Martha Dark started her music production journey in 2020, juggling a full-time job while diving headfirst into learning the craft - sometimes putting in up to 40 hours a week. With a background in playing multiple instruments, she’s found a sweet spot between traditional musicality and modern tools like Logic Pro and Maschine MK3. Her track 'Promise' even made it to Trax Source’s Best of Summer Hype List! Read her top tips for experimenting with arrangements and staying creative, plus how RepostExchange helps her to connect with a global music community.
Since the beginning of 2020. I threw myself into producing back then on top of a full-time job. Some weeks I did 30/40 hours a week of producing just so I could learn as much as I could. I do have a background as a musician and also play a few different instruments so that has helped.
Logic and the Maschine MK3. I make the majority of my songs now in Maschine and then export them to Logic to finalise the structure and mix them. Maschine’s workflow is great.
Hands down, my Maschine MK3. It changed the way I make music and being able to jam on the fly. I love how you can re-work samples in it and it’s helped me hone a really good workflow to work faster and better.
📸 Photo credit: Andy Gilliland
I love the Pultec EQ by UAD. The difference it makes on vocals and the mix bus is incredible. I also use the RC-20 Retro Color a lot for FX and transitions. I am a big fan of anything FabFilter do - particularly Saturn and the Pro-Q 3. I could go on!
I have had to work really hard on workflow as most producers do to refine it and make it as efficient as possible whilst balancing the style of music I make. I have a very systematic approach now using the Maschine MK3. I shortlist from the best jams I make from 30 second loops instead of running off and making every track into a full song.
My approach is organised and structured overall I’d say. It’s important to think about structure and arrangement from the very beginning, including what sounds you use and what frequency spaces they occupy.
Disclosure’s sessions on Sol State’s YouTube channel were invaluable to me. I learned so much from them. Dan Worrall’s YouTube channel is very good for advanced perspectives on audio engineering. Big Z puts out useful content on production and mixing. Also, Sara Carter from Simply Mixing and Cableguys are other personal favourites.
Not so much a tutorial and more tips-based, but I watched this video recently and really rated the advice in it on mixing the kick:
Knowing to study workflow specifically earlier on - arrangement is everything but it requires a lot of time to get it right and you coming up with your own specific framework.
I’d say balancing music with working a job can be a challenge but planning sessions and your time effectively helps to overcome that.
Make your transitions as interesting as possible (Disclosure talks about this in the videos mentioned above) and set up a bus like a DJ mixer. Also, experiment with going off the grid with structure. Arrangement doesn’t always have to mirror traditions or classic tracks. There’s room for creativity and being non-linear in the right places to make your style distinctive and unique.
I share my tracks with friends who are DJs or producers before I put them out to get feedback and thoughts, yes.
I have released one track, Promise, thus far, on theBasement Discos label. I’m releasing a lot more music in 2025. I’m proud of how well it’s done, featuring on Traxsource’s Best of Summer Hype List alongside some big names. I have a future release called, Ghost, which you will hear next year and I’m also particularly proud of. I had another release planned for this year but decided to pull it in the end.
I’m a big user of RepostExchange and SoundCloud to listen to new music and mixes. I seek out new music all the time. It’s enhanced the way I make music by listening to new music all the time and sharing music to both give and receive feedback as well.
Connect with Martha Dark on RepostExchange, SoundCloud, Instagram, and TikTok.
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📸 Blog Banner photo credit: Christopher Allen
This interview has been lightly edited for brevity and clarity
