Mike Shannon returns to Rekids with the Off World Synthetics EP, and this edition of How It Was Made focuses on “Off World Sparkle,” one of the record’s most distinct cuts. The EP dropped back on January 16, 2026 and follows his 2023 Shadow Moves release on Rekids sister label RSPX.
Long respected across Minimal and House through two decades of releases, his work with Plus 8, and his Cynosure and Haunt Recordings labels, Shannon brings that same control and studio instinct into this new batch of tracks.
“Off World Sparkle” sits inside a larger concept inspired by Alejandro Jodorowsky and Möbius’ INCAL graphic novels, with the EP also drawing from Blade Runner and The Lost Boys.
That influence comes through in the record’s warped sequences, rubbery low end, and off-center textures, and it gives the project a clear visual and tonal frame without pulling it away from club function. On this track in particular, Shannon builds that feel through synth work that stays strange and musical at the same time, then keeps the groove moving with subtle processing choices rather than heavy-handed arrangement tricks.
For this How It Was Made feature, the focus is on the exact tools that shaped that result. Shannon breaks down how the Arturia Mini Freak became central to the lead and pad work, how Manifest Audio’s Pattern Engine helped generate the MIDI movement, and how utility tools like Elysia’s Nvelope and UAD’s Moog Multimode Filter XL helped tighten, color, and animate the mix.
It is a good look at how a track can stay raw and club-ready while still feeling carefully built at every stage.
Arturia Mini Freak
The Main synth in this track was the Mini Freak. The one I have is a limited edition black keys version that is loaded with amazing synth engine possibilities. I’m a big fan of the dual FM engine and the ones from Noise Engineering. The 6 voice Polysynth can be connected to your computer and edited on screen if you like. This feature has been very handy for when I’m on tour and would like to use another Mini freak and easily load it with my patches.
I was using the Mini Freak for the main lead synth sequences. I had just got my hands on this guy and ended up using it for a lot of the sounds in this track. The main dual FM lead was sequenced with Manifest Audio’s midi sequencer called Pattern Engine. This bundle of Midi tools and effects is well worth it, definitely been my sequencing secret weapon as of late. The dreamy pad sound was also a mini freak creation. The Freak really excels in the otherworldly pads and strings department.
One thing that I recommend doing right away is updating the firmware and exploring the synth’s granular possibilities. Even though you can’t load your own samples yet the engine’s wav’s are really fun to mess with and always get you next level results. Really looking forward to the next update!
Manifest Audio – Pattern Engine sequencer
Designed by my homie and very talented producer/engineer Noah Pred. This Max For live generative sequencer powerhouse is a deadly tool for coming up with some great midi pattern ideas. Instant inspiration and a bullseye way to get things flowing fast.
I love being able to do interval sequencing with this guy and getting just enough movement in the pattern to keep things sounding alive. I love being able to record what it’s doing directly into a midi channel in LIVE so I can use its patterns on other channels. I’m often using this sequencer with a midi to CV interface and getting to talk to my modular system. The results are mesmerizing!
What separates this thing from the usual generative sequencer is how you can lock certain parameters so that you can hold parts of the randomization so that you don’t lose certain elements while changing others. Its interface can be a little overwhelming at first use but once you understand the basics of how it operates you’ll be off to the races in no time.
Elysia – Nvelope plugin
This plugin is so essential for me in every production. I’ve been using the hardware 500 series version of this for years but the plug version is insane. Being able to use this as many times as you want in your DAW is amazing. It’s the ultimate tool for calming certain sounds down or adding attack or sustain…
I love automating this plugin on a ride cymbal or a splashy percussion sound and create a dynamic shift in the sound as the track plays. I put the plug in into full range mode, and turn down the sustain all the way down to create a tight sound that only lets the transients and attack through the mix.. As the track moves on I slowly add more sustain to create the effect that the cymbals are getting splashier. You can use this move on so many things besides cymbals. Secret mix weapon. You’re very welcome.
UAD Moog Multimode filter XL
This is another bad ass filter recreation from UAD that gets a lot of use in my tracks. I’m really into the XL version as well but notice that the drive section and envelope response is a little different than the XL one.
But the Modulation sequence in the XL version is wicked fun that lets you sound like a performing genius depending on how you use it. I love to play long sustained chord progressions and then set up the modulation sequencer on the filter cutoff and envelope. You can get some insane results.
I was simply using the filter to give the bass some character with the drive on filter and just created a little movement on the cutoff to keep things dynamic. Sometimes I’ve recorded a synth in audio and I need to make some additional peaks and valleys on the sound. Filtering down some moments and peaking up others.
Quick Fire Tips For Making House Music
#1
Avoid using different groove timing that doesn’t click with your Bassline. Your bass and groove need to be having a smooth conversation.
#2
Keep things dynamic. Subtle modulation in your drums and groove is the key.
#3
Side chain your bass using your kick. The most important thing in this genre is your Kick’s relationship to your bass.
#4
Try sidechaining your entire drumbuss or your entire mix to your Snare or other elements to get different kinds of pump in the dynamics of the mix.
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.
