape how the aliasing artifacts manifest, and a dithering section for
+controlling the noise floor character. Use it on drums and bass for grit, and
+on melodic elements at very subtle amounts (reducing to 18–20 bit from 24 is
+enough to add texture without obvious degradation). ~$39 from D16 Group.
+
+Softube Tape
+
+Softube Tape offers three tape machine models with different character
+profiles: a bright, extended machine modelled on a Studer A80, a warmer machine
+modelled on an Ampex ATR-102, and a third model with enhanced harmonic
+saturation. The plugin is well-regarded for its musical saturation response —
+it remains musical even at high drive settings where other tape simulators
+become harsh. ~$99, frequently available in plugin bundle sales.
+
+Spitfire LABS (Free)
+
+Spitfire LABS is a free collection of virtual instruments that includes many
+sounds well-suited to lo-fi production — warm pianos, dusty strings, mellow
+guitar, and atmospheric textures. The Soft Piano, Amplified Cello, and Felt
+Piano instruments are particularly popular in lo-fi production as they have
+inherent warmth and organic imperfection that pairs well with additional lo-fi
+processing. Available as a standalone app and plugin from Spitfire Audio.
+
+Releasing and Distributing Lo-Fi Music
+
+Once your lo-fi track is finished, mixed, and mastered, the process of getting
+it onto streaming platforms and building an audience follows a straightforward
+but important set of steps. The lo-fi genre has a particularly active streaming
+audience — lo-fi playlists on Spotify and YouTube have some of the highest
+listener hours in music, which means the potential audience is large and
+already engaged.
+
+Mastering Lo-Fi Music
+
+Lo-fi music should be mastered to streaming loudness standards — approximately
+-14 LUFS integrated for Spotify and Apple Music, which is the level at which
+these platforms apply the least additional gain adjustment. Lo-fi music
+typically sounds better at slightly lower loudness than more compressed genres
+— the dynamic range and the subtle variations in level that come from tape and
+vinyl simulation are part of the character, and heavy limiting to push loudness
+undermines the aesthetic.
+
+Use a limiter as the final plugin in your mastering chain and set the ceiling
+at -1.0 dBTP (true peak) to prevent inter-sample clipping in the decoded audio
+stream. Target -14 LUFS and let the inherent dynamics of the lo-fi processing
+do their job without over-compressing. For more detail on the mastering
+process, [44]how to master a song at home covers the full workflow including
+loudness targeting and true peak limiting.
+
+Export Settings
+
+Export your final master at 44.1 kHz sample rate, 24-bit depth, WAV format. Do
+not apply any dithering in your DAW if your distribution service handles the
+dithering to 16-bit internally (DistroKid and TuneCore both handle this).
+Upload the 24-bit WAV file to your distributor — this preserves the maximum
+quality through their encoding process to MP3 and AAC for streaming delivery.
+
+Digital Distribution
+
+Use a digital distribution service to get your lo-fi music onto Spotify, Apple
+Music, YouTube Music, Tidal, and all other major platforms simultaneously.
+DistroKid is popular for its unlimited releases per year subscription model —
+the full comparison is covered in the [45]DistroKid vs TuneCore breakdown.
+TuneCore charges per release but offers 100% royalty retention with annual
+fees. CD Baby charges a one-time fee per release and takes a small percentage
+of royalties.
+
+For lo-fi music specifically, YouTube distribution is particularly important —
+the lo-fi genre has a massive YouTube presence through 24/7 lo-fi streams and
+lo-fi playlist channels. Ensure your distribution includes YouTube Content ID
+registration so that if your music is used in a stream, you receive the revenue
+rather than losing it.
+
+Royalty Registration
+
+Register your original compositions with a Performing Rights Organisation (PRO)
+— ASCAP or BMI in the United States, PRS in the United Kingdom, SOCAN in
+Canada. PRO registration ensures you receive performance royalties when your
+music is played on streaming platforms, radio, or in public venues. The
+difference between ASCAP and BMI in terms of payment structures and membership
+fees is covered in the [46]ASCAP vs BMI comparison. Registration is free for
+both organisations and should be done as soon as you begin releasing music
+commercially.
