For his new pack, Jay Eskar wrote a personal statement about his journey toward musical identity. Above you can see a tutorial on how to use the pack, and below you can read his writing.

I got into music production when I was around nine years old. My cousin used to make music on FL Studio during family holidays, and I remember watching him and thinking, “what is he even doing?” At that point, electronic music was already on the radio, but it never crossed my mind that someone could actually make it themselves.

As soon as I got access to a computer, I started making music nonstop. At first, I was just copying what I saw, making Psytrance because that’s what my cousin was into. It had nothing to do with what I do today, but it gave me a starting point. Back then there weren’t many tutorials, no easy shortcuts, no massive preset libraries. You had to experiment, move knobs, and figure things out on your own. That process shaped everything for me.

Over time, I started discovering new genres. Dirty Dutch, Melbourne Bounce, Complextro, Electro House, anything that felt energetic and creative. I remember being fascinated by how certain drops could feel full and detailed without sounding chaotic.

That pushed me deep into sound design. I became obsessed with creating sounds that felt alive, textured, and unique.

Eventually, I found Future House around 2015, through artists like Tchami, Oliver Heldens, and Don Diablo. That was the moment things started to take shape. But even then, I didn’t want to follow the same direction as everyone else. A lot of the music at the time felt too bright or predictable to me, so I naturally leaned toward something darker, more melodic, more emotional, and more “mystical.”

For me, finding your sound is about merging your technical skills with your taste. It’s not just about knowing how to produce, it’s about knowing what you want things to feel like. Even when I couldn’t perfectly recreate what I heard in my head, I trusted my taste enough to keep going in that direction. That’s what slowly separated me from everyone else.

Instead of staying in one lane, I kept combining influences from different genres. My background in more complex and aggressive styles naturally blended into house music, and over time that evolved into what I make today. What started as Future House turned into Future Bounce, and eventually into a more aggressive, melodic take on Bass House.

At this point, my music is less about fitting into a genre and more about expressing a specific feeling. When you hear it, you don’t just hear “Bass House” you hear something that feels intentional and personal.

I’ve been making presets and sample packs for over a decade, starting from my own website when I was around sixteen. Over time, I also worked with many sample pack companies, which helped me understand how to standardize and refine sound design at a professional level. But with this pack, I wanted to go beyond just making good sounds. I wanted to create tools that actually make sense inside a real production workflow.

A lot of presets sound great when you play a single note, but fall apart when you try to use them in a track. I approached this differently. Every macro, every modulation, every detail in this pack is designed to be usable. The mod wheel, for example, is something I treat as a performance tool. It allows you to create movement, transitions, and variation without needing to completely redesign the sound.

Some of these presets can feel like multiple sounds in one, just because of how they evolve when you interact with them. That’s the mindset I had while building everything: make sounds that help producers finish better music, not just start ideas.

The inspiration behind this pack comes from years of experimenting, evolving, and refining my sound. It represents where I am today creatively, but it’s also designed to be flexible enough for any genre. Even though it’s labeled as a bass house pack, I don’t believe in limiting sounds to one category. The best music happens when you take elements from different worlds and combine them in your own way.

Use these sounds as a starting point, not a limitation. Push them into directions they weren’t originally intended for. Experiment, combine, and most importantly, trust your taste. That’s how you create something that actually stands out.

If I had to give advice to other producers, it would be simple. Make music as often as you can, and focus on developing your own identity. Don’t get too caught up in trends or genres. Take what you like from everything and build your own sound from that.

At the end of the day, music is about expression. The goal isn’t just to sound good, it’s to make people feel something they can’t get anywhere else.