Hey! I’m looking for a singer-songwriter to collaborate with me on this track! Male vocals preferred, but I’m open to different styles.

This is still a WIP, and the track needs further mixing and polishing. Feel free to reach out if you’re interested! 🖤

I’ve been a DnB fan since 94, been a DJ off and on since 99. And in several bands since 90. I want to get into writing DnB, partly for fun, partly to mix into my own sets. I’m using Ableton for all my music projects, but I can’t figure out sub bass for DnB. I’m interested in the UJAM Subcraft, but I can’t justify $70 when I don’t know how serious this endeavor will get.
Is there a solid plug in that’s much cheaper or free? And what’s your experience with them?

Thanks

So yeah my original mackie cr1604 has finally bit the bullet, I love this desk the preamps combined with my EMU are just perfect sadly not a single one is on sale online like not one…

Any recommendations for a desk of similar disgusting grit? DnB producer if that helps :/ let me know

Hello! I was wondering if there is a way to get that sweet DnB bass sound with my guitar? Maybe a plugin? If not, how do I make those bass sounds? The only instrument I have available is a guitar.

Thanks for all input. 🙏🙏

It's really weird and it was fun to make. I'm still learning a lot about production. Enjoy

I've been using Splice for most my vocals and they seem to be so boring now, or over used. I wondered if anyone knows any websites where i can find more underground vocals that are also royalty free.

One thing I found interesting in Jessee’s breakdown of Cry For You is how he builds and processes his kick drum to get it sitting right in the mix.

Rather than relying on a single sample, Jessee builds his kick using two sounds layered together, giving him more control over the final result.

A few key takeaways from the breakdown:

• Layering two kick sounds: Combining different sounds gives you more flexibility when shaping the kick and getting the character you want.
• EQ: Jessee EQs the sounds to help them sit together properly, rather than letting unnecessary frequencies build up.
• Clipping: He uses hard clipping at different stages throughout the production, including on drums and bass, to control peaks and get the mix hitting harder.
• Taking pressure off the master limiter: By controlling peaks earlier in the mix, the master limiter doesn't have to work as hard later on.

The main takeaway is that getting a punchy kick isn't necessarily about finding one perfect sample. It's about how you layer, process and control it throughout the production.

It's always useful seeing how established artists approach these fundamentals in their own projects, rather than just following generic tutorials.

What’s your go to method for getting your kicks to cut through the mix?