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

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16. With so many software tuning options available, fixing up a below par vocal performance has never been easier. But that doesn't mean you can just slap on a real-time tuning plug-in. Take time to perfect the tuning and timing of the lead vocal line - remember, it's going to be quite loud.

17. Often, when a track becomes very busy, it's difficult to drop in additional melodies without them getting lost in a mush of clashing frequencies. One trick you can use that's stolen from classical composition is to introduce a high-frequency percussive sound, such as glockenspiel or xylophone. A good starting point for synthetic bell sounds is an FM-based synth.

18. With broadcast limiters squashing the life out of your track, it's important to concentrate on two things. Firstly, keep your main beats (ie, the main four beats in a bar) loud, upfront and punchy, so that even under heavy limiting they remain audible. Secondly, be aware that excess sub frequencies will kick any limiter into overdrive, causing the volume of your track to drop. If you don't have sub monitoring, try a frequency analyser plug-in, and compare your mix to some professionally-produced pop tracks.

19. Although live instruments are experiencing a bit of a renaissance at the moment, you'll find that most pop music still makes use of many synthetic sounds. Whether it's a synth electric guitar patch, an artificial string sound, or the use of samples to add punch to a drum kit, combining the real and the processed is all part of pop.

20. In many respects, pop tends to be quite restrictive - single format and with a simple structure, for example. However, in terms of the sounds used, it will happily steal from the latest urban or underground music. Try replacing your standard sounds with some more cutting-edge ones, so that the part stays the same musically but the sound is more contemporary. Pick from a more obscure genre and you might even create a new trend in pop!

21. Double-tracking vocals and instruments gives them a solid feel but sometimes it's not an option. In this situation, you can use some processing instead to achieve a similar effect. Whether it's a harmoniser like Waves Doubler or a simple chorus, if you're after that swirling, processed sound, these are the effects to go for.

Structure and energy

22. To add interest, process a small section of the whole track radically differently. Try 'telephone' EQ, distortion, phasing and filtering. You can use more than one technique per track - it all adds to the 'ear candy' nature of modern pop.

23. Creating and maintaining energy is very important, but you don't want everything to just happen at once. The intro needs some attack, but then drop back and build things through the verse and bridge. If you find the chorus doesn't really arrive in the way you want, consider removing some elements from the section just before, rather than just adding more to the chorus.

24. A good way to imply energy and smooth transitions from one section to the next is to use sounds that bend in pitch. In its simplest form, sweeping white noise can do the job, but look more closely at the instruments at your disposal and you'll find many more options. From guitar and bass slides, to harp and keyboard glissandos, string runs or simply some more vocals (yes, more vocals!), that 'takeoff' effect can work wonders.

25. Modern pop music tends to be quite unadventurous in its structure, relying far less on structural interest than in the past and far more on sonic interest. Bear this in mind if you're presented with a track that includes too many 2/4 bars, linking sections or just seems unfocused generally. Try to establish which sections repeat, and work with the writer or artist to create a three- or fourminute gem, rather than a six-minute epic.

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