MUSIC / 03
JONO / STUDIO
HIP-HOP / TRAP / EXPERIMENTAL
PRODUCTION / RECORDING
IT STARTED WITH SOME
REALLY BAD BEATS.
FROM ~80 PEOPLE
A NIGHT
TO 150–200
EVERY TUESDAY.
UP TO ~300
ON THE BIG NIGHTS.
CREATIVE DIRECTION · MUSIC DIRECTION
COMMUNITY · CONTENT
I started learning Ableton in high school because I had a simple idea in my head: a DJ should make music, not just play it.
02 / ELECTION DAY
HE DIDN'T NEED
TO BECOME YOUNGER.
THE CAMPAIGN NEEDED
TO GET CLOSER.
YONA YAHAV WAS ELECTED MAYOR OF HAIFA IN 2024.
01 / THE STORY
Years of practice, sessions, experiments and unfinished projects slowly turned production from something I thought a DJ should know into a completely different part of what I do.
SO I KEPT MAKING IT.
Come with a finished song, half a verse, a reference or just the beginning of an idea.
GOOD VIBES.
BUT WE CAME TO WORK.
02 / THE APPROACH
I PRODUCE THE ARTIST.
NOT JUST THE TRACK.
Production isn't only about making the beat sound better. It's knowing what to push, what to cut, when an idea isn't working - and how to say it without killing the artist's confidence.
03 / THE SESSION
I didn't know the software. I didn't know music theory.
And for a while, everything I made sounded like shit.
I work on the performance, delivery, writing, arrangement and direction of the record - whatever helps get the best version of the artist onto the track.
THE BEST VERSION
OF THE SONG STARTS
WITH THE BEST VERSION
OF THE ARTIST.
The more prepared you are, the further we can take it. But figuring out what's missing is part of the job too.
IDEA → BEAT → WRITING → RECORDING → PERFORMANCE → VOCAL EDITING → ARRANGEMENT → FINAL PRE-MIX
MIX & MASTER / EXTERNAL
My first serious collaboration with an American rapper started with a studio session in Tel Aviv.
BABYBOY POLO
HAFLA BABLOCK
04 / IN THE ROOM
PRODUCTION / RECORDING / ARTIST DIRECTION
WATCH THE SESSION ↓
At 16, Eyal Ganz became the first artist I really developed alongside.
BEFORE I KNEW
WHAT I WAS DOING,
I HAD AN ARTIST.
05 / THE FIRST PROSPECT
We built an EP together while I was still learning how to produce - and a lot of what I know today about working with artists came from figuring things out with him.
I can make better beats today.
That's not why this project matters.
WE BOTH GOT BETTER.
IT STARTED WITH SOME
REALLY BAD BEATS.
HIP-HOP / TRAP / EXPERIMENTAL
PRODUCTION / RECORDING
I PRODUCE
THE ARTIST.
NOT JUST THE TRACK.
GOOD VIBES.
BUT WE
CAME TO WORK.
06 / WHAT I DO
LET'S MAKE
SOMETHING.
01/ FULL PRODUCTION
From the first idea to a finished pre-mix - beat, writing, recording, performance, arrangement and vocal editing.
Come with a track and record. I can run the session as your recording engineer without being involved in the production.
02 / RECORDING
03 / CUSTOM PRODUCTION
Build a track from scratch around an artist, reference or idea.
04 / ARTIST DIRECTION
Song development, writing feedback, performance direction and an outside perspective when you need one.
05 / BEATS
Hip-hop and trap with club DNA - hard drums, sharp details and enough space for the artist to own the record.
07 / THE POINT
A FINISHED TRACK
ISN'T ALWAYS
A FINISHED SONG.
A song needs to go somewhere.
Musically, lyrically, emotionally.
A beginning. A middle. An end.
And something worth taking with you.
MAKE IT
SOUND GOOD.
MAKE IT MEAN SOMETHING.
JONO / PRODUCTION & RECORDING