+
+Playlist Pitching and Promotion
+
+Lo-fi music has a dedicated playlist ecosystem. On Spotify, the most important
+step is pitching your music to Spotify's editorial team through Spotify for
+Artists at least 7 days before your release date. Tag your music accurately
+with lo-fi hip-hop or lo-fi beats as the primary genre and study music, chill,
+and relaxing as mood tags — these metadata signals influence which
+algorithmically generated playlists your music appears in.
+
+Independent lo-fi playlist curators on YouTube and Spotify actively accept
+music submissions — many have submission forms linked from their channel or
+profile pages. Identify 10–20 curators whose playlists match your sound and
+submit your music through their official channels. Building a relationship with
+even a few active lo-fi curators can generate thousands of streams per release.
+For broader promotional strategy, the guide on [47]how to promote music
+independently covers the full spectrum of independent artist promotion
+approaches that apply across genres.
+
+Building a Lo-Fi Brand
+
+The most successful lo-fi artists have developed recognisable aesthetics that
+extend beyond the music — visual branding through consistent artwork, a
+recurring character or setting (the anime study girl aesthetic popularised by
+ChilledCow became one of the most recognised brand identities in lo-fi), and a
+consistent release schedule that gives listeners a reason to return.
+
+Consider releasing music as part of a continuous series — an album or EP with a
+unified visual and sonic theme — rather than as isolated singles. Lo-fi
+listeners consume music over long study or work sessions, which means they
+engage with full projects rather than individual tracks more than in most other
+genres. A cohesive project with consistent artwork, consistent sonic character,
+and a clear emotional identity gives curators and listeners something to
+connect with beyond a single track.
+
+Practical Exercises
+
+Beginner Exercise
+
+Build a Two-Bar Lo-Fi Loop from Scratch
+
+Open your DAW and set the tempo to 80 BPM. Program a basic kick-snare-hihat
+pattern in your drum rack or step sequencer, then apply 60% swing quantisation.
+Load a simple piano or keys plugin, play a Cmaj7 chord followed by an Am7 chord
+over two bars, and run the whole loop through iZotope Vinyl (free) with the
+dust and mechanical noise controls at 30–40%. Listen to how the noise and swing
+transform the feel of even a simple pattern.
+
+Intermediate Exercise
+
+Create a Full Lo-Fi Signal Chain on a Melodic Element
+
+Record or program a short jazz piano phrase using a ii-V-I progression (Dm7 —
+G9 — Cmaj7) with open voicings and slightly humanised MIDI velocity across a
+range of 50–95. Build a signal chain: first an EQ with a low-pass at 10 kHz,
+then a tape saturation plugin (RC-20 or Waves J37) with the drive pushed 3–4 dB
+into saturation, then add subtle wow and flutter at 10% depth, and finally
+place a vinyl noise layer underneath at -22 dB. A/B the processed versus dry
+signal and assess which elements of the chain contribute most to the character.
+
+Advanced Exercise
+
+Produce and Master a Complete Lo-Fi Track for Release
+
+Compose a full two-to-three minute original lo-fi track using jazz chord
+progressions, live or MIDI instruments, and a complete lo-fi processing chain
+on every element. Mix to -18 LUFS to leave headroom for mastering, then build a
+mastering chain: a gentle low-pass on the master bus, a tape saturator for
+warmth and glue, and a limiter set to -1.0 dBTP ceiling targeting -14 LUFS
+integrated. Export at 24-bit 44.1 kHz WAV and submit to three independent lo-fi
+playlist curators as a pitch exercise, noting which metadata tags and pitch
+copy elements you use and tracking the response rate over 30 days.
+
+Frequently Asked Questions
+
+FAQ What makes music sound lo-fi?
+Lo-fi music is characterised by deliberate sonic imperfections: tape
+saturation, vinyl crackle, pitch wobble, low-pass filtered tones, humanised
+drum patterns played with swing, and warm analog-style processing. These
+elements recreate the sound of old recordings and create a sense of intimacy
+and nostalgia.
+FAQ Do I need samples to make lo-fi music?
