{"id":4792,"date":"2018-04-27T11:21:33","date_gmt":"2018-04-27T15:21:33","guid":{"rendered":"https:\/\/splice.com\/blog\/?p=4792"},"modified":"2025-09-17T11:59:19","modified_gmt":"2025-09-17T15:59:19","slug":"ducky-q-and-a","status":"publish","type":"post","link":"https:\/\/splice.com\/blog\/ducky-q-and-a\/","title":{"rendered":"DUCKY on her production tools and getting a huge sound"},"content":{"rendered":"<h1>DUCKY is a producer, DJ, and bass-rattling extraordinaire hailing from California.<\/h1>\n<p>She\u2019s been producing since she was 13 and her tracks that range from club to hardcore have been heard around the world. She\u2019s been co-signed by the likes of Skrillex, NPR, Trekkie Trax, and more. If you\u2019ve ever wanted an in-depth look at her producing process, now\u2019s your chance. Watch the video to see how she created some of the sounds in her new sample pack, and read below for a glimpse at how she produces her signature bass, gets her mixes sounding super pristine, stays inspired, and more.<\/p>\n<p><iframe title=\"DUCKY - Bliss Pack 01 [OUT NOW]\" width=\"370\" height=\"208\" src=\"https:\/\/www.youtube.com\/embed\/XYuTsypm0R0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p><strong>Your bass sounds can be described in many ways, but \u201cpunishing\u201d is probably one of the most fitting. What is your process of creating your bass sounds from scratch? Are you working primarily in Serum, or do you incorporate several VSTs? How do you get your low end (kicks, bass, sub) to sit together so nicely?<\/strong><\/p>\n<p>I almost always design basses in <a href=\"https:\/\/splice.com\/plugins\/39137242-serum-2-au-by-xfer-records\" target=\"_blank\" rel=\"noopener noreferrer\">Serum<\/a>, although I do switch back to <a href=\"https:\/\/splice.com\/plugins\/97-massive-vst-au-by-native-instruments?utm_source=article&amp;utm_medium=blog&amp;utm_term=ducky-q-and-a\" target=\"_blank\" rel=\"noopener noreferrer\">Massive<\/a> or <a href=\"https:\/\/splice.com\/plugins\/2007-cyclop-vst-au-by-sugar-bytes?utm_source=article&amp;utm_medium=blog&amp;utm_term=ducky-q-and-a\" target=\"_blank\" rel=\"noopener noreferrer\">Cyclop<\/a> every now and then. My process is honestly mostly trial and error, but what I do to make it easier is save elements every time I\u2019ve created something I really like &#8211; I have a huge user library of wavetables and presets I created from scratch that I can go back to or use as a jumping-off point for my sound design. My favorite trick for making wavetables from scratch is to get a single cycle going that I really like, and then to use the wavetable editor\u2019s processing to create a pulse width modulation out of it. Instant wavetable!<\/p>\n<p>Low end control is all about, well, control &#8211; I keep my sub and bass separate (like in completely separate groups in Ableton), and then I EQ everything. Sub gets a lowpass at around 160 Hz, bass gets a high pass at around the same, and I do a hard high pass on my kick around 20 Hz, which is the low range of human hearing. Then, I use <a href=\"https:\/\/splice.com\/plugins\/3463-trackspacer-au-by-wavesfactory?utm_source=article&amp;utm_medium=blog&amp;utm_term=ducky-q-and-a\" target=\"_blank\" rel=\"noopener noreferrer\">TrackSpacer<\/a> or <a href=\"https:\/\/splice.com\/plugins\/39928-volumeshaper-4-au-vst-by-cableguys?utm_source=article&amp;utm_medium=blog&amp;utm_term=ducky-q-and-a\" target=\"_blank\" rel=\"noopener noreferrer\">VolumeShaper<\/a> for ducking the sub and bass to the kick. Lately, I\u2019ve been using TrackSpacer over VolumeShaper because it responds to the actual audio of your kick and ducks only the frequencies of the audio, but I\u2019ll use VolumeShaper when I want a really hard sidechain effect.<\/p>\n<p><strong>On that note, your tracks are all intricately mixed and retain clarity despite many sounds coming in and out. Can you give us some insight into your mixdown process, perhaps what kinds of EQs \/ plugins are your favorites, your studio setup, etc? Do you mix as you go, or afterward? Where do you like to test your mixes?