Vadym Lysytsia
Vadym Lysytsia received his master's degree at electronic engineering from the Zaporozhye State Engineering Academy. He studied technical aspects and gained his first experience working as a radio host and later as a technical director on radio. The first serious projects appeared while working as a sound engineer at the Palace of Culture in Zaporozhye, where Vadim began his collaboration with the stars, and also founded his first recording studio.

Now Vadym Lysytsia is one of the leading Ukrainian music producers and sound engineers who frequently collaborates with Ukrainian and Russian artists and producers in creating songs and producing music for television shows and various projects. Works in many musical genres.

He describes his work as constant improvisation based on experience, and considers the creation of new and progressive musical material that ideally reflects the character and concept of a particular artist.

Vadym believes that music is successful when it evokes emotions.

Vadym Lysytsia's Studio
clients and works
  • Vadym produced all the songs of the Vremya i Steklo band, which became a phenomenon in the Ukrainian music industry and became the record holder for numerous victories in nominations for awards such as «Золотой граммофон», «Best song of the year», «M1 Music Awards» ,«Высшая лига», «Премия RU.TV» , «Top Hit Music Awards, «M1 Music Awards».
  • Vadym produced the album LOBODA «H2Lo» (the album took top position in iTunes chart in seven countries - Ukraine, Lithuania, Belarus, Latvia, Estonia, Russia and Kazakhstan).
    He also worked on songs for the new album "Sold Out" 2019

  • Vadym was the sound producer for all band's songs. All of them had great success and received many awards «M1 Music Awards», «Песня года», «Золотой граммофон», «Премия Муз-ТВ», «Шарманка», «RU.TV»
  • Vadym has been the producer of the singer Alyosha for a long time.
    Under his guidance, she won the national Eurovision contest 2010 and introduced Ukraine at Eurovision 2010 Contest with the song "Sweet People".
    Their cooperation has brought many awards, including «Фаворити Успіху – 2010», «Золотой граммофон» , «YUNA», «Хрустальный микрофон», «Песня Года», «Музыкальная Платформа», «M1 Music Awards».
  • Collaboration with the singer NK (Nastya Kamenskikh), whose songs won at the YUNA , M1 Music Awards 2019
  • Vadym Lysytsia produced the song "Солодка кара" for Zlata Ognevich

    This song became "Single of the Year" according to the "Music Platform"

    Also, this song was nominated for the M1 Music Awards 2019 in the category "Червона Рута" together with the radio station Russian Radio Ukraine.

1) The song "Promin" was presented on May 10, 2018. The song became a music track for the film «Скажене весілля» by Ukrainian director Vlad Dikiy.

2) The song "Найкращий день" - soundtrack to the film "Скажене весілля"
Romantic comedy «Женщины на тропе войны»
The song "Бегу" became the soundtrack to the romantic comedy "Женщины на тропе войны"
Song «Свят! Свят! Свят!» - the official soundtrack performed by Potap, Oleg Vinnik and Olga Polyakova for the film.
The song "До зірок" became a musical composition for the animated film «Похищенная принцесса Руслан и Людмила» by the Ukrainian studio Animagrad.
Horror film «Штольня»
The song "Штольня" became the first Ukrainian horror film titled the same way.

Sound engineer
Vadim Lisitsa also took part in big concerts as a sound engineer and was responsible for all musical accompaniment of concerts
LOBODA - SuperStarShow show (Nizhny Novgorod Stadium 07/16/2019)

LOBODA - SuperStarShow show (VTB Arena-Central Stadium Dynamo - Moscow 10/19/2019)

LOBODA - SuperStarShow (Crocus City Hall - Moscow18.01.2019)

Время и Стекло - VISLOVO (Palace of Sports - Kiev 05.10.2019)

jury member
Question & answer
Vadym's answers to the most popular questions
... about the work of a sound producer
It all starts with the fact that an artist comes to me and says - "I need a song."

Further, I study all the features of the artist, his image, the audience, what kind of music the artist did before, listen to what the artist and his management would like. Then I collect all this information and carefully consider. My next step is to suggest an option to the artist the artist a direction - in which direction to develop, which song will be more working and will attract the audience. Then I make a final proposal and describe all my ideas - if the artist likes it - we take another time-out and I start working on my own or with authors to develop ideas. This is a long-term creative process, which leads to a ready song written that will be processed - lyrics and melody, sometimes already with production. I contact the artist, show several options, we discuss and choose the one and only version that will go to work. Then we get involved in the production process. I am constantly present in the process, I listen to everything at the stage of creation, I correct, and when at the final stage the material is transferred to me - I do the mixing, mastering, vocal recording - and give the artist ready track for work.
... about experience and improvisation at work
My job is constant improvisation based on experience.

"You can improvise only when you have some techniques and the more techniques you have, the easier it will be for you to improvise."

