N1NJA has quickly carved out her place as one of London’s most forward-thinking producers, and with The Vibe on Mobilee Records she takes another step into defining her sound. The track pairs her polished production with the unmistakable voice of New York legend Mr V, whose spoken-word delivery gives the record its center of gravity. Together, they build something that feels rooted in house tradition yet firmly tuned for today’s dancefloors.
The Vibe is a reminder of what house music has always been about: presence, connection, and movement. The production balances rolling basslines with airy synth work and layers of detail that reward repeat listens, while Mr V’s vocal adds a human weight that makes the track more than just a groove. It’s a stripped-back but intentional record, made to live inside the moment rather than on a phone screen.
In this feature, N1NJA breaks down the tools and choices behind the single, from her use of Monark for the bass foundation to Valhalla’s VintageVerb on the vocals and the expressive chord work designed with Arturia’s Mini V. It’s a close look at how the track came together, and a clear window into the techniques that shaped one of her strongest releases to date.
Buy / Stream ’The Vibe’ ft Mr.V at: https://bfan.link/the-vibe-3
Monark (Native Instruments)
Monark is Native Instruments’ take on the legendary Minimoog, and it’s all about fat, punchy, analog-style bass and lead tones. It’s one of my go-to plugins for building deep, rolling basslines that really anchor a track. With three oscillators, a classic filter section, and snappy envelopes, it nails that timeless analog warmth. It’s simple to dial in but incredibly powerful, which is why it’s become such a staple in my productions.
For this track, I used Monark to drive the low end, starting with the “Defined” preset as the base. From there, I sculpted the sound by adjusting the filter cutoff and envelope so the bass locked tightly with the kick. I kept the oscillators fat but clean, avoiding too much drive so the groove stayed warm and deep without overpowering the mix. To give it movement, I set up sidechain compression against the kick for that classic pulsing feel, and added some subtle EQ to carve space for Mr. V’s vocal. The result is a bassline that’s solid, groovy, and supports the track without stealing the spotlight.
If you’re making electronic music, Monark is a beast for bass. One lesson I’ve learned is to let the envelopes do the heavy lifting – even tiny tweaks to attack and decay can completely change the bounce of your bassline. I also like blending in just a hint of noise or feedback to give the low end a gritty edge that cuts through on big systems. And don’t forget to sidechain it properly – the way the bass breathes with the kick is just as important as the notes themselves.
Valhalla VintageVerb
Valhalla VintageVerb is one of those plugins that has become a modern classic – it’s a reverb designed to capture the lush, colorful sounds of hardware units from the ’70s and ’80s. It gives you a wide palette of spaces, from subtle plates to huge, atmospheric halls, all with tons of character. The interface is simple and playful, but under the hood you can control everything from decay and pre-delay to modulation and EQ shaping. It’s perfect when you want reverb that feels both musical and alive.
For this track, I used VintageVerb to bring Mr. V’s vocal to life, setting it on the Smooth Plate mode with the color set to 1980s for that warm, slightly darker tone. The preset I started from was one I designed specifically for Mr V’s voice, which dials in certain parameters around decay and pre-delay so the vocal stayed upfront but still had depth. I shaped the reverb by cutting the highs and tightening the lows at 70Hz to keep the mix clean. I also added a touch of modulation to give the tail some movement, so the reverb didn’t sound static. Combined with sidechain compression against the ghost kick, the vocal reverb breathes with the groove, making it feel embedded in the track rather than floating on top.
Valhalla’s VintageVerb is an industry weapon for vocals. One thing I’ve learned is that the pre-delay is your best friend to make sure things sit perfectly in the mix. I also recommend playing with the different “color” modes: the ’70s is bright and airy, the ’80s is darker and moodier – each changes the vibe of your track instantly. And don’t be afraid to automate decay times or mix levels between sections, it can add drama and energy without cluttering the arrangement.
Arturia Mini V
The Mini V from Arturia is a modern reimagining of the legendary Minimoog, one of the most iconic vintage synths in electronic music history. It gives you those fat, warm analog-style tones but in a super versatile digital format that’s easy to play around with. Beyond the classic three oscillators and filter section, it also adds new features the original never had, like polyphony, modulation options, and built-in effects.
For this track, I started with the Butterfly Effect preset in the Mini V, which has this dreamy, airy quality – it shimmers with a kind of analog warmth while constantly shifting in a cinematic, almost hypnotic way. The main synth is built around moving chords in F major cycling through suspended and inverted voicings to make the track feel fluid and alive to carry the emotional weight of the track. I mapped the synth to my Sequential Prophet for hands-on control to perform the automation in real time. Most of the expression came from riding the filter cutoff and VCA decay, shaping them to create a call-and-response with Mr. V’s vocal. I also leaned into the onboard FX, using subtle delays and space to make the chords feel like they were floating around his phrases, yet standing as very expressive character alongside the vocal.
For producers making house or Afro-inspired tracks, the Mini V is a great way to add warmth and movement to your sound. One thing I’ve learned is that it really comes alive when you layer different instances with slightly detuned oscillators – it creates a big, rich texture that still feels clear in the mix. Another trick I like is blending in just a touch of the noise oscillator under your chords to add grit and energy, which really helps on a club system. I also like to map the key parameters to hardware so I can perform the filter and envelope changes in real time, it makes the chords feel more human and expressive. Even small tweaks to attack, decay, or unison can give you that evolving, “breathing” quality that keeps the track engaging from start to finish.
Quick Fire Tips for Afro House Production
Tip #1: Groove is king
In Afro-tech, start with drums that swing and make people move before you add anything else. If the beat alone makes you dance, the rest will fall into place.
Tip #2: Movement matters
Don’t keep your chords static – automate filters, envelopes, and FX to turn harmony into a powerful character. Movement is what gives Afro its hypnotic pull.
Tip #3: Vocals as instruments
Treat vocals like another instrument and let the synths call-and-respond. That conversation creates the real magic on the dancefloor.
Tip #4: Layer with intention
Layer sounds carefully – space in the mix equals power in the club.
Tip #5: Tension and release
Build tension with restraint, then let the drop breathe. Energy comes from contrast as much as intensity.
The post How It Was Made: N1NJA ft. Mr V – The Vibe (Mobilee Records – Afro House) appeared first on Magnetic Magazine.