<\/strong><\/p>\n<p>Thank you! My mixdown process is (usually) pretty painless since I like to mix as I go. I do a lot of processing on the groups so my mastering chain doesn\u2019t need to be crazy. I typically start with EQ &#8211; every group except for the sub, kick, and low impacts gets a high pass filter starting at around 160 Hz. Higher frequency groups like FX and percussion highs (claps, hi hats, etc) will get cut around 200 Hz, or even a little higher. My drums always have the <a href=\"https:\/\/splice.com\/plugins\/12100-ssl-g-master-buss-compressor-vst-au-by-waves?utm_source=article&amp;utm_medium=blog&amp;utm_term=ducky-q-and-a\" target=\"_blank\" rel=\"noopener noreferrer\">SSL G Bus Compressor<\/a> on them, which you can replicate pretty nicely with <a href=\"https:\/\/cytomic.com\/glue\" target=\"_blank\" rel=\"noopener noreferrer\">Cytomics\u2019 The Glue<\/a> compressor if you don\u2019t have <a href=\"https:\/\/splice.com\/plugins\/manufacturers\/4?utm_source=article&amp;utm_medium=blog&amp;utm_term=ducky-q-and-a\" target=\"_blank\" rel=\"noopener noreferrer\">UAD plugins<\/a>.<\/p>\n<p>I separate my drums into a separate channel for kick, a group of any lower range percussion elements including low impacts and toms, and then a group for highs like claps and hats, but both the lower and higher range percussion groups get compressed. I like to put <a href=\"https:\/\/splice.com\/plugins\/8318-invisible-limiter-vst-au-by-a-o-m?utm_source=article&amp;utm_medium=blog&amp;utm_term=ducky-q-and-a\" target=\"_blank\" rel=\"noopener noreferrer\">Invisible Limiter<\/a> on each group with oversampling at 16, so everything peaks at -0.10 dB. Beyond that, my processing is very specific to the elements I\u2019m working with. I try to think about where they live spatially in the mix and what I can do to carve out their spot. So for example, when I\u2019m doing big chord breakdowns, those are typically quite wide and tend to come forward naturally in the mix because I have so many layers. So I\u2019ll start by high passing the group, then maybe applying some multi-band compression to give them a more glued-together feeling.<\/p>\n<p>Then, I\u2019ll use the <a href=\"https:\/\/splice.com\/plugins\/177-s1-stereo-image-vst-au-by-waves?utm_source=article&amp;utm_medium=blog&amp;utm_term=ducky-q-and-a\" target=\"_blank\" rel=\"noopener noreferrer\">Waves S1 Stereo Imager<\/a> to bump them a bit wider, the Invisible Limiter with no additional gain just to keep them from peaking, and VolumeShaper or TrackSpacer for ducking. My studio setup is simple but nice &#8211; a treated room and Barefoot MicroMain26s. I\u2019m about to set up a pair of Adams as reference monitors as well. I like to test my mixes absolutely everywhere I can. The first test is always laptop \/ computer speakers, then the car, then through my DJ mixer into my Rokits, then my iPhone speakers, then to a couple of friends for feedback.<\/p>\n<p><strong>A signature element to your sound is the tension and catharsis of your huge sounding build ups. What are your tools or go-to methods for creating the build ups and risers of your tracks? For instance, I see you were using Dada Life\u2019s Endless Smile (3:54 in the video).<\/strong><\/p>\n<p>I <em>love<\/em> making build ups and risers! My favorite trick is to just go into Serum, keep the default oscillator, make an LFO at 8 or 16 bars length that just rises straight up, and then drag that LFO onto everything &#8211; reverb wet \/ dry, distortion drive, coarse pitch, detune, noise level and pitch, etc. I also really like to use\u00a0<a href=\"https:\/\/kilohearts.com\/products\/tape_stop\" target=\"_blank\" rel=\"noopener noreferrer\">kiloHearts&#8217; Tape Stop<\/a> plugin to add motion to my risers. After that, it\u2019s just about layering different sounds and creating that tension by increasing reverb, distortion, and pitch. Endless Smile is an awesome plugin for that too!