Aaron Suiss Builds Self-Actualization From Diva’s INIT Patch

Presets are a staple in modern music production, and Aaron Suiss is refreshingly open about using them for some of the biggest layers in his latest release, “Self-Actualization,” which recently spent a week in the Beatport Hype Charts. While the bass and pad began as Plug Hugger presets inside u-he Diva, the star of the show is the arpeggiator. After auditioning several options that lacked the emotional depth and power the record needed, Suiss built the arp entirely from scratch using an INIT patch.

Co-produced with Enzo Vood and released on Magnetic Magazine Recordings, “Self-Actualization” already had a solid main groove when Suiss opened Diva to fill the missing sonic void. After giving up on browsing presets, he started with sawtooth waves across Diva’s Triple VCO. Precise filter and envelope adjustments established the sound's character, while subtle phaser and delay added modulation and stereo width.

Suiss openly admits he doesn't consider himself a sound-design specialist—which makes the process he’s about to share even more valuable for producers who typically rely on presets. By first identifying exactly what the record was missing, he was able to build the perfect sound from the ground up.

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In the discussion below, he explains how the patch was made and controlled in the mix, before sharing five steps so producers can build their own version.

Aaron Suiss Explains the Patch

“Self-Actualization” carries a specific personal idea in its title. What did that idea mean to you while making the track, and how did it affect the music?

I think there is a broad focus on wellness and personal growth right now, and you see those ideas everywhere.

While I was making the track, the music helped me release something and process the emotion behind it. Making the track gave that feeling a concrete form. “Self-Actualization” described the experience directly, so the title felt right.

Did you begin with Diva’s INIT patch or modify an existing preset? If you used a preset, who designed it and which settings did you change first?

I began with Diva’s INIT patch, which is unusual for me.

I do not consider myself an expert in this area of sound design, so I treated it as an experiment. I selected Triple VCO and used sawtooth waves across all three oscillators, then paired that with the VCF Ladder filter and ADS envelope models.

As I adjusted the cutoff and envelope timing, then added effects, it developed into a powerful arp that works especially well with chords in G minor. I return to Diva regularly because I like its warmth and analog character.

Which exact part of “Self-Actualization” was created in Diva, and why did you choose this patch to represent the release?

I used Diva for the bass and main pad, while another instance supplied the arp.

The bass came from an analog bass preset by Plug Hugger, and the pad began with one of Plug Hugger’s chord presets. I designed the arp entirely from INIT, though. That arp represents the heart of the record the best because it supplies so much of its energy and emotional character.

What did “Self-Actualization” need when you opened Diva? Were you looking for a lead, arpeggiated figure, pad, bass layer, or another type of sound?

I think out of all of the layers of the record, I’d love to focus on the arp, because that is where Diva changed the track most. The main groove was already working, though the record still needed greater emotional depth and power. I auditioned several arp presets, then loaded INIT when none provided what I needed.

I rarely begin there, so I continued experimenting without a preset as the base. The musical idea is simple, mainly one chord with small accents above it, and most of the movement comes from the patch. It reminded me that an unsuccessful preset search can lead to a decision you would normally avoid.

How does the patch occupy the mix alongside the low end and percussion? Which frequencies did you remove or control to give each element enough room?

The arp covers a pretty broad frequency range, so I had to manage its relationship with the low end. I cut everything below roughly 200 Hz to keep it from interfering with the bass and kick. I added a bell-shaped dynamic EQ dip near 700 Hz to control buildup and resonances when the sound became harsher.

Trackspacer, keyed from the kick, reduces the arp around each kick hit. That lets the arp keep its size and power without reducing the kick’s impact or punch that I wanted for the club.

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If a reader loads Diva’s INIT patch and wants to recreate this sound, what are the first five moves they should make in order? Where should they begin making personal decisions instead of copying your settings?

These are the first five moves I would make:

1. Switch to the Triple VCO oscillator model and set each oscillator to a sawtooth wave.
2. Adjust the tuning and level relationship between the three oscillators. Small tuning changes can alter the entire character, so use your ears rather than copying my settings exactly.
3. Select the VCF Ladder filter, then adjust the cutoff and resonance according to the notes being played.
4. Use ADS ENV 1 and ADS ENV 2 to set the articulation and modulation across the arp.
5. Add a small amount of phaser and delay for additional modulation and stereo width.

Personal decisions should begin with the oscillator tuning. The notes and chords should determine the filter response and envelope timing, while the effect amounts should be judged against the rest of the mix. Use my sequence first, then adjust every setting according to your own track.

What Aaron Suiss’s Diva Patch Teaches Us

The biggest takeaway here happens before a single oscillator is tuned. Aaron opened Diva with a clear musical issue to solve: the groove was working, but the track lacked an arp line with enough emotional nuance and club-ready punch. When preset browsing didn't provide the answer, initializing the synth gave him direct control. Starting from scratch worked because he already knew the exact function the patch needed to perform.

The mix decisions deserve just as much attention.

A high-pass filter near 200 Hz kept the arp away from the bass and kick, while a dynamic EQ around 700 Hz tamed harsher resonances. Trackspacer then ducked the arp slightly around each kick hit. Together, those decisions allowed a broad, powerful patch to sit prominently in the mix without muddying the low end.

For producers learning how to make progressive house synths, the sequence is straightforward: identify what the track needs first, choose your synthesis method, and judge every setting within the context of the full mix. Aaron’s patch serves as a fantastic reference, but your oscillator tuning, envelope timing, and processing should always respond to the unique track you’re writing.

Want to design your own version of Aaron Suiss’s arp?

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