do you know good sample libraries in order to get that hot creations jamie jones sound?

would prefer as much one hit sounds as possible..

ty in adv.

 

Be as specific as you can. Post an example, etc.

 

He uses lots of hardware synths and an MPC. I can ask him what specifically he uses if you want as I know him.

 

ok there u go, esp. the kick... i want drum sounds like this

 

yea why not. would be interesting to know if he uses samples or makes his own samples with drummachines such as 808 909 and so on..

this sound is really pumpy and pushy and at the same time it seems that there are not so much tracks in project. like for example patrick topping. how do they make the beat so fat with so less tracks? tape machine?

 

Sounds like these old techno samples, that I still have around somewhere.

Will be interesting to see what he uses, if Bunford asks him.

 

He uses his own generated stuff.

Maybe should have explained, we are the same age pretty much and I've known James since we were about 7/8 years old so it wasn't a flippant "shall I ask him"!If you can be specific and brief about what you wanna know I can message him and ask, but if I send him a novel of questions he probably won't bother replying

 

sounds very legit.. ok cool. let me think about 2 or 3 explicit questions, I will come back on this topic in the evening, ok? great opportunity, thanks in advance

 

Perhaps I'm old and behind the times. I just don't understand the mentality behind sample packs and using them to sound exactly like someone else.

The fun for me was trying to work out how someone sounded like they did (and this is now far easier than it once was) and attempting to replicate it. You could learn something from doing it even if you didn't sound exactly like whoever. I spent about 18 months trying to replicate jungle drum loops using a sequencer and drum machine in the early 90's because I couldn't afford a sampler. At the start it sounded nothing like most records of that time, but by doing it I learned how to program drums and be very quick and efficient on a sequencer.

The result of all these little musical experiments meant you ultimately didn't sound like anyone but yourself. Jamie Jones is out there and doing well, slapping a load of samples together that sound exactly like he does is only going to leave people saying: 'it sounds just like Jamie Jones, you've got all those sounds from sample pack X, just like millions of other people'.

You'd learn more and it'd be much more satisfying if you just try and listen to his tunes and analyse why they sound like they do.

This isn't meant as a personal slight. People have always been inspired by other musicians and it's always been a big motivator behind why people want to make music, but just blindly copying them without even putting any effort into doing it is going to get very boring, very quickly and will mean you'll learn nothing from doing it.

 

Last edited: Jun 27, 2017

Look for Old XXL House Loops , the synth is a patch on roland jp8080 la fiesta . you can make that with any type of synth, but that particular sound is from la fiesta on the 8080. those drums were everyone's drums in 2001 - 2005

 

No probs.

I am originally from Caernarfon in North Wales and James is from Bontnewydd, a village on the outskirts of Caernarfon. We went to school together, played for same footy team in our teens (Segontium Rovers) and in our later teens were in the same friendship and drinking group and used to go to one of our other friends' house to play on the decks before going out drinking. That is essentially when he started DJing and back then it was a personal challenge of ours to try and mix Flash Gordon into random tunes When we hit out late teens/20, he went to work the summers in Ibiza as a rep and that's where he networked a lot. After 3 years of doing that he moved to London in about 2002/2003 and began getting involved in the music scene. I also moved away abour the same time to Bristol and Cardiff so don't see each other much now as we are rarely back in our hometown at the same time and he us off travelling the World. Still in touch though, but the more specific you can be the less likely he would be to just ignore it

Oh, and when we were about 14 I swapped my SNES for his Mega Drive. Still feeling bitter and like I came off worse in that deal!

 

Last edited: Jun 27, 2017

Paradise Rinse Expansion pack for Maschine, but it's mainly all One Shot WAVs. You can use it with any DAW, not just the Maschine.

Here's a link to the page on Native Instruments: https://www.native-instruments.com/en/products/maschine/maschine-expansions/paradise-rinse/

You can hear demos and stuff.

 

Haha, it's kind of funny to hear all that stuff.. he's really a big these days.. but everyone has started off small.

yeah to be honest I dont have a really specific question. I mean I looked at all the studio pictures one can find on the web. a lot of analog gear and his sound is very analog, warm and kind of muddy. but it seems like a wanted muddyness, it's dope and not a "bad muddyness".

He does obviously use his own drummachines and stuff. My only question would be, how he treats the kick. I heard some of the top producers dont even put a compressor on the kick anymore. they like it rough and raw. So maybe you can ask him this.

- Is there a secret or a special kick/drum treatment? Like tape machine and stuff.. or is it just 909 and keep it simple.

- Does he use a group channel w/ compressor for his drum sounds?

I really ask myself this stuff sometimes when I compare my music with high quality releases (patrick topping, jamie jones) - because sometimes it seems so simple what they do. but at the same time it just has this little extra punch. I know its the mastering. But to be honest I dont know 100%.. Is it only the mastering? or do they something to their stuff before.. in the studio.. esp. w/ kickdrums.

 

yea dope thats really that sound ,great thanks!

 

In recent years many producers send the kick and subbass straight to the master channel. The rest of the mix gets summed into a final "pre-master" summing bus, compressed and eqd, saturated etc then sent to master channel. The processing on the master channel is minimal (light glue compression if needed and minimal eq). This way you get both a loud sound and a bigger dynamic range in the low end as you avoid heavy processing on the subs.

