How It Was Made: PETER PAHN – Open The Gate (ENGMT001)

PETER PAHN just opened a new chapter. “Open The Gate,” the debut single on his freshly launched label Enigmatic Records, reflects the same late-night precision and raw energy that’s carried his music from Drumcode to festival main stages. It’s direct, stripped of excess, and built for the kind of moments that lock a dance floor in.

In this feature, PETER walks through how it came together – from his color-coded Ableton sessions to the exact plugins that shaped the kick, bass, and acid line. It’s a detailed look at how one of techno’s most methodical producers translates his workflow into a track that feels as sharp in the studio as it does in a peak-time set.

DAW & Setup

I produce in Ableton Live.
My sessions are structured into functional groups to keep everything clear and efficient – usually: Kick & Bass, Clap, MIDs, HATs, 303s, Synths, Vocals, FX, and Atmosphere.

Color coding is key for me:
🔴 Red for low-end (Kick & Bass)
🟠 Orange for claps
🟧 Peach for mids
🟢 Green for hats
🟣 Magenta for synths and 303s
🔵 Cyan for vocals
🔷 Light blue for FX
⚪️ Grey for atmosphere

This system allows me to quickly navigate through large sessions and stay focused – especially when building tension and layering textures.

That said, naming and grouping might vary slightly from project to project depending on the track’s complexity and creative flow. But when it comes to color coding, I usually stick to this scheme – it’s become an essential part of my workflow.

Kick & Bass – The Foundation

The kick comes from a psy-kick sample pack and was sound-designed to fit the track’s key and vibe (pitch: F# minor).

The highs and mids were slightly boosted to add more presence in the mix.

The bassline is based on the “Tropical Saw” preset from the “Tropical House 4” expansion pack by Nexus 5. I adjusted the pitch and tweaked the sound to make it blend seamlessly with the kick.

For sidechaining, I used Fuser and STFU to carve out space for the kick while maintaining a driving groove. In the midrange, I layered a second bassline – also sidechained – to enrich the low end and add more texture.

Interestingly, the original plan included a different kick and bass combo – but a “happy accident” led to a new foundation that worked far better.

MIDs – Claps & Percs

The clap acts as the punch in the groove – it drives the rhythm forward. I intentionally use call and response between two percussion elements to create a rhythmic back-and-forth. A tom adds extra movement and atmosphere through automation.

Processing includes Ableton’s EQ, Fuser (to blend with the kick), and Gullfoss. I use Gullfoss to reduce masking and smooth out the sound within the overall mix.

HATs

The hats consist of several layered elements: closed hats, open hats, and a sharp whip hat that maintains forward momentum throughout the track. To create a wider and more dynamic stereo image, I slightly offset some of the individual hats to the left and right (xL and xR). This subtle panning adds space and movement without compromising mono compatibility.

To further shape their character and presence, I used Ableton’s Drum Buss for compression and saturation. This treatment brings out their punch and ensures they cut through the mix with clarity and energy.

Lead-Synths

My signature sound heavily relies on Nexus 5 and VPS Avenger – both from Vengeance Sound – which I regularly use for cinematic leads and rich atmospheric layers.

The main lead is a layered combination of Avenger and a Serum 2 patch, added for a touch of modern texture. I kept the note pattern deliberately simple – to leave space for impact and emotional weight.

303 ACID

The acid line was created using AcidBox – its processing remains my personal secret. It’s a recurring signature element in my productions, and I intentionally choose not to reveal all the details. 

Vocal & Storytelling

The vocal is the emotional heart of the track. I use three layers here:

• A dark, hypnotic voice as the main vocal
• A vocoder voice, similar to the one in “Let The Beat Control Your Body”
• A third vocoder layer, used like a snare roll leading into the drop

The exact processing remains my secret – it carries my personal fingerprint as PETER PAHN.

Effects & Sounddesign

My essential tools in the FX department:

• Kick 3 (for kick programming)
• Shaperbox & Infiltrator (for rhythm and movement)
• Endless Smile & Sausage Fattener (for energy and final polish)
• Valhalla Reverbs & FabFilter EQs (for space and clarity)

I use Native Instruments tools as complements:

• Kontakt 8 for choirs
• Trash by iZotope for creatively destroying and reshaping sounds
• Ozone 11 (Izotope) as a mastering preview – to get a feel for how the track holds up under pressure.

Arrangement & Workflow

I follow a carefully crafted emotional arc: The track begins with groove and kick as the driving foundation. From there, pads and atmospheric elements evolve to create depth and emotion. The break was one of the last pieces to fall into place – shaped almost like a spiritual moment. A consciously chosen calm before the storm, making the drop even more impactful. 

Studio-Rituale

I produce best at night – phone off, lights down, LEDs on. When I suddenly get up and start dancing, I know: the track is working.

The End

I hope you liked it and enjoyed this little insight into the making of Open The Gate.
There’s so much more behind every detail, but I hope this gave you a valuable overview of my creative process as PETER PAHN.

If you’re a fellow producer or just a curious mind who enjoys geeking out over sound design, workflows, and music tech – feel free to join my Discord channel. I’ve started building a small but growing community of like-minded nerds where we dive deep into all things production:
👉 https://discord.gg/VhPnKCaS