Acid is a key part of your sound. Can you tell us about the various machines you’ve used to create those basslines?
‘Higher State...’ used two original, non-modified 303s. I’ve heard that online forums have debated for years what was used on that track – either a 202 or a 303. For the record, again, it’s a 303. No 202s used! The funny thing is, I’ve always wanted a 202.
How did your new track ‘Selecta’ begin?
I wasn’t thinking of making a follow-up to [2017 acid bomb] ‘Resist’, but while throwing ideas around for a track for Bloody Mary’s new ‘Melting Pot’ compilation I knew I was going to do something acid-based. The rhythm groove came first, then the acid line. I got all the groove clips I wanted in Ableton, then I pressed play and jammed for 20 minutes. After the ‘live’ aspect of the track was finished I edited it’s time, focusing on transitions and tension build-ups. I thought I was finished, then had an idea for a vocal and bam... ‘Selecta, Come Again’ came into the track. I love the fact that the vocal comes out of nowhere and smacks you across the face.
How did you finish it, and what instruments were used?
‘Selecta’ was made entirely with software. Sometimes this works; sometimes it feels too polished and clean and then I’ll incorporate hardware into the mix. Most of the drum sounds are original samples from my drum machines over the years, triggered in Ableton Live. Sometimes I use the actual 303 on my acid tracks. For ‘Selecta’ I used the ABL3 software plug-in. When making acid tracks, I don’t use my hardware, I spend a lot of time with plug-ins to make the virtual 303 sound as authentic as possible. It’s worth the time for me as a lot of virtual 303s don’t sound like the real thing, and I don’t like that. I won’t play a lot of new ‘acid’ tracks as the virtual 303 sounds cheesy.
Josh Wink ‘Selecta’ is out now on Ovum
Check out images of Josh Wink's studio below
Honey Dijon, Eris Drew and Midland confirmed for new Nottingham festival
Wigflex City Festival hits Nottingham on May 5
Watch a new short film exploring the British deaf rave scene
Directed by Coral Brown