seriously this is the most massive track

[ruckus49]

Soundcloud

They sound like hollywood sound designers anyone else up on this? i wanna know how they made this

[Trichome]

Vista has always been a sick producer..
Im checking Presence Known's soundcloud now...

[jamie vista]

Soundcloud

They sound like hollywood sound designers anyone else up on this? i wanna know how they made this

Cheers mayne - what do you want to know? This tune was pretty straight foward.

[therook]

Hey jamie!
Sick track man. Very clean and the sub is killer. Any tips or tricks you could give for producing a good bass line (effects, what kind of waveforms, etc) and how to do you about making the 3 different lfo basses? Those sound so sick kinda 16bit ish. Nice work dude!

[jamie vista]

Hey jamie!
Sick track man. Very clean and the sub is killer. Any tips or tricks you could give for producing a good bass line (effects, what kind of waveforms, etc) and how to do you about making the 3 different lfo basses? Those sound so sick kinda 16bit ish. Nice work dude!

The main basslines are made with Albino. I probably would have used a mixture of the spectral waveforms and the analog ones. Obviously then i'd assign an lfo to the cut-off filter :O I used mainly band-pass filters but sometimes low-pass and utilized the 3rd type saturation which fills it out. Don't think i did much else in the synth - just some modulation changes and messing with envelopes/filters etc. The main thing with processing is eq'ing - i notch out loads of frequencies (literally loads, can't stress this enough) to clean it up then add guitar rig/camelcrusher/camelphat/devastor/bitcrusher etc for distortion - but i also use guitar rig for non-distortion needs; really good sounds on that program. With processing i usually have loads of little effects doing small things then alter them slightly to nuance the sounds - i usually bounce 1, 2 and 4 beat bass hits/riffs then mess around some more til i have loads of samples to play with - that's what i did with this track anyway.

The other basslines are made on surge - it has loads of wicked waveforms for unique sounds (some sound distorted/bitcrushed on their own) and also a lot of modulation capability, much like albino.

The reeses are done on Phaedra which is a really powerful analog audio engine with some dutt sounds - only thing is they have to be really tamed; lots of eq'ing once again.

Hope that helps.

[Trichome]

The other basslines are made on surge - it has loads of wicked waveforms for unique sounds

This! I use surge quite a bit, great synth! lush for pads, and I admit I do use presets alot, but hey, thats what they are there for, right? ..right?

[AfterEmpire]

sounds more like albino than Massive to me

[madmeesh]

Hey jamie!
Sick track man. Very clean and the sub is killer. Any tips or tricks you could give for producing a good bass line (effects, what kind of waveforms, etc) and how to do you about making the 3 different lfo basses? Those sound so sick kinda 16bit ish. Nice work dude!

The main basslines are made with Albino. I probably would have used a mixture of the spectral waveforms and the analog ones. Obviously then i'd assign an lfo to the cut-off filter :O I used mainly band-pass filters but sometimes low-pass and utilized the 3rd type saturation which fills it out. Don't think i did much else in the synth - just some modulation changes and messing with envelopes/filters etc. The main thing with processing is eq'ing - i notch out loads of frequencies (literally loads, can't stress this enough) to clean it up then add guitar rig/camelcrusher/camelphat/devastor/bitcrusher etc for distortion - but i also use guitar rig for non-distortion needs; really good sounds on that program. With processing i usually have loads of little effects doing small things then alter them slightly to nuance the sounds - i usually bounce 1, 2 and 4 beat bass hits/riffs then mess around some more til i have loads of samples to play with - that's what i did with this track anyway.

The other basslines are made on surge - it has loads of wicked waveforms for unique sounds (some sound distorted/bitcrushed on their own) and also a lot of modulation capability, much like albino.

The reeses are done on Phaedra which is a really powerful analog audio engine with some dutt sounds - only thing is they have to be really tamed; lots of eq'ing once again.

Hope that helps.

Thanks for all the info here, man!
You're seriously one of my favorite producers, and I was floored to learn that you're like 22, that's fucking nuts.
What do you think about doing a producer Q&A?

[ruckus49]

wow that must have been crazy clicking on a thread and seeing its about your song lol. thanks for posting.