+No. Lo-fi music can be made with original composition using virtual
+instruments, live instruments, and processing plugins to create the lo-fi
+aesthetic. Sample-based production is the traditional method but original lo-fi
+using jazz chord progressions, live guitar, and piano is equally valid and
+avoids copyright complications.
+FAQ What BPM is lo-fi music?
+Lo-fi hip-hop typically sits between 70 and 90 BPM. Lo-fi study music and
+ambient lo-fi is often slower at 60 to 80 BPM. Faster lo-fi influenced tracks
+can reach 90 to 110 BPM. The slower tempo contributes to the relaxed,
+reflective character of the genre.
+FAQ What plugins are best for lo-fi music?
+Key plugins for lo-fi production include iZotope Vinyl (free) for vinyl crackle
+and degradation, Waves J37 Tape or Softube Tape for tape saturation and wow and
+flutter, RC-20 Retro Color by XLN Audio for all-in-one lo-fi processing,
+Decimort 2 by D16 for bit crushing and sample rate reduction, and any saturator
+or harmonic exciter for warmth.
+FAQ What are the best chord progressions for lo-fi?
+Lo-fi typically uses jazz-influenced chord progressions with extended harmony.
+Common progressions include ii-V-I with 7th and 9th extensions (Dm7-G9-Cmaj7),
+minor chord loops using m7 and m9 voicings, and circular modal progressions.
+The use of major 7th, minor 7th, and dominant 9th chords gives lo-fi its
+characteristic warm, jazzy sound.
+FAQ How do I make lo-fi drums?
+Lo-fi drums use samples that sound like they were recorded on tape, with heavy
+swing quantisation between 55–65%, varied hi-hat velocities, and vinyl or
+tape-processed kick and snare sounds. Add a vinyl crackle layer underneath the
+drum bus and process through a low-pass filter above 10–12 kHz to remove modern
+digital sheen.
+FAQ Can I sample music for lo-fi beats?
+Sampling copyrighted music without clearance is copyright infringement
+regardless of how much the sample is processed or how short it is. Most lo-fi
+producers who release commercially either clear samples properly, use
+royalty-free sample packs, or compose original music. YouTube lo-fi streams
+often use uncleared samples in a grey legal area, but commercial release
+requires clearance.
+FAQ How do I release lo-fi music on Spotify and Apple Music?
+Use a digital distribution service like DistroKid, TuneCore, or CD Baby to
+distribute lo-fi music to all major streaming platforms. Upload in WAV format
+at 44.1 kHz 24-bit depth, target -14 LUFS at mastering, and register your
+compositions with a PRO like ASCAP or BMI for performance royalties. Tag your
+music accurately with genre and mood metadata to improve playlist placement.
+
+Tags
+
+[48]AI Music [49]Techniques [50]Lo-Fi
+Share [51] Share on X [52] Share on Reddit [53] Copy Link
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+ • [60]The Lo-Fi Philosophy: Imperfection as Craft
+ • [61]Sample-Based vs. Original Lo-Fi Production
+ • [62]Key Lo-Fi Techniques Explained
+ • [63]How to Make Lo-Fi Drums
+ • [64]Jazz Chords, Melody, and Bass for Lo-Fi
+ • [65]DAW-Specific Instructions: Ableton, Logic, and FL Studio
+ • [66]Essential Lo-Fi Plugins and Tools
+ • [67]Releasing and Distributing Lo-Fi Music
+ • [68]Practical Exercises
+ • [69]Frequently Asked Questions
+ • [70]Related Articles
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+[13] https://musicproductionwiki.com/categories/daws
+[14] https://musicproductionwiki.com/categories/plugins
+[15] https://musicproductionwiki.com/categories/hardware
+[16] https://musicproductionwiki.com/tools/
+[17] https://musicproductionwiki.com/bible/
+[19] https://theproducersbriefing.beehiiv.com/
+[20] https://musicproductionwiki.com/categories/techniques
+[21] https://musicproductionwiki.com/categories/reviews
+[22] https://musicproductionwiki.com/categories/comparisons
+[23] https://musicproductionwiki.com/categories/breakdowns
+[24] https://musicproductionwiki.com/categories/recreations
+[25] https://musicproductionwiki.com/genres