If you don't have any basic knowledge, improvisation is impossible on its own. My main task is to create something that hasn't been there before and to be like no one else. When creating a song for an artist, you should never imitate and my task is to choose a track that will suit a particular person. After so many years in the industry, I have already complied a lot of experience and a certain credibility, thanks to which artists try to listen to follow my vision. And of course, I constantly study new material, listen to Youtube and iTunes playlists, keep track of what is happening where this allows me to always be aware of what is happening in the world of music.
... about my own way into the music industry
There are two main moments in my life that determined everything that happened next.

The first - when I was ten years old and I quite by chance heard how cool music can sound. My friend's parents bought expensive equipment at that time and some good records from serious jazz musicians. And at that time it was a large deficit, it was impossible to buy them, they were sold only by dealers or were brought from abroad. When I heard these recordings - I was so impressed that for a very long time I could not calm down and thought for a very long time about how this could be created - this dream simply lived in my mind unchanged before entering the university.

The second moment happened when I tried myself in the role of a concert sound engineer. In Zaporozhye, in the DK "Dneprospetsstal" almost every week there were some concerts and I began to actively work with various famous artists who came there. At some point, the artists stopped going to concerts with their sound engineers, because they knew that they could work with me. And by the way, there I created my first studio, where I later began to record.
... about education
I entered the institute for the specialty - an electronic engineering, before that I finished music school. I liked and not liked it - that's another story, but most importantly, the music was always with me.

The first equipment I got when my father said to me, "If you want to have the equipment, you've got to get it yourself."

Then I just took a soldering iron and soldered my first amplifier. I was in tenth grade, I went to the radio market, picked up spare parts, and I got great pleasure at that time, because I understood what I wanted to do in the future
... about your favorite part of the workflow
Initially, production was my favorite part - when I did it myself, for example, my first production for the Potap and Nastya band - everything was positive and it was a cool emotion. Now I practically do not do this, but I have people who do it, so today the most thrilling moment is when I hear a ready-made track - I listen to it and I like it, it evokes emotions in me. At the beginning of work on a track - you always like something less, and something more, you want to add something, cut or change something, but when the result is an already crystallized product, it's just a thrill and this is the moment that I look forward to the most.
... about inspiration
When music was my hobby - there was always inspiration, and when it turned into work - I learned to evoke inspiration. If I need to be inspired, I know exactly what kind of music I need to listen to, what books to read or what movie to watch. But if I don't have time for this, I try to find the sources of energy in myself and partially force myself. Over time, it becomes more difficult, because there are a lot of processes and information, but nevertheless, I have working schemes for how to make everything work.
... what is most important in the work of a sound producer
The most important thing in the work of any person who is connected with creativity is the vision of what you are doing. Music should play in my head. If you have it, it's easy to work, everything happens by itself, you just collect all thoughts, ideas and this music from your head and turn it into reality.

In general, the main thing in any business is a manic love for what you do. When a person can work for a long time and at the same time not think about what he is working, he just does what he likes. Of course, knowledge is important. Talent. Communication is very important - the ability to both reach out and hear.

"All the most interesting things manifest themselves precisely in communication.
Not in disputes. "

You need to hear each other, evaluate correctly, find words and an approach - bring you to the right mood, create the right atmosphere.
... about challenge projects
For me, challenging TV projects. There are a lot of responsible processes - moral, technical, because on such projects a lot depends on music. There are a lot of nuances related to creativity, vision and concentration. When there are twelve completely different participants and you need to select material for each of them, find an approach to each so that the person opens up, rehearse with each one, work out the music, work with musicians and production, get approvals from the management put this all togather and implement.
... about master classes
I am often asked about it, I already have this experience and I think it will only grow in the future. There are a couple of universities in Ukraine that teach music science, but they provide those basic knowledge that, unfortunately, do not allow a person to immediately join the work process. There are many people with higher education, whose diploma says sound engineer, but the basics which these guys come with is absolutely not enough and I have to retrain them. In addition, a sound engineer is essentially a musician, and if a sound engineer has no musical education or hearing, that's a problem. Yes, they exist too.
... about the working atmosphere
I work only in silence. When no one is there. And if someone comes in, I can instantly lose the thought and it will never come back, it often happens.
... about TV projects (X-factor)
I get involved in the work already at the pre-casting stage, watch videos with the characters, evaluate each one for artistry and vocal skills, and give recommendations on a particular concept. Then I come directly to the casting, because many participants express themselves live in a totally different way and out of all those who did pass the casting - we choose the final participants - we select material for them, recommend something, sometimes rehearse.
After that, we choose songs for live broadcasting - and this is the hardest part, because within a week we need to collect twelve shows that the participants will perform beautifully, the musicians will play beautifully, the directors will stage beautifully, and the operators will film beautifully, and so that all this ultimately looks beautiful with the full picture on screen live.
... about music trends
In my heart I always gravitate more towards live music, because we all come from jazz. But I am also interested in electronics, for a while it was very interesting to work with rnb. In the world, music trends change every day, but here they stay for a while, of course, I try to fight with this, because I want to work with new trends, and not with the older ones I follow all trends, compose collective playlists of hits - it's interesting to see other works, take notes, but try to do it in my own way.
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