It's sad to know the answer to the following question: "Have you heard of Bone?" Probably not. And you're missing out big time. We see Bone as one of the most talented upcoming producers. And you should too.
Bone is 29 years old producer from Talinn, Estonia already supported by Technimatic, John B, Quadrant, Soul Intent and others.
What were some breakthrough moments during which you had that realization: "Why didn't I think of it before? It's so simple."
Most of these moments are related to the usage of my DAW (Digital Audio Workstation). I've been always wondering how the big producers do their basslines and keep them interesting. I've always been a bassline guy. Doing reeces, using sub and so on. And only recently I started to play around with it more. Break the bassline down to pieces and add more elements, make it more complex.
I usually start off with one synth and a midi track and then add different synths with same notes but remove some parts from every track. When I'm almost happy with the result I break it down to mid and sub layers. Then I resample, reverse, chop etc. and do more processing on the mids.
When you mention sequencer, which one is it? Are you using the same one the whole time?
My first meeting with software was with freaking eJay. Just dragging loops and making weird trance music. But then one of my mates said: "Listen, what the fuck are you doing?" And gave me Reason install CDs. So I installed it and at first I was like: "What the hell is this?" I couldn't understand anything and yet I started with it. I might add that first tunes were horrible. Drums were always killed with delay and I did a lot of other rookie mistakes. But time went by and it all started to make sense. Then at one point I discovered Sony Acid and for a while I was using both.
Now I'm using Sony Acid 90 % of the time. It's probably the dumbest DAW ever. It looks horrible but there are few things that are integral part of my standard routine. So when I wanted to move to another sequencer, I was completely lost. There were no such features there.
You seem to be extremely productive. What's the secret?
I usually do things on the fly but sometimes I do go back to old projects and take something from there. I have loads of unfinished stuff, and I don't even remember most of it. But from time to time I go through some of the tunes and sometimes I find something inspirational. Then I might start a new tune with some old break, bassline or another sound.
There are periods where I produce two or three tracks in a week and then there a periods when I do nothing at all. But when I actually sit behind a computer I might push myself hard to get it done because I know that maybe the next day I won't be able to do anything.
I can easily feel that sometimes I could work more on tunes, like improving buildups or adding edits and effects. But sometimes I just want to get it done and that's it. This is why I like to collaborate. When we're working together with someone, we all have ideas and we do various edits and tweaks. That I enjoy the most.
Could you break down how you usually go about creating a tune?
I start with a break, then add a bassline and then pretty much have a main loop going on. It's usually 32 bars long. I add effects and try to figure out a melody if suitable.Next Istart building the intro, go to sleep, bounce the thing I have, send it to a friend and ask for his feedback. After that I just build the whole track.
I frequently ask opinion of other people because when you've been doing something for a while, you need a break and might not notice some things anymore.
What's the ratio of finished versus unfinished stuff?
About 70 % unfinished and 30 % finished.
If you could spend a couple days with any producer who would that be? And what would you want to learn?
There are too many names to be honest. I just want to sit there and observe how they work. June Miller guys are quite technical, I would like to see their whole sound creating process. And Blu Mar Ten are just amazing, they have a gift to truly put emotions into their sound. Yet they are also very technical.
Blu Mar Ten - Church is is still one of my all time favorite tunes. So many emotions. I just want to see their whole process and learn from it. I feel that I know some things and basics, but that extra something is still missing. I am not a huge sound engineer, so that part would be awesome to see.
Third one to watch would be Synkro. I had a chance to meet him once and there is a track he did, So I asked: "What were you thinking when you did this track?" And he replied that one of his good mates died when he wrote this. I was mind blown. It struck me like a lightning.
I'd like to see his work process but most of all I enjoy his drum percussion work. And the emotions of course.
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