Guy Mantzur and Chicola have always treated collaboration like a conversation between worlds. Their new EP, Neon Bible, released on Sasha’s label Last Night on Earth, captures that dialogue perfectly. It’s deep, hypnotic, and emotionally charged without losing its precision. Central to that sound is their use of Raum and Replika XT, two tools that gave the track its shape and sense of movement.
Both producers have built careers on control and atmosphere, and those instincts come through clearly here. Raum helped carve out a spatial identity for the synths, allowing melodies to drift but never blur, while Replika XT added a rhythmic pulse that kept the reverb alive inside the groove. Instead of layering for size, they used space as an instrument, giving every element room to breathe while maintaining the tension that defines their shared sound.
For Mantzur and Chicola, these choices were about designing emotion. Raum became a way to build dimension and contrast between sections, while Replika XT glued those shifts together with movement and texture. The result is a record that feels alive, balancing clarity and atmosphere in a way that reflects their years of shared trust in the studio.
Jump to these sections:
- How Raum shaped the depth of the track
- Using Replika XT creatively
- Keeping things clean when effects are used
- Using movement to enhance groove
- Keeping clarity in complex arrangements
- Power in restraint
The pair sat down to discuss the techniques behind Neon Bible, including how Raum and Replika XT influenced their approach to space, and why intention matters more than volume in dance music.
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Download free Replika XT presets made by the duo here:
When working on Neon Bible, what role did Raum play in shaping the overall depth of the mixes?
We’ve been using Raum a lot in our projects, and it became especially important while working on Neon Bible. Whenever we’re looking to add a spacious dimension to certain elements in the mix, Raum is one of our go-to tools.
Another side we love is the more experimental aspect. The Cosmic mode, for example, feels almost limitless. It allows us to sculpt granular textures that can completely transform a sound. Sometimes we’ll even duplicate a channel just to process it heavily with Raum, and that creates these unique layers that push the track into new territory.
Chicola also used it a lot when he created sound design samples.
How do you use Replika XT differently from Raum when you’re trying to create movement across a track?
Replika XT is one of our favorite delays, and we usually run it as a send effect in Cubase. Raum is often more of an insert. That difference already gives each a unique role in our workflow. But we also love using Replika XT creatively. The Dual Mode with panning can open up the stereo field and add a beautiful width, especially on one-shots like percussion or drums.
Sometimes we’ll even route Replika XT into Guitar Rig Pro 7 and build custom chains. Combining delays and reverbs with effects like Bite, Dirt, or the Driver plugin can completely transform a sound, adding grit and power while keeping movement and depth. It’s that flexibility that makes Replika XT and Guitar Rig so inspiring for us.
Your tracks always sound atmospheric yet defined. How do you manage space and depth without things getting muddy?
Both delay and reverb are excellent tools, but when you overdo them, you can easily lose the transients and end up with a blurry, washy sound. One simple trick is always to double-check how the effect sits with the main element. For example, with vocals, a heavy reverb can push them too far back in the mix.
A technique we love is sidechaining the reverb to the dry vocal. That way, the vocal stays upfront and clear, while the reverb blooms naturally in the spaces in between. It keeps the atmosphere alive without drowning the main performance. In the end, it comes down to the idea that less is more. Sometimes, simplicity carries the most power.
How do you decide when a sound is big enough in the mix versus when it needs more Raum or Replika XT treatment?
It really depends on the role the sound is meant to play in the track.
Some elements are supposed to sit upfront and carry the energy, while others are meant to live in the background and create depth. It’s not only about proper placement, but also about deciding which sounds take the lead and which ones support from underneath. Even a channel with heavy processing can be pushed way back in the mix if that’s where it belongs.
When it comes to sample libraries or one-shot sounds, the approach can be different since each sound is designed to stand on its own. At the end of the day, the decision comes down to trusting your ears and following the feeling. If it already feels big enough, you don’t need to touch it.
Looking back, would you say Raum and Replika XT have become essential tools for your sound, or are they more situation-dependent?
We feel that every project has its own situation, so it’s never just one formula.
Sometimes the focus is on outboard hardware like the WesAudio Rhea, the Neve 542, or pedals such as the H9 or Microcosm. We also love working with our analog synths, the OB-6, Juno-60, Prophet 6, Prophet 12, Moogs, or the latest Osmose. Once those are in the chain, the processing choices can go in many different directions.
That’s where tools like Raum, Replika XT, and Guitar Rig come in. They give us the flexibility to shape and refine the sound according to the track’s needs.
What do you think makes Neon Bible stand out most in terms of atmosphere compared to your past releases?
Neon Bible is very special to us because it’s our first EP together, even though we’ve known each other for almost 20 years. We’ve been touring, playing gigs, and spending time with our families side by side for so long, so finally putting out a project as a duo feels like a natural and meaningful step.
That history between us is a big part of what gives the record its atmosphere. We’ve been huge fans of Sasha since the early days of the Northern Exposure compilations with John Digweed, so to release this EP on his label feels like an honor.
The fact that Sasha also recently played with Guy at his Moments showcase in Argentina makes the connection even more personal and adds another layer of significance to the release.
Wrapping it all up
Hearing Guy Mantzur and Chicola break down Neon Bible reveals just how much detail sits behind their minimalist sound. Raum and Replika XT weren’t used to fill space but to define it, helping each tone interact naturally while keeping emotion front and center. Their process shows how precision and restraint can often create more impact than complexity.
Thanks to Guy and Chicola for sharing their approach and insight. Neon Bible stands as a clear example of how the right tools can bring personality and perspective into focus, turning small details into the heartbeat of a track.
Don’t forget to download free Replika XT presets made by the duo here:
The post How Guy Mantzur and Chicola build depth in modern melodic techno first appeared on Native Instruments Blog.
