Datsunn (@datsunnmusic) has built a style that sits comfortably between boom bap, jazz, and modern instrumental hip hop, with a workflow that blends hardware and software instead of relying on one or the other. “Elsewhere,” which was also featured as part of the Chillhop Essentials Summer 2026 compilation, follows that same approach, starting with a chopped sample before expanding into a layered production full of texture, ambience, and subtle movement.
Every stage of the process stays focused on preserving the feel of the original idea rather than polishing it into something overly clean.
The production moves between portable hardware, analog-inspired processing, and creative effects that add personality without getting in the way of the groove. From chopping samples on the Teenage Engineering OP-XY to shaping them with RC-20 Retro Color, the track keeps its raw foundation while adding enough movement to make the loop evolve naturally over time.
For this How It Was Made feature, Datsunn breaks down the tools behind “Elsewhere,” including the OP-XY, XLN RC-20 Retro Color, the Hologram Microcosm, and Nest Acoustics DELTA, while also sharing a few production habits that help him stay creative without getting stuck chasing perfection.
Teenage Engineering OP-XY
The OP-XY is a sequencer, synth, and sampler. It’s an extremely portable piece of gear that packs a huge punch. It really covers all the bases for music production but in such a small package.
I started this track with a sample from the producer cre8. I had it loaded onto the OP-XY and initially chopped it there before taking it into Ableton. The OP-XY has a “tap to slice” feature that I really love using to chop samples with. It makes it super easy to get right to it and start messing around with a sequence or pattern. Once I got it to a place I liked, I brought it into Ableton to further process it with XLN’s RC-20 Retro Color, as well as warp a few sections to really get the chop tight.
I feel like the OP-XY is designed in a way that allows you to get creating really quickly. Everything is just there. There’s no need to overthink which VST or plugin you want to use. You just get right to it with everything you need at your fingertips.
A great way to get into chopping a sample is to use the “tap to slice” feature. It allows you to play the sample and literally tap where you want the slices. You can clean up the attack to smooth out any unwanted clicks or pops, but otherwise you’re able to sequence a chop incredibly quickly this way.
XLN RC-20 Retro Color
RC-20 is a plugin that lets you emulate a vintage sound in a really straightforward way. It gives you that instant lo-fi aesthetic with vinyl and noise simulations, wobble, chorus, reverb, distortion, and more. It really is the complete package for this style of music.
After I brought the sample chop into Ableton, the first thing I did was put RC-20 on the track. It instantly created the character the track was missing. I usually start with the “Vinyl 1” preset and tweak it from there. It doesn’t take much to get something unique out of this plugin. I like experimenting with the Wobble effect because it can create a broken-record feel. I also used the low-pass EQ in the master section to remove unwanted bass frequencies and added a little high-pass EQ to dull the sound slightly.
If you’re looking for that vintage sound, look no further. RC-20 has exactly the right collection of modules to get there. Vinyl crackle, wobble, and a touch of distortion can completely change a clean sample. One thing to watch out for is using multiple instances across a project. Make sure the noise settings aren’t fighting each other because they can start phasing if you’re not paying attention.
Hologram Microcosm
The Hologram Microcosm is a granular effects pedal. It chops incoming audio into tiny fragments and micro-loops while doing far more than a traditional delay or reverb pedal. It’s an ambience machine that can also create loops and tape-style delays.
The Microcosm is my go-to for creating drones or adding huge, spaced-out reverb to pads and almost any incoming signal. I’ll usually send something through it and start turning knobs until I land on something interesting, which honestly doesn’t take very long. I especially like the “Strum” setting because it creates this granular but lush texture.
I really can’t get enough of this pedal. It’s become a permanent part of my workflow. If your goal is to create unique pads or evolving drones, it’s hard to beat. That slight unpredictability keeps sounds changing over time, which is especially useful in Boom Bap where loops can otherwise become repetitive.
Nest Acoustics DELTA
Nest Acoustics DELTA has quickly become one of my favorite plugins. It’s a sidechain plugin with some unique features, including the ability to feed the source signal through the sidechain path to add color and distortion to the affected sound.
I used DELTA on the main sample chop as well as the pads. I love that it gives you ten different distortion modes along with complete control over how much distortion gets blended into the sidechained signal. I also used it on the hi-hats with the kick acting as the trigger. It creates exactly the kind of kick-and-hat crunch I was looking for.
If you’re after that glued-together kick and hi-hat relationship, this plugin does it really well. The filtering controls also make it easy to dial things in. One thing I’ve learned is to spend extra time adjusting the amount of source signal bleeding into the sidechained track because that’s where you usually find the sweet spot.
Quick Fire Hot Takes
Hot Take #1: Producers spend far too much time chasing perfection. Finished beats perfect every time.
Hot Take #2: You don’t have to use every trick you know in one song. Leave yourself somewhere to go on the next record.
Hot Take #3: Focus on consistency instead of perfection. Stay active and stay ready.
Hot Take #4: Better gear won’t make you a better producer. The person using it matters far more than the equipment.
Hot Take #5: Don’t get caught chasing trends. Follow the ideas that genuinely excite you because authenticity always comes through.
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.
