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The following is an original project file for Protosurge. It is meant for learning purposes only. Melodies and beats featured are copyrighted property.



Software: Ableton Live 9.6.1

Duration: 06:15 (full track)

Used 3rd party software:

  • Native Instruments Massive
  • LennarDigital Sylenth1
  • XFer Records Serum
  • FabFilter Pro-Q
  • FabFilter Pro-Q 2
  • FabFilter Pro-C
  • FabFilter Timeless 2
  • FabFilter Simplon
  • FabFilter Pro-L
  • Native Instruments Transient Master
  • Native Instruments Supercharger GT
  • SoundToys PhaseMistress
  • Izotope Ozone 7 Advanced
  • Waves RBass / Renaissance Bass
  • Eiosis AirEQ
  • Sausage Fattener
  • LXP Native Reverb Plug-in Bundle
  • ArtsAcoustic Reverb
  • Slate Digital Everything Bundle

Slate Digital Everything Bundle (it's $15, arguably the best deal in digital production software -

This, along with FabFitler EQs is arguably the most important part. So much tone and character was added using these plugins that this sound would simply not be possible using any other (except maybe UAD) or native Ableton plugins (not even nearly). 

There's a Virtual Mix Rack on almost every track, those that were processed externally for quality that I couldn't achieve in the box. It's mainly used for Channel Emulation, in this project's case the SSL4000 E Console. Tape was not used per-channel in this project, but I would highly advise it

There are a lot of other tidbits about using Slate Digital plugins to simulate an analog environment, and you can find out the best chain for you, and get other answers here:

If not, feel free to ask me.

There was a lot of Kontakt usage in the Effects region, as well for some interesting textures in buildups and the main drop - huge mumbo jumbo of sounds that was then processed through an external compressor in order to sound glued and solid.

Some of the samples are from Kontakt libraries that cannot be obtained through alternative methods and are upwards of $400 each, so I didn't find much logic in leaving the Kontakt in the project as not everyone has these (like pads from Gravity, etc.) I froze the source Kontakt audio and left the processing with effects in the project, so that you can see how that particular one was processed. 

I should warn you that upon launch, the project is incredibly CPU-demanding, especially on the Drop. This is mainly due to iZotope Ozone 7 Maximizer running in IRC IV Transient mode on several tracks that are listed below. 

I would also suggest to setting your audio interface to maximum available samples in order to reduce CPU load.

During work I would set it to IRC I, and when the track was finished, I would set it back to IRC IV, because IRC IV in Transient mode offers UNPARALLELED maximization and transient preservation, and I know of no other software capable of such tremendous preservation of audio while squeezing out as much juice as it possibly can. Some sounds would be crushed if anything else was used. Tracks it's used on:

  • 31 Main Acids
  • 33 Second Part Loop
  • 34 Climax Wide
  • Master

Even a single instance of Maximizer using the IRC IV Transient setting induces a 16000 sample delay, so make sure to switch it to IRC I before pressing play, unless you have the power to play it live. This was done on an Intel i5 4690.

I would highly suggest switching back to IRC IV before rendering.



If you have any questions regarding the project, other projects or services I offer, please do not refrain from contacting me.



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Ableton Template

  • Hello . I'm planning buying your template but first of all reply my questions please.

    1- When i buy template, i Can you let me know which kontakt libraries did you use and which patches and Slate digital VST's did you use for template?

  • Hello! When I used Kontakt libraries, audio was recorded and then I processed it, because some libraries are well over $400 and it would be unfair to expect you to have them.

    For pads and atmospheres I used Heavyocity Evolve and Evolve Mutations I that comes with NI Komplete package, as well as Heavyocity Gravity (which is amazing). For the drop, and some bassline mid-layers that are in audio, I used various cuts from samples from Heavyocity Evolve and Evolve Mutations I.

    From Slate Digital, the most used is Virtual Mix Rack (basically on every track). Virtual Tape Machines is also almost on every track, and Virtual Buss Compressors, namely FG-Grey, which is an emulation of SSL G-series compressor (the legendary glue compressor) was used on some percussions and almost all busses. I also think there's one FG-Red on the Synths buss (they're all part of Virtual Buss Compressors).

  • James, thanks for your answer.

    I have Heavyocity Gravity , Heavyocity Evolve and Evolve Mutations because i like cinematic sounds.

    My last question before buying :

    if i buy your template, can you send me project with Kontakt libraries channels as original midi channels and layers ? (not audio channel)

  • They're not in the project anymore as I didn't just load up a patch and play it (except for Gravity pad which are layered in the drop playing the same chords like others that are in softsynths in the project, it's also rendered but I think it's from the Ethereal folder in Gravity).

    For basslines, I would load a patch from Evolve or Mutations, find sounds that I like, record them, process them further with distortions etc, and then arrange them to get the rhythm I wanted. I think there were even some sounds from Output Signal.

    Since all those libraries are, well, libraries, they suck up RAM and having them in just to play 1 note, which would then go through heavy processing and into a buss made no sense to me during the production process. I made the drop quite some time before the breakdown and the finished track. So I just froze them, arranged it all into 1 audio track, then slapped reverb and glue compression on it to make it all sit together nicely.

    All in all it's a pretty big project and the way it is, it's borderline killing my CPU to run in realtime. Had I have not rendered that, I don't think I would ever have finished it

    Also, I forgot, a lot of risers are from Native Instruments' Rise n Hit library, and some impacts are also from Gravity.

  • When i have project , Can I see EQ, FX, Virtual Rack settings for frozen audio channels (pad, atmosphere ext.?

    Do you have all basslines only with Evolve? What about Main rolling bass?

  • Of all the frozen ones, only two layers in the breakdown don't have it as they were processed through an external distortion unit. The rest (atmospherics and gritty bassliny stuff in the drop, as well as one layer of the main roll which is named according to the preset in Output Signal) have all their processing after the initial audio or "glue". Here's a screenshot of the main mishmash track from the drop open:

    Basslines were done either with Evolve for the midrange edgy stuff, or with softsynths for the blaring saws and mid rolls (with the exception of one from Signal). However, there's always a separate layer of a Sub Bass playing those low frequencies, and it's rolling the intro/drop and a decaying one in the breakdown (sine or saw, then filtered and ran through Virtual Tape machines without detune is my starting point and I usually leave it at that.

  • i cant open the link : it does not work.

    If you can send screenhots , it would be good

  • Edit : ok i opened it sorry.

    Can i ask a question?


    It would be great to have all channels as original midi channels and seeing kontakt libraries, basslines..

  • You mean with freezen that ? They are as midi channel but you just freezed them and we can unfreeze and still can we use it as midi channel and see libraries?

  • and can you add rendered channel as midi channel with their VST's ? libraries ext.

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