Track Breakdown: Hypaton on the making of ‘Slide' with Izzy Bizu
After his latest single 'Slide' with Grammy Nominated singer-songwriter Izzy Bizu, we caught up with Hypaton on production, new releases and technology.
Q: Opening up a blank DAW, where did the production process start with ‘Slide’? Did you have a vision in mind?
A: The track started from the groove. I wanted something that felt natural and immediate, something that you don’t overthink but that just works from the first seconds. From there, the piano hook came in quite early, and that really defined the identity of the track. I already had a clear direction in mind, I wanted something energetic but still smooth and musical.
Q: What production techniques, plug-ins, helped you to create that vibrant sound that we hear on ‘Slide’ that immediately makes us think of summer?
A: It’s a combination of different elements, but a big part of it comes from the groove and the sound selection.
I focused a lot on clean, bright synths and percussions that give movement, but without overcomplicating the track. Keeping space in the mix was also very important, so every element could breathe and feel clear.
From a technical side, I used a mix of analog-style plug-ins and more modern tools to get that balance between warmth and clarity. I used Avenger 2 a lot, especially for the warmer sounds and the piano, and Serum 2 for the synths.
Q: How did you work Izzy Bizu’s vocals into the track? And how did you come to collaborate?
A: Her voice fit the track very naturally from the beginning. The production already had a strong identity,
especially with the piano hook and the energy in the drop, so the goal was to find a vocal that could balance that without overpowering it. Izzy’s tone has a lot of character, so it blended perfectly with the track. Once we heard her voice on it, everything just made sense. The collaboration itself came together quite naturally, and from the moment we started working on it, it felt like the right match.
Q: You work primarily in Ableton, what’s the most helpful tip, tricks and techniques you’ve learnt about the software?
A: What I really love about Ableton is its simplicity and speed. Everything feels very direct, and when you have a fresh idea, it’s important to get it down as quickly as possible. That’s probably the most important thing I’ve learned, protecting the creative flow.
The latest updates are also extremely useful, especially the integrated stem separation, which opens up a lot of creative possibilities. Another key aspect for me is working in a more physical way. I use different MIDI controllers mapped to Ableton, especially for automation. I don’t like drawing automation with a mouse, I prefer to record it by moving real knobs and controls. It makes everything feel more natural and expressive. One trick I use a lot is resampling my own sounds and processing them again.
Sometimes even simple elements can become much more interesting just by re-recording them and adding another layer of processing. It helps give the track more character and uniqueness.
Q: You’ve built your own studio, what are the essential pieces of equipment you couldn’t live without?
A: More than specific equipment, what really matters to me is having a space that makes me feel calm and relaxed. The studio has to feel like a place where you enjoy being, almost like a comfort zone. I have different keyboards around the studio, and I like to move between them instead of always sitting in the same spot. Sometimes I’ll play something on one, then switch to another. That movement really helps stimulate my creativity. If I had to choose one thing I couldn’t live without, it would actually be the windows in my studio. I need natural light. It makes a huge difference in how I feel and how I create.
Q: You’re a fan of guitars! What is your favourite model of electric guitar and who inspired you to pick one up in the first place?
A: I’ve always had a strong connection with guitars, since it was one of the first instruments I started playing when I was younger. My favourite model is a mid-70s Fender Stratocaster. That series is incredible, very versatile, and it just feels right in my hands. The neck is super comfortable and never tires my fingers, and overall it’s a guitar I can always rely on when I play. The inspiration also comes from my dad. He introduced me to music, and he’s the one who passed on this passion for collecting guitars.
Q: When is your favourite time to produce? Are you a night owl, an early bird, or is it just whenever suits you creatively?
A: For me it really depends on the moment. I don’t like to force creativity into a specific schedule. Most of the time I work during the day, especially because I like having natural light in the studio, it puts me in the right mindset. But if I feel inspired at night, I’ll work at night too. One thing I’ve noticed is that many of my best tracks were made when the weather outside was really nice. There’s something about that energy that really influences how I create.
Q: What is the best advice you’d give to someone who is new to producing?
A: The most important thing is consistency. You have to keep working, even when you don’t feel inspired. That’s how you really improve over time. At the same time, don’t overcomplicate things. Focus on simple ideas and learn how to make them sound good. As you improve, it’s easy to become almost obsessed with technical details and lose that more instinctive, almost childlike approach to making music. In my opinion, that’s a mistake. The things that work best are often the simplest ones. But there’s a big difference between something simple and something special. Making something simple but powerful, that’s the hardest thing to achieve in music.
Q: How does the production of ‘Slide’ reflect where the Hypaton sound is heading next?
A: “Slide” represents where I’m going in terms of balance. I’m focusing more on combining energy with musicality, keeping the tracks powerful for the dancefloor but also giving more space to melody, groove and feeling. It’s about making music that works in clubs but also connects on a deeper level, and I think this track is a good step in that direction.
Q: Finally, how do you personally overcome a creative block and what do you reach for to renew your inspiration?
A: For me, the best way to overcome a creative block is to step away from the project. Sometimes the more you force it, the worse it gets. There are moments where I’m completely stuck, and in those cases I just close everything and go do something else, like playing tennis. Even something simple like moving from the studio desk to the kitchen table can make a huge difference. Trying different environments really works. It helps you reset your mind and come back with a fresh perspective.
