From modular synths to grooveboxes and DAWs, electronic instruments shape how we create music, sometimes unlocking flow, other times halting it in its tracks. Whether you're producing in a studio or improvising live, workflow is everything. Good design gets out of your way. Bad design gets in your head.

In this article, we explore how musical interfaces influence creative momentum, the different kinds of workflows they enable, and how to refine your setup to keep the ideas coming.

When workflow works

A great musical workflow feels like creative momentum: you’re making music, not fighting menus. The interface becomes invisible. You’re flowing — adapting, refining, reacting. And whether you’re working with a digital synth, a modular rack, or an MPC-style controller, it’s the workflow that determines how easily ideas become music.

But what makes a workflow “good”? Some key ingredients:

  • Clarity of purpose: obvious controls, clear feedback.
  • Speed and fluency: frequent tasks should be quick to execute.
  • Flexible structure: room for both experimentation and precision.

Some instruments enable both predictability and surprise. Others force you into one or the other.

Illustration from PUSH TURN MOVE by Kim Bjørn.

Two key workflow modes

1. Goal-oriented workflow

You know what you want: a sound, a sequence, a mix. Your gear should make it easy to get there. Clear navigation, quick access to parameters, and logical layout are essential.

There's no doubt that Dutch modular artist Colin Benders knows his way around the system(s) he's built through the times. His livestreams and live performances have onlookers mesmerized.

2. Exploratory workflow

You don’t know what you’re looking for – but you’ll know it when you hear it. Great exploratory interfaces let you stumble on "happy accidents." Features like randomizers, modulation matrices, or sample slicing tools make discovery part of the process.

A modular synthesizer is a great example of how you can build something that caters to both types of workflows – maybe tilting to one of the sides depending on your goal with the system.

Instruments like the Elektron Digitakt II, Polyend Tracker Mini, OP-XY, or Make Noise Strega blur the lines between these approaches, offering both focused control and space for the unexpected.

When the interface gets in the way

Flow is fragile. Too many barriers – cryptic displays, endless submenus, clunky navigation – and you're out of the zone.

Psychologists describe flow as the state where challenge and skill meet. An interface that’s too simple becomes boring. One that’s too complex becomes frustrating. The best ones offer just enough friction to keep you engaged.

A great, and early, example is the Minimoog Model D, which has a relatively simple interface but can yield complex results when used wisely.

A spread from The Minimoog Book which explores this icon synth in all its variations, used by artists worldwide for several decades to this day. Not just because of its sound, but also because of its immediate interface.

Another example at the other end of the spectrum is the Octatrack MKII, whose steep learning curve is rewarded with one of the most powerful live-sampling workflows ever created at the time it was released. Its interface improved over the original with more tactile controls and less menu diving, helping keep you in the groove.

You might make music with clear goals, and a dialogue in your mind saying things like: “Now for this pad to move, I want an LFO to control the filter frequency.“ or it may be more in the direction of questions like "I wonder what happens if I plug this LFO into some input on another LFO?".

The problem with an interface arises when you find yourself asking questions like “Now, where is the LFO output?” or “How do I do that?” or even “Where is that %!#*! LFO at all?”

Being observant and reflecting on your inner dialogue when creating music with a piece of gear, is an immediate way to know if you're taken out of the flow.

When you learn a new piece of gear, you're often prone to push through the challenges with the interface, but if it happens regularly or when returning to it, it might reveal a bigger impact on your workflow and joy of making music. And we haven't even talked about live performance situations(!)

❕
Some people love menu-diving, and others don't. Lucikly we're all different, so allow space for your own (and others') personal taste and desires when creating music. What works for them, might not work for you – and vice versa. That's one of the reasons, why personal recommendations (or the opposite) of gear are only to be taken lightly.

Interfaces to skill levels

Beginners

New users benefit from constraints. Fewer options, more obvious results. This builds confidence and encourages exploration.

Instruments like the Teenage Engineering Pocket Operators or the Korg Volca series show how a consistent, minimal interface can be playful and powerful in a series of products, where the user learns one unit and can largely transfer this knowledge to other units.

💡
In modular synthesis, beginners are often advised to start with a small system. Limiting yourself to just a few modules — say, a VCO, a function generator, and a filter — encourages deeper understanding through focused exploration.

Experienced users

Some musicians want control and speed. They value direct access to parameters, customizable interfaces, and the ability to shape tools to fit their workflow.

This might mean clearing all factory presets, building Max for Live devices, or reprogramming MIDI mappings to suit your exact needs. Interfaces like the Schmidt Synthesizer or the Minimoog Model D leave no parameter hidden, empowering advanced users to push the limits of their setup.

You might get overwhelmed by this interface – or intrigued, and interested. It might look familiar to you – or it might look alien and complex.
😩
It's important for me to note that even if you consider yourself experienced or at a high skill level, you will likely encounter frustration learning a new instrument interface. You've probably experienced that a few times :)

Different tools also suggest different workflows. For example:

  • Subtractive Synths usually invite a signal flow to be followed: first adjusting the audio source, then modifying it to a filter, and then the VCA.
  • DAWs (like Ableton Live) or trackers (like the Polyend Tracker) support both linear composition and non-linear live jamming.

Challenge Your Workflow: 8 Ideas

Want to find out if your workflow is holding you back? Here are eight creative constraints to break bad habits and unlock new efficiencies.

  1. Avoid your usual tools.
    Skip your go-to plugins. Try creating familiar sounds and tracks, but by using unfamiliar gear.
  2. Use only one instrument.
    Compose an entire piece with one piece of hardware or software. Learn it deeply. Multitrack your monosynth or push your sampler further. Limiting choice reveals new paths!
  3. Time-box your session.
    Make a complete sketch in 60 minutes. Record yourself, and note where the process gets stuck.
  4. Aim for a precise goal.
    Design a very specific patch, emulate a mix style, or recreate a favorite groove. Constraints clarify weaknesses in your process.
  5. Flip your approach.
    Start with melody instead of drums – or the other way around. Arrange before sound design. Or choose a synth before you choose the sound. Reversing your order can spark creativity.
  6. Imitate the masters.
    Try reproducing a specific track or video walkthrough. The goal isn’t to finish it — it’s to find out how they think.
  7. Reorganize your workspace.
    Move that module, re-label your template, and rewire your studio flow in new ways to discover possibilities you may not have found otherwise.
  8. Read the manual. Seriously.
    Understanding your tools reduces hesitation. Mastering your DAW or synth's less-obvious features speeds everything up.

Final Thoughts

Workflow isn’t just about speed — it’s about inspiration. When the design of an interface aligns with the way your brain works, creativity flows naturally. Whether you’re just starting out or pushing expert-level tools to the limit, your relationship with your gear is shaped by how intuitively it works with you.

So go ahead: simplify, rethink, explore, rewire — and most importantly: patch, tweak, and enjoy it!

CTA Image

PUSH TURN MOVE is a global bestseller about the art of designing musical instruments. It explores how interface design can elevate musical creativity — from tactile knobs to fluid touch surfaces and beyond. Learn more at bjooks.com.

Learn more

Kim Bjørn is an author, designer, and musician – and the founder of Bjooks and Patchandtweak.com. He likes to explore the intersection of music, technology, and creativity — and celebrate the people and tools that bring sound to life.