How It Was Made: Archie Hamilton – Hypnotise Me Ft. Life On Planets [Factory93]

Archie Hamilton’s first release on Factory 93 doesn’t waste time trying to ease into the catalog. ‘Hypnotize Me’ puts his production style front and center, with a vocal performance from Life On Planets that threads everything together with purpose. What starts as a stripped groove builds into something that feels both locked in and unpredictable, a balance that Hamilton has spent years refining across dancefloors and releases.

This edition of How It Was Made goes behind the project file to see exactly how that effect was created. Archie breaks down the way he shaped the bassline to feel fluid but grounded, how the vocal layers evolved during production, and why it was important to leave certain imperfections in the final bounce.

Factory 93 has been leaning into producers who are already locked into club circuits worldwide, and Archie’s inclusion here feels like a continuation of that approach. Between festival dates and headline slots across 2024 and 2025, his calendar has mirrored his output: consistent, tightly programmed, and designed for maximum effect. This track doesn’t mark a new direction so much as a clear extension of what he’s already known for – and this feature shows exactly how it was done.

Archie Hamilton
Instagram / Soundcloud / Facebook / TikTok / Spotify

Life On Planets

Instagram / Soundcloud / TikTok / Spotify

Factory 93

Instagram / Soundcloud / Facebook

Korg Triton

The Korg Triton VST/AU is basically the legendary Triton workstation reborn inside your computer. It’s got all the filters, effects, and multi-timbral magic — just inside your computer. You get over 4,000 original presets plus all eight EXB-PCM expansion libraries, so it’s like having the whole classic sound library at your fingertips.

For this track, I went with the “Classic Sync” preset — it’s got that clav-like bite that cuts through nicely. I kept it pretty simple: just played in a funky pattern, stripped out the built-in effects, and added my own processing afterwards to fit it into the mix. Sometimes you don’t need to reinvent the wheel — the raw tone of the preset was already spot on, so it was just about letting it groove in the right space.

If you’re making music in this style, Triton is a bit of a cheat code. The presets are instantly usable, and the browser makes it quick to find exactly the vibe you’re after. Plus, it’s easy to strip things back and run them through your own FX chain — which is often where the magic happens. It’s a great way to inject those timeless, characterful sounds into a modern mix.

Devious Machines Infiltrator

Devious Machines Infiltrator is one of those plugins that can take a sound from ‘good’ to ‘great’ in seconds. It’s a modular, sequenced multi-effect unit that lets you mix and match filters, distortion, delays, reverbs, spectral effects and more. You can go super subtle or completely wild, and the interface makes it easy to try things out without overthinking.

On this track, I ran the Triton synth (the “Classic Sync” preset) through Infiltrator using the “Phase of the Moon” setting, with the dry/wet at around 27%. It added just a hint of phase and movement that kept the part alive without pulling attention away from the rest of the mix. It’s the kind of detail you feel more than you hear, but it makes a huge difference to the overall texture.

Infiltrator’s strength is in adding character and movement without needing extra layers. For this style, keeping it subtle is key — it locks everything together and gives static parts a bit of breathing, shifting energy. It’s also perfect for experimenting with rhythmic modulation, where even a small tweak can make a loop feel fresh for minutes on end.   

Waves CLA Vox

CLA Vocals rolls compression, EQ, delay, reverb, pitch, and stereo spread into a single, easy-to-use interface. Instead of juggling six different plugins, you’ve got everything you need to get a vocal mix-ready in seconds, with presets based on CLA’s tried-and-tested settings.

For this track, I used the “Start Me Up” preset — a solid balance of punch and clarity straight out of the gate. I made small tweaks: rolled off a touch of bass to keep it tight in the low end, dialled in just enough plate reverb for space, and kept the delay subtle so it didn’t crowd the mix. The compression (“Spank” mode) kept the vocal sitting forward without sounding over-squashed, while the stereo spread helped it feel wider and more present.

CLA Vocals is perfect if you want pro-sounding vocals fast. The presets give you a great starting point, and the faders make it easy to shape the sound without getting lost in menus. For house and techno, I find it works brilliantly on any spoken or hook-style vocals — it keeps them upfront and punchy without fighting the rest of the track.

Quick Fire Tips For Making Music

1. Keep it stripped

Don’t overcrowd the mix — a few strong, well-chosen elements can carry a track better than a dozen competing ones. Let the kick, bass, and one or two key melodic parts breathe, so every sound has its own space and impact.

2. Call and response

Create a conversation between your elements — maybe the bassline answers the vocal chop, or a synth stab responds to the hi-hat rhythm. This interplay adds groove, makes the track feel alive, and keeps listeners hooked without adding unnecessary clutter.

3. Less is more

Before adding a new layer, ask if you can tweak or automate what’s already there. Subtle filter sweeps, delay throws, and reverses can add more life than piling on extra parts — and they keep the mix tight and intentional.