Bentley Jones Top Five
Bentley Jones first made a name for himself as a producer creating remixes for artists such as Beyoncé, Britney Spears and Madonna, and scoring for video-game soundtracks. After having his own songs featured on soundtracks and collaborating with other artists, he has now signed his debut album to EMI and is preparing the release of his first single early in 2009.
B Grand Piano 1.0 (Factory Sound Bank / NN-XT Sampler Patches / Piano)
I’m a sucker for piano and strings, and a good sampler patch will have the versatility to adapt to a wide range genres and style. This patch does just that. A very rich and organic sounding piano, can also be EQ tweaked to fit nearly anything and everything.
Synth Bass (Factory Sound Bank / Malstrom Patches / Bass / Synth Bass)
A good bassline can be the backbone of your arrangement, and when you need something deep and rooting to ground a light and airy mix, this patch will do the job. As it is, it’s a great synthetic bass. For a more deep, vanilla sound I tweak the oscillation shift to flatten out the envelope. Or for a more squelchy sound I play with the filter. And the ultimate – add a Scream 4 for gritty texture. Alternatively you can add a polysynth an octave higher to accompany this for a much wider sound.
TB Synth (Factory Sound Bank / Subtractor Patches / Mono Synths)
“Simple, but effective” is a frequent occurrence in music. This ambiguous patch might go unnoticed by itself. But close the filter and extend the filter envelope and it becomes a great pizzicato synth. Open the filter envelope and add some subtle oscillating LFO, double it up and you have a strong, fat synth capable of handling a dance riff. And, finally, add an overdrive or Scream 4 and you have an awesome growl for those low-end hooks.
VNSs Arco mf (Orkester Sound Bank / Strings / Violins Stereo (VNSs))
Another great sounding, highly versatile patch suitable for truckloads of string arrangements. I usually layer my string sections, sometimes incorporating a string pad or solo instrument for added fidelity. But I use the Orkester’s stereo strings quite a lot, and often use this violin patch along with the cello equivalent.
Sieslus (Factory Sound Bank / NN-XT Sampler Patches / Pads)
I often use a pad patch to map out chords and I normally start with this one. However, I sometimes place it into the final mix as its warm, wide inoffensive texture can act as a bind that, while sitting subtly in the background of a track, ties the whole thing together.
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