OLING’s (@olingofficial) Get On The Floor EP marks his debut on Sasha’s Last Night On Earth, and it feels like a natural fit for the Scandinavian producer’s stripped, rhythm-led approach. Since his first Aves EP on Jeremy Olander’s Vivrant imprint in 2021, he has built a sound that sits between melodic house, techno, and late-night club music, with support from John Digweed, Patrice Bäumel, Adriatique, and Hernán Cattáneo. That background matters here because these two tracks lean into patience, detail, and long-form club function rather than quick payoff.
The title track “Get On The Floor” opens the record with a funk-charged groove and a tight melodic framework, giving the EP its clearest dancefloor entry point. “Motor” moves into a deeper zone, using stretched pads and hypnotic rhythm work to build pressure over time. OLING’s background as a drummer comes through across the release, especially in how the tracks use rhythm as the foundation instead of treating percussion as support.
For this How It Was Made feature, the focus is on how OLING shaped two extended cuts during the dark Swedish winter of late 2025, aiming for intimate club spaces and records that can stretch out without losing focus.
The production angle here is especially useful for anyone working in melodic house or techno, because the EP shows how subtle harmonic movement, restrained arrangement, and rhythm-first writing can create tracks that feel deep without getting overbuilt.
Kepler
For the lead, which is the bassline, I used a modeled emulation of the classic Roland JUNO-6 called Kepler, which is a stock instrument in FL.
I rarely use this plugin, but now writing this, I feel like that’s about to change. Fun fact is that it has almost no effect on that sound. A nudge of clipping and some EQ, that’s it! And it still sounds super rich.
You can easily get a cool sound out of almost any emulation of the Juno 6. All the presets sound pretty legit to me, tho I haven’t owned a physical Juno-6 myself, haha. But to be totally honest, I believe Arturia’s digital replication is the best one out there.
Chow Tape Model
This effect that I used a lot on ’Get On The Floor’ is the Chow Tape Model. It’s an open-source audio plugin that digitally emulates the sound and behaviour of analog reel-to-reel tape machines.
I used this on a lot of the flat sounds, like the synth-arpeggio. It really made it warmer, and I only tweaked the saturation.
If you’re looking to get away from the digital sounds in any form, this is a great and easy effect to work with. It’s also a lot cheaper than buying a real tape machine (even though that would’ve been the best thing to do ofc).
Transient Master
We all know how much of a pain it is to dial in a standard compressor just to get some decent transient snap. That’s why Transient Master is so clutch. It completely skips all the threshold BS and just focuses on the initial hit and the tail of the sound. With literally three basic knobs, you can make a signal punch like crazy or instantly clean up all that ringy, muddy trash. It does some heavy lifting under the hood, but the workflow is literally just reshaping the envelope.
I use Transient Master on the drum bus because the rhythm section needed a bit more presence in this track. I started with the “Punchy Drums” preset and turned the Attack up to +35% to give the kick and snare a cleaner, more distinct snap. During the verses, I automated the Sustain down to -40% to kill the room bleed and keep the groove tight, then let it open back up for the bigger sections.
If you are working on rhythm-heavy tracks, the best move is to use it to clean up space rather than just boosting the attack on everything. Turning down the sustain on background percussion loops is a quick way to get rid of some low-end mud. It makes the hits short and dry, which immediately leaves more room in the mix for your bass and vocals to sit comfortably.
Brainworx bx_clipper
Brainworx bx_clipper is a powerful dynamics tool designed to shave off peak transients before they hit your limiter, giving you competitive loudness without losing mix clarity. It features a dual-circuit architecture that switches between smooth FET and aggressive Diode modes to suit different material. With up to 32x oversampling, it optimizes headroom and prevents digital aliasing. It delivers a fast, transparent workflow for maximizing your track levels.
For this project, the plugin was placed on the drum bus to control sharp transient spikes that were eating up headroom. Driving the input gain during the high-energy sections gave the rhythm instant punch and cohesion. The processing glued the drum kit together seamlessly, ensuring the mix stayed loud and impactful without overworking the master limiter.
For producers working in modern genres, bx_clipper is highly recommended on sub-groups before the final mastering stage. A great technique is using it in Mid/Side mode on synth stacks, clipping the sides harder to expand stereo width while keeping the center clean. It is also highly effective on parallel buses to add subtle harmonic saturation that helps instruments cut through smaller speakers.
Quick Fire Tips For Making This Genre
Tip #1: Identify a core principle or concept to focus on; everything else will naturally fall into place in the best scenario.
Tip #2: Embrace the spontaneity of the song’s journey, welcoming unexpected deviations from your initial vision. Remember to safeguard your progress by saving backup copies before experimenting, ensuring you have a fallback option if the results don’t align with your expectations.
Tip #3: Let go of ideas that no longer resonate with you, as your time and energy are valuable. Focus instead on pursuits that ignite your passion and bring you fulfillment.
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.
