Ableton Master G Jones Breaks down His Creative Approach on The Ineffable Truth [Interview]

‘The Ineffable Truth’ is filled with many diverse styles, so does G Jones take action?

Last month, Greg Jones – that goes by G Jones – launched his diverse debut LP, The Ineffable Truth. His brand new record showcases musical sensibility and an emotional gravitas unlike some of his prior work Though he’s known for his production characteristics. 

For almost two decades , Jones set his blood, sweat and tears into creating a true sonic masterpiece. Their own story is told by Every one of the album’s 11 tracks nearly like chapters of a novel, but as a whole they tell a story certain to leave the listener in awe.

Each track is unique. Combining elements of dubstep snare and bass music in general, they all share the varied and experimental style that Jones has created for himself. had the chance ask Jones about his revolutionary sound, the creative process behind The Ineffable Truth, and a number of the plugins that he uses for its tunes. His answers can be observed below. When listening to The Ineffable Truth, it’s clear as day that you don’t let subgenres define you or your sound at all. There are so many elements in each track and they’re packed with a variety of sounds. How do you describe your sound for individuals that haven’t heard the record yet?

G Jones: I struggle with this a lot. I’d just describe it as electronic music.

What type of music did you listen to growing up, and does this have any effect on your sound? If not, what or who are your inspirations?

When I was getting into music (if I was like eight or two ) I had a space adjoining to my older brother living room and could remain up listening to other rock radio throughout the wall, which was largely Nirvana, Smashing Pumpkins and stuff like that. 

When I got a bit old, in the Napster era, I started searching”techno” and downloading whatever I might find, which is how I found Aphex Twin (likely my favourite artist ever ) and lots of other stuff including Daft Punk, The Chemical Brothers, etc.. ) I didn’t have some friends who enjoyed music but I knew there had to be cool stuff on the market so I’d use Napster or move on Wikipedia and research subgenres of home music or bass and drum to come across stuff I hadn’t heard. 

I’d say out of the stuff I found around this time, Aphex Twin’s work definitely left the mark on me and I listen to his songs all the time. I’d say in terms of music, Aphex Twin and Mr Oizo are two of my early influences.

DJ Shadow says you’re”the most gifted Ableton beatmaker” he’s ever seen. When you’re making tracks such as”Different Sound” or”In Your Head,” how do you go about it? What is the process like on Ableton as compared to other apps and what is your preferred go-to plug?

With both of these songs, the bass sounds are all from my Moog Sub37. I composed them just fucking around on the keyboard till I found a riff I enjoyed recording that MIDI in to Ableton, correcting it and recording a number of demands of me jamming live about the synth. Then, I adjust parameters on the fly, chopping up the components, recording every thing and arranging them in a song. 

I can not really comment on Ableton versus other applications because I seldom use any other music applications, however, Ableton is really a gift to humanity and I am thankful every day that it exists. Plugin smart, I really use hardly any plugins compared to most manufacturers, but I’m a huge fan of those Valhalla DSP plugins. I got Valhalla Vintage Verb once I worked with Eprom on our first alliance”Warrior” because I wanted it to have the ability to work on the job file on my computer, and it sounds fantastic. I use it.

For DJs, just what are a few tips about creating songs and using Ableton that you just wish somebody had told you when you were starting out?

My best advice is not to be afraid to produce a bunch of sound that is horrible . The longer you fuck around and try new things that look as they will not do the job, the more inclined you should discover some magic mix of effects or sounds or whatever you would not have discovered if you were trying to reach a particular sound rather than having an exploratory strategy. 

Also, I’d say that trying to attain a perfect combination whilst writing a tune is sort of an overrated strategy in my opinion. There is always time to mix better afterwards, and a fantastic idea that’s mixed poorly is way more valuable than a really well blended, fair idea. Sometimes I write on my notebook speakers when I could be working on my studio monitors. It helps me to focus on a idea that is tough and not get distracted by trying to make everything great in an engineering perspective. 

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What blew us away was the story that you weaved through The Ineffable Truth. When you put the record together what sorts of challenges did you face for the record tracks to work with one another?

The greatest”challenge” I guess was curating the track list, but over time it just became increasingly apparent until the last track list just felt so obvious that I couldn’t have it any other way. I guess it wasn’t really a”challenge” as much as a gradual process that unfolded over roughly two years. After I knew the songs and the order they should play in, the alterations felt as they sort of wrote themselves like for instance, the sound in the conclusion of”Time” Examining into”That Look in Your Eye” or even the river sound at the conclusion of”Iridescent Leaves Floating Downstream” flowing into”Forgotten Dreams.” They just felt intrinsically right playing after one another, and so all I felt just like I had been doing was listening to these songs and attempting to listen to how much distance needs to exist between them, if the transition must have some strain, etc..

You understand your record even captured the attention of RL Grime with”Forgotten Dreams” being featured in his traditional Halloween blend this year. How does this feel to find support from DJs, and who is somebody you’d like to use on a collaboration?

It feels amazing! Learn to RL and everybody else supporting the record. I’m frankly not super concentrated on working right now because I’m pretty deep into creating the live show and composing solo music. That said, working with Eprom is a dream come true and we have more new music at the functions. I guess in some alternative world I’d like to use Aphex Twin or observe his process, but I will not hold my breath.

So what is next for G Jones? Are you working on some new music? Could you provide some details that are juicy to us?

It is quite tough to say what is going on following the tour at this stage because this tour and the music, video and light layout for it’s been pretty much my singular focus (besides the album) for over a year. I’m constantly writing new songs and the live series will comprise some thing like 10 unreleased fresh tunes, so there is a ton of new songs I’ve written that will not be outside for a while. At this point I’m really just focused on bringing my vision into the whole world to get this show!

The Ineffable Truth Tour just kicked off today, but you are still able to buy tickets here.

Follow G Jones:

Website: gjonesbass.comFacebook: @gjonesbassSoundcloud:

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