4 quick questions:
what did you do for the vocals (i guessing that bassy dinosaur sounding thing at the drop is that vocal sample w/ processing)?

what was your process for the stereo imaging?

when you mean you notched out loads of frequencies, what were you listening for to make it sound cleaner?

were you influenced by movie trailer sound effects for this track?

[Stab Master Arson]

yah wow this is a dope thread. seems like this happens a lot here. such a huge community.

i will now go back to listening contently....

[jamie vista]

what did you do for the vocals (i guessing that bassy dinosaur sounding thing at the drop is that vocal sample w/ processing)?

The vocals were from one of presence known's weird documentaries. Then we just pitched it down and added some chorus, reverb, delay, a lot of eq and some limiting/saturation to make it loud. The hardest thing was choosing the right vocal - me and presence known often argued about them lol. The dinosaur thing is actually sampled from Terminator 3; it's a woman screaming but pitched down then with a bit of reverb n eq'ing - i find layering your basslines with random effects from films/games/sample packs can really bring it to life so i do this often.

what was your process for the stereo imaging?

I use a lot of panning in my tracks but normally it just comes naturally. I don't have any rules i follow - just use my ears and do it as i go along.

when you mean you notched out loads of frequencies, what were you listening for to make it sound cleaner?

When i eq out frequencies for the bassline i obviously start by rolling off the lows so it doesn't conflict with the sub. Then I notch out quite a lot of the mid-lows - this makes it sound cleaner and also makes the snare puunch through (assuming you're using 200hz thumper snare). Generally i'm just listening for the timbre of the sound - those muddy, grunty low mids and making sure it molds in well with the rest of the track, but a lot of that is trial and error as different tracks n basslines require different eq'ing.

were you influenced by movie trailer sound effects for this track?

Most of my dark tracks are influenced by movie soundtracks - the likes of zimmer, silvestri. I've got a library full of these sort of sounds which i can draw for when i'm feeling creative. This tune we made deliberately not too atmospheric so it's easier to mix but rather ironically it has triplet quantisation in the first 16 bars so it's still a little tricky. I used to love writing atmospheric, orchestral pieces - but i've grown a bit tired of them myself in recent times so trying to move away from that sound.

Hope this helps.

[therook]

Jamie thanks so much for the info! I have a couple of more questions for you

1. Do you bounce your basses made (in albino for example) to wav files and then eq them separately?
2. You can use a regular eq to notch freq's right?
3. Distortion on sends or directly on tracks?

Sorry if some of these sound noobish but I just had to ask. Thanks again!

[jamie vista]

Jamie thanks so much for the info! I have a couple of more questions for you

1. Do you bounce your basses made (in albino for example) to wav files and then eq them separately?

The main eq'ing is done before bouncing. I have one band for sub and one band for mids/highs but quite often i split it into 3 bands (one sub, one mids, one highs) but that depends on the sound you're going for.

2. You can use a regular eq to notch freq's right?

I only ever use parametric eqs; perfect for notching.

3. Distortion on sends or directly on tracks?

I have seperate project files just for one bassline so i knock them on seperate channels; offers more flexibility that way but using a send can work just fine if you're trying to save cpu.

[jaydot]

Big track, saw it on the Facebook dubstep page a few months back. Nice of the producers to let us know how he did it too.

[presence known]

Most of my dark tracks are influenced by teradactyl porn

[blizzardmusic]

I love threads like this. Established producers that are so humble they'll walk through how they make their music on a forum. Really good to know.

Keep it up Vista.

[hakka]

Dirty track this is. Love the pauses and delayed FX. Banger

[WeedKeepa]

Wow nice, can't wait wait to hear more from you. I just have a quick question:
Which producers do you find are most influential to your work?

[jamie vista]

Most of my dark tracks are influenced by teradactyl porn

Libel! I know that's not a direct quote because i would've spelt pteradactyl correctly - i type it in every sunday morning on youporn so i would know.

[jamie vista]

Wow nice, can't wait wait to hear more from you. I just have a quick question:
Which producers do you find are most influential to your work?

For this track we probably took more influence from our peers, just people we trade tunes with within the scene. Then obviously some of the dnb guys like Noisia etc. I know that's probably not a popular answer and people will say that you should take influence from outside the scene and that self-referencing leads to stagnation blah blah blah but me and scott (PK) were writing for a label so we just wanted to execute something that went with the vibe but also sounded like us.