So, Joe Ford did a Q&A on twitter. I compiled some of the questions and answers and structured them a bit. I'm sure that I overlooked some questions, but twitter really isn't the ideal platform for a Q&A.
However, maybe this is interesting for some of you.
JOE FORD Q&A on Twitter: https://twitter.com/joefordmusic
ARRANGEMENT/STRUCTURE/COMPOSING/SOUNDDESIGN/MIXING
Q: Do you write the intros first or start with the main section and work backwards?
A: Main drop then work backward 90% of the time.
Q: Do you ever get writer's block? Or struggle developing a track past the drop section?
A: It’s different every day. Sometimes yes. On these days I spend time making sounds and saving them - wish I had started doing this earlier.
Q: Do you use reverb on send channels wired to different bus groups to achieve more space-atmosphere? Any tips?
A: I generally try to keep the amount of reverbs to a minimum – 1 for drums, 1 for bass and atmos maybe.
Q: How did you make that pad in 'City 17' at 2:55 for example?
A: Low passing a normal pad with a high resonance controlled by a stepping lfo.
Q: How do you create that drum like bass sound on stride on the drop? Follows after the snare.
A: That was like 3 layers of massive. Pitching notes down to get stabs.
Q: What else motivates you to write tunes besides other music i.e. films, places, art, people?
A: Sci-fi Games and films do hugely. For intros I often stare at film artwork and imagine what sounds you would find there.
Q: Regarding stereo imagery, do you tend to worry about mono-compatibility, as in- getting too wide, causing phasing issues...
A: I haven’t really worried about it. I never spread anything below, say, 200hz.
Q: What's your "general" sort of process for creating pads/synths? And do you use many effects, reverb, etc. as well?
A: I love adding reverb to low passed pads. You get a really warm wide sound. Pads are generally extremely simple – just saw waves.
BASS
Q: What’s your favourite wavetable in Massive?
A: My favourite Massive wavetable is 'squelchy'.
Q: When it comes to resampling, how do you preserve the lower frequencies and avoid phase issues?
A: I rarely resample. And if I do, I don’t split the frequencies up.
Q: Favourite plugins for processing basses?
A: Most of the bass processing is done within massive.
Q: What do you use to get such resonance in your basses? I'd like to know your plugin setup.
A: My plugin setup (90% of the time) is Massive and then logic stock plug-ins, maybe fab-filter every now and then.
Q: What's your favorite go-to waveforms in massive for neuro basses?
A: Kangaroo is sick.
Q: How do you approach creating the movement in your basses? Do you reach for your tools, Lfo, env and play?
A: I find the MOST crucial thing to making a bass sound good is moving many of the right parameters at the same time.
Q: What are some go-to LFO waveforms and rates? What are some examples of the right parameters to move?
A: 99% of the time it’s a sin wave. As for the rate and stuff: there’s no golden rule. Whatever is appropriate for the movement.
Q: Choose below or suggest: pitch, bandpass, notch, unison, vocoder-stuff, distortion, reverb.
A: Generally: notch, bandpass, wavetable position.
Q: Are you getting the movement from automating the rate? Or modulating the rate with another Env or Lfo?
A: The lfo is affecting a parameter. That parameter is creating the movement. E.g. lfo 1 on filter cutoff.
Q: Is it common for you to split a bass to 3 samples? (panned left for mid-highs, panned mid for mid-lows & sub, and pan right..)
A: No, I have a setup in the project whereby. I send everything that’s not drums to 4 channels. I just mono the sub channel.
DRUMS
Q: What do you use for snare layers? Samples or do you synthesize them or both?
A: Generally all samples. Although very recently I started layering the transient with a pitch enveloped sin wave - can be great.
Q: What is the trick to your drum processing? It's much more than just parallel compression.
A: Often I don’t do much processing when I insert drums, I’ve usually made them in a separate project, and they’re ready to go or layer. Although in the initial stages, heavy compression of the transient can be helpful.
PLUGINS/SAMPLES
Q: What are your favourite go to sample packs?
A: I used the Deadmau5 pack for about 2 years. Other than that i like bouncing out the logic sampler stuff sometimes.
Q: What are your favourite plugins to use atm?
A: Most recently I got superior drummer 2.0 - that thing is fantastic. Other than that I’m using massive and fabfilter.
Q: Can you list your most used VSTs then?
A: Massive, Saturn, exs24, sausage fattener.
Q: Where do you find your foley sounds?
A: Sound effect bible. impact. house hold, vengeance foley.
Q: What 3rd party fx plugins do you use?
