Table of Contents
Indie dance is one of the rare genres that is probably the most open format, allowing producers a wide range of inspiration and leeway in how they express themselves within the genre. When I heard Alex Cecil’s latest track, “Promises,” I was blown away by how much he excelled, incorporating elements from melodic house, space disco, synth wave, and other niche genres that I love but don’t often see heavily used by producers.
His record label has recently been nominated for one of Beatport’s Best Hype Labels of the Year, and hearing this track, “Promises,” it’s no surprise. The label consistently releases hits from underground genres pulls inspiration from from a ton of my favorite genres and styles and it doesn’t take long to find nuggets and vibes that you like across the catalog and discography.. Alex Cecil himself has performed at some of the best gigs and most excellent venues across the United States and beyond, including Burning Man, Floyd Miami, House of Yes in Brooklyn, Adam Tower in Amsterdam, and more.
So when we had the opportunity to invite him on to discuss how he made “Promises,” we jumped at the chance. Listen to the track a few times below to acclimate your ears to the style before diving into the latest iteration of how it was made. Alex Cecil’s “Promises” is out now on Exx Boundless.
Follow Alex Cecil Instagram Facebook TikTok SoundCloud
Diva
Diva by u-he is a synth plugin that sounds just like classic analog synths like Moog, Juno, and Jupiter. It’s really well known for its warm tones super similar to vintage synths. It’s really versatile and great for creating everything from deep basslines to lush pads and sharp plucks. It really takes you back to the retro vibes from the 70s and 80s. While I don’t have a studio full of vintage synths, it’s pretty great to have the next best thing ‘inside the computer’. I use it in a large majority of my tracks in one way or another.
The lead synth in the track is where Diva really shines 🙂 But also the bass plucks, and arps. It’s really versatile. I used the “SW Magic Flute” preset to create a bright, cutting lead that stands out in the mix. I added some automation to the filter cutoff to give it more movement and energy. For the bass, I used the “Deep Bass” preset and layered it with a bit of saturation to add extra warmth and punch. Then added another layer of plucking bass using the preset “MK Bass FM Random”. The arps were made with the “IW Jupiter High Strings” preset. Diva’s versatility made creating a wide range of sounds easy, all with that classic analog vibe.
If you’re making indie dance, Diva is a game-changer. I’ve learned that using its presets as starting points and tweaking the filters and envelopes can give you unique sounds quickly. Try automating the filter cutoff for dynamic lead lines, and don’t be afraid to layer sounds for a fuller mix. Also, adding a bit of saturation or chorus can really bring your bass and arps to life, giving your tracks that warm, analog feel.
Kickstart 2
This is probably the most often used plugin I’ve seen producers use from beginners to professionals. That’s because it works so well.
It’s super handy for sidechain compression, and it was developed by Nicky Romero. It makes creating that pumping effect we all love in your tracks really really easy. Instead of setting up complex routing, you just drop Kickstart 2 on your track, choose a curve, and adjust the mix knob to get the perfect amount of ducking. It’s perfect for getting that classic dance music vibe where the bass and kick drum don’t clash, making your mix sound clean and punchy.
While making Promises, I used Kickstart 2 to create that essential pumping effect. I applied it to the basslines and pads, using the “Classic” preset curve for a smooth, rhythmic ducking. I adjusted the mix knob to about 70% for the bass and 50% for the pads, ensuring they breathed with the kick drum without overwhelming the mix. For the subbass line I used the Subbass Chain preset, set the length to ¼ Note, synced the ducking cycles and set the mix know to 40%. I didn’t use it on claps, snares and cymbals, as they didn’t need the same level of ducking. For the lead synth, I automated Kickstart’s mix knob to gradually increase during the build-up, adding excitement and movement to the track.
