At the same time, it helps a lot of upcoming producers who take sound design seriously to learn from them by reverse-engineering and learning from them.Ī lot of emphasis is put on sound design and casting off the use of samples, yet electronic music was founded on sample manipulation. I got both positive and negative feedback about the preset packs, but all in all, I think this moves the whole scene and the sound design community a step forward, as everyone will try to step up their sound design to sound more unique and not like a presets pack. Could the producer community stand to be less focused on issues like this? This seems like something that only happens in electronic music. You caught some heat from the dubstep community for offering up your preset packs. We invited him to chat about his favorite subject, his roots in trance, and the vibrancy of the American bass music scene. His music is shaping the face of bass music and inspiring a new generation of producers to step as far out of the box as possible. When Virtual Riot was just getting his start as a producer, these packs served as a way to legitimize his own music, which is full of the most coveted displays of mind-bending synthesis reserved exclusively for his own personal collection. All of this is done in the hopes that producers will be inspired to do as he has and dive further into the world of sound design to discover their own unique sound. He’s demonstrated the ability to break down even the most complicated sounds and offered them up to the masses via his genre-defining sample packs. Virtual Riot is here to shake up the norm and bring new credibility and attention to the most technical segment of music production: sound design. Yet, in a scene that puts so much emphasis on creativity, dance music has become arguably more uniform in terms of composition and sound design. On one hand, never before has a person’s dream to become a working musician been more achievable. A duality has arisen from the ubiquitous availability of music creation tools.
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