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Jason Maas

@jay_maas

14.9K

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Founding Member of Defeater.
Producer: Title Fight Counterparts BANE Citizen State Champs Drug Church
Booking: [email protected]

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by @jay_maas

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2 days ago

RAINBOWMACHINE is out now.

The new album from onelinedrawing, produced by Jay Maas, is officially here.

Built from songs written across different eras of Jonah Matranga’s life, the record gathers together ideas that lingered for years, melodies that refused to disappear, and collaborations that only made sense once they were already happening. For Matranga, known for his work in Far, New End Original, Gratitude, and the ever-evolving world of onelinedrawing, many of these songs have been around for a long time. Not unfinished. Not forgotten. Just somewhere else — waiting. Layered guitars, anxious haze, towering hooks, and emotionally raw songwriting.

Listen everywhere now. Vinyl available from Iodine. by @jay_maas

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15 days ago

I’m not going to be able to call you little man for much longer. First day of 4th grade! by @jay_maas

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a month ago

NEW VIDEO OUT NOW: ‘This Is A Warning’ from @aonelinedrawingis premiering exclusively at @newnoisemagazine

From the album RAINBOWMACHINE, available 9/18/26 via Iodine Recordings, head to New Noise to read more

🌈⚙️

Pre-order and presave at https://lnk.to/old-warning by @jay_maas

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3 months ago

Phase is one of those things you don’t fully understand…

until you hear it fixed.

Suddenly the drums feel wider, deeper, punchier, and more natural without touching an EQ.

That’s why this matters so much. by @jay_maas

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4 months ago

I have the best job in the world. Seeing the records I create with incredible artists like @banecentral connecting with so many people is a pretty indescribable feeling. The second slide is from the night when @patrickflynnx came by the studio and helped us craft this now iconic track. by @jay_maas

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4 months ago

The crazy thing about this unit…

It’s a compressor, but it almost behaves like an enhancer.

You get this high-end lift, added detail, and a cleaner top without sounding harsh.

That’s why it became a staple. by @jay_maas

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5 months ago

For me, this is that golden-era Marshall feel.

Not overly saturated, not too clean… just perfectly balanced.

What makes it special isn’t just the tone, it’s the response.

You actually feel the amp reacting to your playing. Hit the strings harder, it pushes back with more gain and aggression. Ease up, and it cleans up without losing character.

That kind of dynamic range is something a lot of modern high-gain setups miss. Everything isn’t just “on” all the time… there’s space, control, and expression.

It makes you play differently. It makes you want to play.

And honestly, that’s what great gear should do. by @jay_maas

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5 months ago

One thing people miss about distorted vocals…

They’re easier to mix.

Because distortion is already compressing the signal,
it locks the vocal in place and lets it sit naturally in the track.

That’s why this sound works so well. by @jay_maas

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5 months ago

This song has over a million streams…

and it’s built by moving one finger.

Same chord.
Different tension.
Completely different feel.

Simple ideas, done right, go a long way. by @jay_maas

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5 months ago

Your speaker only does one thing. Push air and pull air.

Your entire mix is just instructions telling it how to do that.

If your low end isn’t aligned, those movements fight each other and your mix ends up weak and hollow.

That’s why phase matters most in the low end. Bigger waveforms make problems way more obvious.

If you want punchy mixes, make sure everything is moving together, not against itself. by @jay_maas

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5 months ago

Stop tuning vocals with your eyes.

No one sees your session. They only hear the record.

That little pitch drift you’re fixing? That’s the character. That’s the emotion.

If it feels right, it is right.

Perfect isn’t always better. Sometimes it just sounds boring. by @jay_maas

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6 months ago