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Postby nowaysj » Sat Nov 22, 2014 4:41 pm

get
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Postby nowaysj » Sat Nov 22, 2014 4:41 pm

off this page. Whew.
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Postby 3za » Sat Nov 22, 2014 7:08 pm

nowaysj wrote:lets

nowaysj wrote:get

Physical!!! Physical!!!
:corndance: :corndance:

Let me hear your body talk
:corndance: :corndance:
2 keyboards 1 computer
Sure_Fire wrote:By the way does anyone have the stems to make it bun dem? Missed the beatport comp and would very much like the ego booster of saying I remixed Skrillex.
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Postby nowaysj » Sat Nov 22, 2014 7:10 pm

My body only whispers now.
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Postby hubb » Sun Nov 23, 2014 5:32 pm

'
OGLemon wrote:cowabunga dude

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Postby hubb » Thu Nov 27, 2014 5:11 pm

OGLemon wrote:cowabunga dude

https://soundcloud.com/qloo/cowabunga-music-of-moby
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Postby nowaysj » Thu Nov 27, 2014 8:11 pm

hubb wrote:http://www.dogsonacid.com/threads/q-a-session-26-billain.708325/


What are you trying to show? I can't see it, it says I've exceeded my free daily thread views, though I haven't been over there in about a month.
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Postby hubb » Thu Nov 27, 2014 8:32 pm

oh doa

well it's worth signing up as that one is just one of many

but it's a billain q n a that goes quite indepth .. roughly 1 ½ bass and 1 ½ film sound fx
OGLemon wrote:cowabunga dude

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Postby hubb » Thu Nov 27, 2014 8:41 pm

Bosniak Billain AKA Adis Kutkut started producing music in 1999. Initially starting out with (Minimal) Techno at the 155 BPM-mark, Adis turned to Drum & Bass around 2000 when the style was introduced to the country by the Kontra crew. Next to D&B he also picked up Hip Hop and in the next decade played both styles on the radio and toured the country playing gigs — such as the Exit Festival '09 — whilst actively producing doing collabs with Rawtekk, Nickbee and InsideInfo.

dis also works as a Sound Designer for Q Department, a company which was involved in the music for the test movie 'District 9' amongst other projects. What he is most known for though is hard hitting Neurofunk and his work has been released on labels such as: Breed 12 Inches, Rise Audio, Syndrome Audio and many more. A lot of you asked for him to do a Q&A Session with us, so without further ado we introduce Billain.



First of all, i would like to thank dog's community for keeping the funk alive. The community gathered around a single notion/goal justifies the strength and the very meaning of music that shortly stopped just being music. It is a movement to some, and a lifestyle to others, and to to be understood seriously many people are trying to make a living of it, or they just risk it all. And every new generation is being dragged in the same way. These things are deep and vast beyond visible.

I will try to answer all the questions that can be answered.


that pathos :h:


Billain comes from Japan. In Japan Lang. "V" letter does not exist. So TV is pronounced as Teebee, Vision is pronounced as Bision, and Villain is pronounced as Billain :smile: Billain is a result of "TheThing"Odissey"Mark13"KatshuhiroOtomo" and many anime that allways looked forward far beyond light and deep beyond dark in future and mindfucked children to become silent and mysterious :smile: A statement of grains of dust that call themselves human species, having wars between, insecured by statements spoken by questionable invisible creatures of moral values called religions, while gravity-riding huge hoverballs called planets in a vast dark space filled with balls of different colors and properties, searching for explanation of space and time before another cycle of evolution starts, aware of exosurrounding. I am not Billain, Billain is a multiple calculation of what can we become and what can happen to us in vast ocean of stardust, represented in the open source media format available for everyone.




bass/detuned saw/ reese

The thing about reese is that it can be treated just like everything else, because it is a sample to me just like everything else, it just happens to be named reese. I work as a sounddesigner too and since alot of multilayering is involved in that job, multilayering itself shows that resynthesis is infinite. That means that you can record just about anything that has some highend tremors or oscillations in nature around you from hair trimmer to car motors and use that layer for further merging with a digital premade template. Other things regarding a good premade template of reese depends on plugin or synth, so yeah its still a popular saw detuning sport. Merging and effects are the most important ones. i use premade project templates with prepared chain of fx for layering basslines, so i just import new raw prerecorded material and play wet/dry game constantly shifting samples or pitch in order to achieve the all important agressive statement. the final statement is driven with distortions and alot of filters. I have created z-plane filters imitation in Fl Studio by connecting filters and made them automate each other in the 3d cube representation as z-plane filter does, so the bassline has that all important movement. Rest of the results are Access Virus eq/chorus/disto.