<\/p>\n<p><strong>Your Rave Toolz series is endlessly inventive and fun (and fits snug in any DJ set). In terms of how your sound progressed, how much was informed by DJing and performing live? Did you find the types of tracks you were creating, with these big dynamic changes, were primarily informed by live performance?<\/strong><\/p>\n<p>Thanks! Beginning to tour has absolutely changed my sound. I started making music as catharsis, and it was very much about a personal expression of emotion for me. When I started to tour I began making edits to play live, and I started to get more and more into the sort of like, curation of people\u2019s experiences. I wanted to make what I wanted to hear when I was out, what I wanted to dance to. Over time I feel I\u2019ve finally come to a place where what I make is what I want to play, and what I play is mostly things I\u2019ve made. It\u2019s rad!<\/p>\n<p><strong>Vocals play a big part in the energy of your tracks, and range from the traditional to the <a href=\"https:\/\/splice.com\/sounds\/collections\/LZXuXUwx2qFVN10BaWLuHAUv-kE\/samples\">chopped<\/a>, <a href=\"https:\/\/splice.com\/blog\/what-is-a-vocoder\/\" target=\"_blank\" rel=\"noopener\">vocoded,<\/a> and distorted. How do you process and record vocals?<\/strong><\/p>\n<p>My vocal processing chain is LONG &#8211; here\u2019s a screenshot of a recent one:<\/p>\n<p><img decoding=\"async\" class=\"aligncenter size-full wp-image-4801 lazyload\" data-src=\"https:\/\/splice.com\/blog\/wp-content\/uploads\/2018\/04\/Ducky_InPostAsset.png\" alt=\"Ducky_InPostAsset\" width=\"1280\" height=\"284\" data-srcset=\"https:\/\/splice.com\/blog\/wp-content\/uploads\/2018\/04\/Ducky_InPostAsset.png 1280w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2018\/04\/Ducky_InPostAsset-355x79.png 355w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2018\/04\/Ducky_InPostAsset-400x89.png 400w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2018\/04\/Ducky_InPostAsset-768x170.png 768w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2018\/04\/Ducky_InPostAsset-1024x227.png 1024w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2018\/04\/Ducky_InPostAsset-1200x266.png 1200w\" data-sizes=\"(max-width: 1280px) 100vw, 1280px\" src=\"data:image\/svg+xml;base64,PHN2ZyB3aWR0aD0iMSIgaGVpZ2h0PSIxIiB4bWxucz0iaHR0cDovL3d3dy53My5vcmcvMjAwMC9zdmciPjwvc3ZnPg==\" style=\"--smush-placeholder-width: 1280px; --smush-placeholder-aspect-ratio: 1280\/284;\" \/><\/p>\n<p>I always start by pitch correcting my vocals with <a href=\"https:\/\/splice.com\/plugins\/1025-nectar-vst-au-by-izotope?utm_source=article&amp;utm_medium=blog&amp;utm_term=ducky-q-and-a\" target=\"_blank\" rel=\"noopener noreferrer\">iZotope&#8217;s Nectar<\/a> Pitch Corrector &#8211; it\u2019s like a lite <a href=\"https:\/\/splice.com\/plugins\/55-melodyne-vst-au-by-celemony?utm_source=article&amp;utm_medium=blog&amp;utm_term=ducky-q-and-a\" target=\"_blank\" rel=\"noopener noreferrer\">Melodyne<\/a> but it has its own tonal quality that I really love, a bit fake but not autotune-sounding. I freeze and flatten, then I\u2019ll do another layer of pitch correction in iZotope&#8217;s Nectar 2.<\/p>\n<p>I\u2019ll usually pitch the formant up to around +1 or +2. Then it\u2019s usually EQ, either <a href=\"https:\/\/splice.com\/plugins\/128-pro-q-vst-au-by-fabfilter?utm_source=article&amp;utm_medium=blog&amp;utm_term=ducky-q-and-a\" target=\"_blank\" rel=\"noopener noreferrer\">Fab Filter Pro Q2<\/a> or the EQ in Nectar. Then compression, followed by maybe some doubling or stereo imaging. On the screenshot, the vocals are super super processed to give them an almost fake sound, with a ton of delay, passive EQ, multi-band compression, reversed reverb, and filters.