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iZotope Vinyl can add vinyl grunge, while Melodyne can fix dodgy tuning – or create weird sounds

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9. Pop tracks can often sound deceptively simple, but try and recreate one and you'll find that there's much more going on than you realise. There are various ways you can fill out a track, from subtle delays and reverbs to programmed pads and textures. But to avoid the track becoming too messy, concentrate on finding space for lots of small, specific parts, rather than piling on lots of competing or overlapping textures.

10. To create a solid sound, it's often better to layer a few sounds together rather than trying to process one. This works best if the elements you layer are playing the very same part, and it's a technique that works as well with vocals as with instruments. For real rhythmic impact, try getting the bass and kick to match the other parts too.

Vocals and hooks

11. The production of a pop track's vocals can often take much longer than the backing track. Use double and triple tracks to build up the sound, and panning to create width. However, the more layers you add, the more time you'll need to spend keeping everything in time. Pay particular attention to consonants and esses, aligning them with the main lead. Alternatively, make use of some software trickery with VocAlign or Melodyne.

12. A perennial vocal trick for pop production is the spot delay or 'spin'. This involves picking a word or phrase and adding delay to just that bit. It's easily achieved by automating a short delay send at the right moment. As an alternative, set up a separate track with some extreme EQ and copy small phrases across for use as single repeat 'telephone' delays.

13. Tracks mixed solely for radio and TV airplay often have the vocals so loud that the track gets lost. In general, it's worth bearing in mind that for pop listeners, the vocal and instrumental hooks are often the only things they really hear. Keep them upfront, and always do a 'vocal up' mix (with the vocal level boosted), just in case.

14. Although it may have cheesy connotations, the 'key-change' chorus is still alive, well and kicking in pop. Obviously, this needs to be addressed early in the production process, and may not please the artist. With the typical direction being upwards, make sure the vocalist is capable of singing in the higher key before you press on with further production work.

15. Sometimes, using multiple vocal layers isn't enough to hammer home the melody line. In situations like this, double up the melody with another instrument. It needn't be exceptionally loud, but pick an instrument that complements the flow of the vocal style. Try to match the timing as closely as possible to the vocal.