As for a "raw sounding kick", if you don't know how to distort one to sound like that, just use a raw/distorted sample or even sample vinyl from 20-25 years ago

Anyway, is more than just the sounds if you try to emulate an artist, it's the composition too. Basically the way one compose + the soonds one uses is anyone's "sound", not just the audio kit alone. It's a matter of how he uses the sounds rather a matter of what sounds he uses.

 

yeah thats very interesting. because I started to route the kick direct to the master and everything else in busses (drums, themes bus and so on). So it's interesting to hear that this method is common, thanks for sharing. i will try to route the bass direct to the master, too, next time.
with the kick. makes sense when I think of the genre we are talking about here.

and its kind of funny that you emphasize the use of the samples. because the thought came to my mind "dude, these people have the same samples as you. they have the same machines or similar machines and synths.. so it has something to do with the WAY they use this stuff."

and of course one can see that you dont have to use analog gear in order to make a warm sounding hit. konstantin sibold - mutter was no.1 in the groove charts 2016 and he is producing only digital (see slices issue youtube).

So yeah, I think I am on the right track here, but obviously it's always nice to get confirmation and stuff like that, so thanks for your answer. will def. try out the kick+bass+master rest BUS thing!

 

ok i tried it with the kick+bass direct out to master and rest to pre-master... have to say its REALLY REALLY COOL.

the track gets thick very easy, so thanks for that advise bro!

on the other hand one has to be very careful with this method. because of course the track gets a different dynamic behaviour. u have to adjust the volumes of each track, that goes into the pre-master BUS again (like clap, hat, perc and so on). of course.. its obvious, because u have a compressor on the pre master BUS-

but as I said, I really can recommend this in order to make this punchy, simple tech house sound à la hot creations:

The Kick and the Bass stay really warm and fat, and the rest of the track gets very tight and punchy. great method!

 

ok dude, this is so fckng awesome!!!!

I ve been producing since over 10 years by now.. still there were some lacks in the quality. Ive watched every tutorial available on the web and watched every slices issue and factmag against the clock, futuremagazin... u name it.

but your two tips really, really made a HUGE impact on my productions.

I used the Transient Designer by SPL and it makes every break/drop so tight and sexy and punchy, i LOVE it!

you can run the beat for like 2,3,4 minutes only with that transient designer on drums submix gimmick and it is still so interesting to the human ear and brain.

Now I see why Jamie Jones productions where to punchy as fuck and interesting, although he used the same drum sounds and synthesizers. amazing. I feel like producing really smashing chart tracks that people can enjoy from now on! thank you so much! this is amazing.

btw. I use both tips of yours:

1) creating a premaster with every track of the project except of the Kick and the Bass

2) routing every drum sound (not the themes, vocals, leads, seq. and so on !) to a specific "Drum-Submix"

In order to have the Transient Designer Effect on both, the "Drum-Submix" and the Kick (which is routed to the master output directy) I just copied the Transient Designer with all it's automations (on/off) on the Kick track.

That was really something I was thinking about. Because otherwise I'd had the kick in the Drum-Submix, too.
In that case your first trick wouldnt have applied anymore (compressing everything in a pre-master except of kick and bass, which are routed direct to the master).
because you can't have certain tracks in one BUS and separate them then again, afaik, at least in ableton.


Ok, ok.. still figuring out all the possibilities I have now. Gonna make some beats dope as f*ck, can promise u that!

It's so interesting. Because the human ear and brain gets bored very fast.

I discovered that by starting to use a multi-band seperation and triggering every frequency band and its own.
Like for example 0-250 Hz = Band 1 ; 250-2000 Hz = Band 2 ; 2000-20.000 Hz = Band 3.
And then I putted a compressor only on the Band 2 (the mids).. compressed it really hard.
And then I putted a distortion plugin on the Band 3.
At the same time I reduced the volume of the Band 1 for a few dB.

Just telling you an example here.

And it did not matter what Sounds I was putting on that multi-band separation and following treatment on.

The result always was:

It was sooooo much more interesting for the human ear and brain. Amazing, simply amazing.
BECAUSE, and that's what is interesting for all the producers out there: If you manage to make a single sound more interesting/complex you need much less sounds in your project/song, and can focus on your main idea.

So you need less tracks and the song gets much more accessible for the listener.

Your two tips just gave me the same effect on my productions in a different manner.

That has more worth than fort knox to me.

so, thank you.

 

Last edited: Jul 13, 2017

another interesting thing is: the ride sounds much more tight and sexy. I was always asking myself "why is the ride sounding so smooth and punchy, tight at the same time in those productions?"

well the answer is:
if you compress all drum elements in a group and sending the kick and bass directly to master,
plus you use a transient designer with -3 sustain, the ride is getting kind of pulled in a completely different dynamic structure. it gets really, really tight and smooth at the same time. because it now has it's place among the other drum elements and in the whole beat. you dont need to push it with eq, exciter and stuff like that. god knows how much I tried to get the rides right in the past. always to much or to less highs. but the reason had nothing to do with the highs: it had a completely wrong dynamic behaviour.. it wasnt responding to the other elements.

..now it has with compressing in a pre-master without kick+bass, plus using a tighten-up effect w/ the transient designer on an "drums-submix" + the kick.

 

Last edited: Jul 13, 2017