<\/p>\n<p>I also usually do a send to <a href=\"https:\/\/splice.com\/plugins\/1227-valhallashimmer-vst-au-by-valhalla-dsp?utm_source=article&amp;utm_medium=blog&amp;utm_term=ducky-q-and-a\" target=\"_blank\" rel=\"noopener noreferrer\">Valhalla Shimmer<\/a>, which is a crazy sounding reverb with an insane decay. For my vocal chops, I\u2019ll usually use <a href=\"https:\/\/splice.com\/plugins\/3788-ott-vst-au-by-xfer-records?utm_source=article&amp;utm_medium=blog&amp;utm_term=ducky-q-and-a\" target=\"_blank\" rel=\"noopener noreferrer\">Xfer Records&#8217; OTT<\/a> to give them that really bright, forward sound.<\/p>\n<p><strong>You started producing at a young age and have transformed this into your career. When you were starting out, what types of places did you go to learn about production?<\/strong><\/p>\n<p>I was actually super stubborn when I started producing at 13. I refused to read the manual for Logic 6. I just sat there until I could make a sound. I wouldn\u2019t recommend it, haha! I did take an Ableton class at a place called Robotspeak in San Francisco, shout out! But I only used Ableton for live performances at the time. It was honestly a lot of trial and error for a long time, and it was a long road. I didn\u2019t care though &#8211; I just made shitty low quality music until it started being a little less shitty, a little better quality, a little better sounding, and grew a little more every time. Eventually I did go to NYU for Recorded Music, where I got to learn a lot of engineering concepts. They didn\u2019t have any classes for sound design or electronic music, but engineering concepts apply to any kind of music, and they\u2019ve been instrumental in my production.<\/p>\n<p><strong>Throughout your career, who have you looked up to as mentors in honing your craft and improving as a musician and artist? For producers who struggle creatively or hit roadblocks in their process, what has helped you push through?<\/strong><\/p>\n<p>I have to shout out my bestie Gammer, Kill the Noise, and Brillz. All three of them have been such good friends and role models to me. I can hit up any of them to talk shop, get feedback, or go sit in the studio. I think those moments have been my biggest moments of growth &#8211; there\u2019s really no better way to learn than to get in the studio with someone whose work you admire, and to just sit there and go through a session or try to make something together. I would say if you get stuck, it\u2019s always a balance &#8211; sometimes you can\u2019t force creativity, and you need to take a week or a month to procrastinate creatively.<\/p>\n<p>Go expand your horizons, watch movies, take a trip, read books, or just organize your freaking sample collection. Get inspired. If I\u2019m stuck in a more deep-seated way, it\u2019s usually because I\u2019m exerting some pressure on myself to create in a way that isn\u2019t honest to me. That\u2019s when I try to just take it back to the basics and make something for myself and nobody else, not worrying about whether or not I\u2019m gonna release it, or play it out. This is a creative pursuit and at the end of the day it needs to fulfill you, not anyone else.<\/p>\n<p><a href=\"https:\/\/splice.com\/sounds\/splice\/ducky-bliss-pack?utm_source=article&amp;utm_medium=blog&amp;utm_term=ducky-q-and-a\" target=\"_blank\" rel=\"noopener noreferrer\">Check out DUCKY&#8217;s Bliss Pack on Splice for a taste of her dance-floor rumbling sounds.<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Get a glimpse at how rising producer DUCKY crafts her signature bass, gets her mixes sounding super pristine, stays inspired, and more.<\/p>\n","protected":false},"author":39,"featured_media":4793,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_exactmetrics_skip_tracking":false,"_exactmetrics_sitenote_active":false,"_exactmetrics_sitenote_note":"","_exactmetrics_sitenote_category":0,"footnotes":""},"categories":[1694,1692,1659],"tags":[22,333,1635],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v22.9 - 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