There is no specific place where you need to start with a track, but most common place is the rhythm, so when you got some that you are satisfied with, you play along with it. But also in many situation you find yourself liking some other element and you want to build a track around it, in that case most common is a pad or drone or whatever. In that case it depends fully on you. What should be placed around a pad totally depends on your point of view, as everyone has its own criteria of good/bad elements. Basically its the point where you storm thru your library and test variations thru trials and errors. and when you are finished with those few sounds you go to the next stage of activities. It is good to start with rhythm, but it is even better to start with a pad or totally oposite way because it widens your ideas and creativity by time, and after some time you can make a track around a single rimstick :smile:


bass and foley

Vocals have nice tremors too, motors have powerfull tremors...multilayering is more important than final fx. As someone said, if you got crappy bassline, nothing will change that. But some crappy bassline have good lowends so you mix them to get a new race. and then you check how strong it can bite.
Regarding filters and final fx you can find answers on the first question here.

The idea behind the foleys are for the track to have that all important movie feel to it. I always think about faar ahead and think whats future gonna sound like and look like. So the basic ideas is to stop caring about the present standards and move from the present major rules of music elements and major music production rules, and go opposite in all directions possible. When i started working for Qdepartment sounddesign agency i found myself recording sessions in kitchen, slamming stuff bathroom because of acoustics (the worlds global weird flutterecho resonance in bathroom XD ) etc. In that moment with time you become aware of the library that surrounds you. And the music industry sells you stuff that you can make on your own. Basically the secret of good foleys is in time invested to record your surrounding. Example, water bubbles pitched down and maxed with noise removal plugin or program process. Or a modular approach of spectrograph editing waveforms with tablet like iannis xenakis regarding upic systems. Im giving these hints so you can do a little research regarding upic.


Many things goes to trash as they sound crappy and then few of them happens to be astonishing, so it’s again a process of trials and errors. From that design point of view I don’t see the point of following standard rules and well established ones in the community because they always bring that monotony cycle of “everything sounds the same” as someone invented “wobble” just to prove the fact of the monotony cycle of certain bass technique. So the more alternative, the better. Sounddesign has proven to be a summoner of evolutionary approach for electronic music of the future, and the biggest playground happened to be Drum and Bass,which Im loyal to the fullest in my 12 years of work And just like phace, you become aware after some time that you are surrounded by sound libraries just waiting to be recorded, just like I said about the sources of basslines in the answers before above. But in general it always comes to final layering strategy and it has three scenarios in my case. In first scenario I take sub from the original bassline that has been splitted on two channels and apply different Sub/mid eq and compression so I can bring up more character from sub and mid. In second case a sine sub has been applied to follow the mid, and in third scenario for creativity’s sake I try opposite stuff: take a good sub from a crappy bassline and put it on the good mid with a crappy sub > and conclude euphoria. It’s important to remember that bassline is sample just like everything else. And then it widens your options so you can discover vast space of resynthesis, and discover more techniques, which always brings new originality.

I have never used the 909 example of layering, and I don’t know why. I’m always busy searching for alternative ways, because these 909 things are given, and you can always use them in matter of seconds, that’s just too easy. If I can agree with something that would be “funk keeps the dirt alive”. That dirt have something to do with DnB tradition. Now I know that DnB is moving somewhere and some people are dictators because they somehow have a propaganda of how DnB should sound now etc. Neurofunk should sound like hi-tech funk, end of conversation. So when it comes to rhythm it definitely has to contain fun, so I use some funky dirty lookin breaks in order to have that alive somewhere. But in all other cases, yes its true that I apply plastic. I somehow believe on my case that plasticity has a very cutting edge feel to it, and have recorded a lot and a lot plastic materials in order to own that case. But not just plastic, big windows sound like plastic, to be surprised. Fl studio has something plastic to it just like Reason has that metal can feel after mixdown, and that’s why in most cases you can feel some other people having plastic feel to it. My routing is made of 3+ channels of snares routed to general snare which is routed to a rhythm channel. In that case the workflow is faster in correcting things spot on.

One thing is general in DnB production and that is patience. The all important patience. The tracks project grows in time exponentially with new techniques and ideas, and if you don’t train your patience from the start, you will have trouble with in a big mess of foleys and layers. The mixdown is the result of patience. Some tracks are better to let go, rather than to lose a lot of creative time that could be applied to some other project and after some time get back to see if the track could be reinvented (fuck around ). I started back in 99 and collected around 300 projects, which is a normal dnb lifestyle moment like many other people, but around 2004 I loosed everything as my hd was fried. Now I could curse for many years and remain angry about it, but actually this thing haven’t killed me because of patience that came after that. At the end dnb release just looks like a chase, but it’s not, at the end you make music for yourself and share it with the people that seems to understand your science fiction stories. Yes, there seems to be some kind of standard that everybody is talking about like high end gear and high end sound. But that is not the true side of the whole sport. I got my first release because the basslines were 80% vocals, looking back again at the opposite ideology. I work very slowly, because tracks are more important to me than anything else. Intrusion released by Breed12Inches was a project it was already 4 years old when it was released. Fibertwist is a track that is a year and a half in process and its still upcoming. Patience, just because it sounds better later.
Last edited by hubb on Thu Nov 27, 2014 8:46 pm, edited 1 time in total.
OGLemon wrote:cowabunga dude

https://soundcloud.com/qloo/cowabunga-music-of-moby
fragments wrote:SWEEEEEEEEE!