A: I don’t use many. Fabfilter volcano is a cool wobbly filter though.
However, maybe this is interesting for some of you.
JOE FORD Q&A on Twitter: https://twitter.com/joefordmusic
ARRANGEMENT/STRUCTURE/COMPOSING/SOUNDDESIGN/MIXING
Q: Do you write the intros first or start with the main section and work backwards?
A: Main drop then work backward 90% of the time.
Q: Do you ever get writer's block? Or struggle developing a track past the drop section?
A: It’s different every day. Sometimes yes. On these days I spend time making sounds and saving them - wish I had started doing this earlier.
Q: Do you use reverb on send channels wired to different bus groups to achieve more space-atmosphere? Any tips?
A: I generally try to keep the amount of reverbs to a minimum – 1 for drums, 1 for bass and atmos maybe.
Q: How did you make that pad in 'City 17' at 2:55 for example?
A: Low passing a normal pad with a high resonance controlled by a stepping lfo.
Q: How do you create that drum like bass sound on stride on the drop? Follows after the snare.
A: That was like 3 layers of massive. Pitching notes down to get stabs.
Q: What else motivates you to write tunes besides other music i.e. films, places, art, people?
A: Sci-fi Games and films do hugely. For intros I often stare at film artwork and imagine what sounds you would find there.
Q: Regarding stereo imagery, do you tend to worry about mono-compatibility, as in- getting too wide, causing phasing issues...
A: I haven’t really worried about it. I never spread anything below, say, 200hz.
Q: What's your "general" sort of process for creating pads/synths? And do you use many effects, reverb, etc. as well?
A: I love adding reverb to low passed pads. You get a really warm wide sound. Pads are generally extremely simple – just saw waves.
BASS
Q: What’s your favourite wavetable in Massive?
A: My favourite Massive wavetable is 'squelchy'.
Q: When it comes to resampling, how do you preserve the lower frequencies and avoid phase issues?
A: I rarely resample. And if I do, I don’t split the frequencies up.
Q: Favourite plugins for processing basses?
A: Most of the bass processing is done within massive.
Q: What do you use to get such resonance in your basses? I'd like to know your plugin setup.
A: My plugin setup (90% of the time) is Massive and then logic stock plug-ins, maybe fab-filter every now and then.
Q: What's your favorite go-to waveforms in massive for neuro basses?
A: Kangaroo is sick.
Q: How do you approach creating the movement in your basses? Do you reach for your tools, Lfo, env and play?
A: I find the MOST crucial thing to making a bass sound good is moving many of the right parameters at the same time.
Q: What are some go-to LFO waveforms and rates? What are some examples of the right parameters to move?
A: 99% of the time it’s a sin wave. As for the rate and stuff: there’s no golden rule. Whatever is appropriate for the movement.
Q: Choose below or suggest: pitch, bandpass, notch, unison, vocoder-stuff, distortion, reverb.
A: Generally: notch, bandpass, wavetable position.
Q: Are you getting the movement from automating the rate? Or modulating the rate with another Env or Lfo?
A: The lfo is affecting a parameter. That parameter is creating the movement. E.g. lfo 1 on filter cutoff.
Q: Is it common for you to split a bass to 3 samples? (panned left for mid-highs, panned mid for mid-lows & sub, and pan right..)
A: No, I have a setup in the project whereby. I send everything that’s not drums to 4 channels. I just mono the sub channel.
DRUMS
Q: What do you use for snare layers? Samples or do you synthesize them or both?
A: Generally all samples. Although very recently I started layering the transient with a pitch enveloped sin wave - can be great.
Q: What is the trick to your drum processing? It's much more than just parallel compression.
A: Often I don’t do much processing when I insert drums, I’ve usually made them in a separate project, and they’re ready to go or layer. Although in the initial stages, heavy compression of the transient can be helpful.
PLUGINS/SAMPLES
Q: What are your favourite go to sample packs?
A: I used the Deadmau5 pack for about 2 years. Other than that i like bouncing out the logic sampler stuff sometimes.
Q: What are your favourite plugins to use atm?
A: Most recently I got superior drummer 2.0 - that thing is fantastic. Other than that I’m using massive and fabfilter.
Q: Can you list your most used VSTs then?
A: Massive, Saturn, exs24, sausage fattener.
Q: Where do you find your foley sounds?
A: Sound effect bible. impact. house hold, vengeance foley.
Q: What 3rd party fx plugins do you use?
A: I don’t use many. Fabfilter volcano is a cool wobbly filter though.