+[26] https://musicproductionwiki.com/categories/ai-music
+[27] https://musicproductionwiki.com/categories/music-business
+[28] https://musicproductionwiki.com/categories/daws
+[29] https://musicproductionwiki.com/categories/plugins
+[30] https://musicproductionwiki.com/categories/hardware
+[31] https://musicproductionwiki.com/bible/
+[32] https://musicproductionwiki.com/tools/
+[33] https://theproducersbriefing.beehiiv.com/
+[34] https://musicproductionwiki.com/
+[35] https://musicproductionwiki.com/categories/ai-music
+[36] https://musicproductionwiki.com/categories/ai-music
+[37] https://musicproductionwiki.com/categories/techniques
+[38] https://musicproductionwiki.com/categories/techniques
+[39] https://musicproductionwiki.com/articles/how-to-make-a-lo-fi-sample-pack
+[40] https://musicproductionwiki.com/articles/how-to-use-groove-and-swing-in-music
+[41] https://musicproductionwiki.com/articles/ai-chord-progression-tools
+[42] https://musicproductionwiki.com/articles/ableton-live-beginners-guide
+[43] https://musicproductionwiki.com/articles/best-daw-for-hip-hop
+[44] https://musicproductionwiki.com/articles/how-to-master-a-song-at-home
+[45] https://musicproductionwiki.com/articles/distrokid-vs-tunecore
+[46] https://musicproductionwiki.com/articles/ascap-vs-bmi
+[47] https://musicproductionwiki.com/articles/how-to-promote-music-independently
+[48] https://musicproductionwiki.com/categories/ai-music
+[49] https://musicproductionwiki.com/categories/techniques
+[50] https://musicproductionwiki.com/categories/techniques
+[54] https://musicproductionwiki.com/articles/how-to-make-rnb-music
+[55] https://musicproductionwiki.com/articles/how-to-make-gospel-music
+[56] https://musicproductionwiki.com/articles/distrokid-vs-tunecore
+[57] https://musicproductionwiki.com/articles/how-to-make-lo-fi-beats
+[58] https://musicproductionwiki.com/articles/best-plugins-for-hip-hop-production
+[59] https://musicproductionwiki.com/articles/how-to-make-a-lo-fi-sample-pack
+[60] https://musicproductionwiki.com/articles/how-to-make-lofi-music#lo-fi-philosophy
+[61] https://musicproductionwiki.com/articles/how-to-make-lofi-music#sample-vs-original
+[62] https://musicproductionwiki.com/articles/how-to-make-lofi-music#key-techniques
+[63] https://musicproductionwiki.com/articles/how-to-make-lofi-music#lofi-drums
+[64] https://musicproductionwiki.com/articles/how-to-make-lofi-music#jazz-chords-and-melody
+[65] https://musicproductionwiki.com/articles/how-to-make-lofi-music#daw-instructions
+[66] https://musicproductionwiki.com/articles/how-to-make-lofi-music#lo-fi-plugins
+[67] https://musicproductionwiki.com/articles/how-to-make-lofi-music#release-and-distribution
+[68] https://musicproductionwiki.com/articles/how-to-make-lofi-music#exercises
+[69] https://musicproductionwiki.com/articles/how-to-make-lofi-music#faq
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+[75] https://musicproductionwiki.com/articles/how-to-make-a-lo-fi-sample-pack
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+[80] https://musicproductionwiki.com/categories/comparisons
+[81] https://musicproductionwiki.com/categories/ai-music
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+[83] https://musicproductionwiki.com/categories/plugins
+[84] https://musicproductionwiki.com/categories/hardware
+[85] https://musicproductionwiki.com/categories/techniques
+[86] https://musicproductionwiki.com/categories/music-business
+[87] https://musicproductionwiki.com/categories/glossary
+[88] https://musicproductionwiki.com/articles/suno-vs-udio
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+[92] https://musicproductionwiki.com/articles/best-compressor-plugins
+[93] https://musicproductionwiki.com/articles/what-is-gain-staging
+[94] https://musicproductionwiki.com/about
+[95] https://musicproductionwiki.com/about#team
+[96] https://musicproductionwiki.com/about#methodology
+[97] https://musicproductionwiki.com/about#affiliate
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