https://soundcloud.com/qloo/cowabunga-t ... o-sweeeeee
Johnlenham wrote:evil euroland
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Postby hubb » Thu Nov 27, 2014 8:43 pm

What do you use on your mastering chain?
Do you limit the master? If so, how do you go about doing it?
What plugins would you recommend for limiting and compression?


The good thing that i learned with sounddesign job is that its better to eq on the go with each channel, and if you do that good, none of your channels will go over 0 on the master channel. It is a very hard process when you do that at in the middle of the project where you already have 20+ channels. I end up with 40 channels and remain on 0. So after that lower the master so the loudest moment reaches 0, then you watch the most quiet moment of the drop is something like -3 so the best limiter option is -1.5 the middle: not too loud to kill dynamics of elements and to slam a cubelooking waveform, but also not too silent in order to have a decent loudness which is the important agressive track's statement. I leave a dry master and enhace it at some other studio in case to have my hands on Manley massive passive which brings that natural warmth and loudness. I other cases, im using Limiter from Fl studio too, and had some nice results from it too. Now i know that doesn't make any sense to compare massive passive to fl studio...

But there is a vast industry of compression and limiters, many of them sell crap and of course everyone has the best compressor in the world, just like toothpaste adverts. One pretty insane mastering engeneer (can't remember the name) happened to be at the Qdepartment office and he's known to people as a man who makes the tracks that don't need compression. The point is EQ are the things fully responsible for the master quality and loudness. After some training, you can use any compressor and limiter because you don't need them that much at all. Just a bit.
Others believe in Compressorstep, a hydraulic influenced volumefaded stuff. And again you dont need compression for that. If you listen to my "Intrusion" track, you will think its sidechain and compression, but its not. I drawed the volume envelopes on all basslines do sound like sidechain fadein after kick attack, as a result aditional routing and compression wasn't needed.
OGLemon wrote:cowabunga dude

https://soundcloud.com/qloo/cowabunga-music-of-moby
fragments wrote:SWEEEEEEEEE!

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Postby pulsewaves4stopsines » Sun Dec 07, 2014 11:15 am

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Postby hifi » Mon Dec 08, 2014 6:38 am

i really wish roland would do what korg did w/ the ms 20 and re-release the 303 or 909 for cheap
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Postby nowaysj » Mon Dec 08, 2014 7:51 am

Roland is lost. At least from what everyone I know who makes music is into. They don't get it.
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Postby hubb » Mon Dec 08, 2014 12:50 pm

the filter is worth all that tiny hype though
OGLemon wrote:cowabunga dude

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Postby Shum » Wed Dec 10, 2014 12:34 am

hifi wrote:i really wish roland would do what korg did w/ the ms 20 and re-release the 303 or 909 for cheap

the TB-3 and TR-8 are cheap though? (TB-3 is super fun)

are we allowed to use this thread just to ramble our own personal music/production ideas/annoyances and so on?
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Postby nowaysj » Wed Dec 10, 2014 12:46 am

Shum wrote:
hifi wrote:i really wish roland would do what korg did w/ the ms 20 and re-release the 303 or 909 for cheap

the TB-3 and TR-8 are cheap though? (TB-3 is super fun)

are we allowed to use this thread just to ramble our own personal music/production ideas/annoyances and so on?



We are, you're not. That is the longest post you've ever posted, mystery man.
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Postby Shum » Wed Dec 10, 2014 1:01 am

oh well, pen and paper it is then. :corncry:
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Postby hifi » Wed Dec 10, 2014 9:37 pm

Shum wrote:
hifi wrote:i really wish roland would do what korg did w/ the ms 20 and re-release the 303 or 909 for cheap

the TB-3 and TR-8 are cheap though?

wish they had its aesthetics :corncry:
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Postby nowaysj » Fri Dec 12, 2014 6:40 am

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Postby pulsewaves4stopsines » Sun Dec 14, 2014 1:09 am

Been thinking of making a pdf of a lot of the content of this thread because the search keeps bringing me back here, which causes firefox to slow the fuck down for like five minutes depending on the page. I've already copy/pasted bits of it anyways.
I'll actually do it though, if anyone is interested.
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