Kickstart 2 is a must-have for adding that rhythmic pumping effect. I’ve learned that using it on basslines and pads with the “Classic” preset gives a clean, professional sound. A clever trick is to automate the mix knob during build-ups for extra energy. Don’t be afraid to mess around with it; close your eyes and just listen closely to your speakers. Sometimes looking at the computer screen can bias your judgment, so trust your ears to find the perfect balance.
Little Alter Boy
Little AlterBoy is a vocal manipulation plugin that lets you change the pitch and formant of your vocals without making it super complex. It’s great for creating everything from pitch corrections to dramatic vocal effects like robotic sounds or deep, growling crazy tones. You can also use it to create a chorus effect by blending the altered voice with the original which can be really fun. Similar to the kickstart 2 plugin, it has a simple interface and powerful impact. It’s important to remind yourself sometimes that complex isn’t always better than simple.
In “Promises,” I used Little AlterBoy to give the vocals a unique twist. I started with the “Robot” preset to create a cool, robotic vibe for certain sections – but very light. It’s important to remember that just a tiny bit can have a huge impact. You may not realize it at the moment but when you listen the next day in your car or headphones or at the club – you’ll see. To make the chorus stand out, I automated the formant knob, gradually shifting it for a dynamic effect. I also added some “Drive” control to give the vocals some grit and presence. I then blended the altered vocal with the original track, adding some reverb and delay for depth. This combination made the vocals sound fresh and engaging, perfect for the track’s vibe.
Little AlterBoy is like a magic tool for vocals. You can use it to make your singer sound like a robot or add cool harmonies. One big tip I have that I want to share with you is to start with the presets and then tweak them until they sound just right. (Remember – trust your ears and not your eyes). Also, try automating the settings during different parts of your song to keep things interesting.It doesn’t even have to be precision automation. Have fun with it. It’s all about experimenting. That’s how we learn.
Ableton’s Operator
Ableton’s Operator is a powerful synthesizer plugin that allows you to create unique sounds (that’s a good thing!). It uses different oscillators to create all kinds of sounds—like classic analog tones, futuristic noises, or even realistic instruments. You can tweak each oscillator’s settings—like pitch, waveform, and filter—to make endless variations. You can also make banging basslines or dreamy pads.
Note: If you master Operator, you will be be one step ahead of the game. 😉
In Promises and the majority of all my tracks, the Operator plays a big role in shaping the sound, especially for the sub bass line. In this instance, I tweaked the envelope and added a touch of saturation to give it warmth and presence in the mix. For the pads, I blended different waveforms and modulating frequencies to create evolving textures. Automation was clutch here. So I automated the filter cutoff to add movement and depth throughout the track. What’s really cool about mastering Operator, is that whatever you have in your head, it’s possible. You aren’t confined to presets. Mess with it. Make your track come alive.
If you’re diving into indie dance or legit any other electronice music genre, Operator is your secret weapon. It has been mine for a while now. I was lucky enough to be taught this by my mentor Maurizio Ruggiero. I hope a few take this to heart. Secret weapon.
I’ve learned that layering Operator’s oscillators can add richness and complexity to your sounds, whether it’s crafting sparkling leads or lush pads. Don’t be afraid to automate parameters like filter cutoff and FM amount to keep your tracks evolving and engaging. Operator’s endless possibilities make it a forever weapon in your arsenal. Pass that knowledge on to someone.
Will Vance is a professional music producer who has been involved in the industry for the better part of a decade and has been the managing editor at Magnetic Magazine since mid-2022. In that time period, he has published thousands of articles on music production, industry think pieces and educational articles about the music industry. Over the last decade as a professional music producer, Will Vance has also ran multiple successful and highly respected record labels in the industry, including Where The Heart Is Records as well as having launched a new label with a focus on community through Magnetic Magazine. When not running these labels or producing his own music, Vance is likely writing for other top industry sites like Waves or the Hyperbits Masterclass or working on his upcoming book on mindfulness in music production. On the rare chance he's not thinking about music production, he's probably running a game of Dungeons and Dragons with his friends which he has been the dungeon master for for many years.
