Dubstepforum.com

lbolognini wrote:why do i have the impression that he's the only one who still isn't a victim of the wobble-fashion?

This sounds like the kind of sentence my mum would string together (bless you mum)

it's never all about wobble bass, check out basshunter, rising up quick thru the scene.

www.myaspace.com/urbangraffitiuk

www.myspace.com/matasyn

www.myspace.com/roguestaruc

www.myspace.com/horizonsofdarkness

Further more lock into our show on Streamizm on Sundays 8-10pm(gmt) and see what you make of it

RANDOM TRIO wrote:more importantly .... me

The sound is ever changing.
As others have said, dig deeper. There's so much out there that you will likely never experience the extent of diversity and interpretations of that which is called "Dubstep".

Burial has taken influence from the whole spectrum of UK "underground" music movements and has churned them out into his own creations. Not to mention the time and places that we live in at present.

I'd think that there's been no Burial, Mala and other artists spin-offs because to do so is defeating the purpose of making music... well mine atleast:
To make something that is your's.
Making music that defines you.
Music that projects your emotions and experiences.

I dunno. I could be talking absolute rubbish...

Thanks to everybody that made suggestions, i'll certainly look into those.

Of course the intentions of my post were genuine: i'm here for the music, i'd just like to listen more of the good one ;-)

RANDOM TRIO wrote:more importantly .... me

was bumping your tranquera mixtape on my mp3 player yesterday evening, I enjoy your productions

appreciated

setspeed wrote:

Joe Muggs wrote:I think this calls for a celebration - this is the two hundred and fiftieth time this thread has been started in the past 12 months!

...and the second time it's been trolled in one page!


the guy seemed genuine enough, the responses have all been genuine enough... perhaps if you just want to rip the piss you could do it in the Welcome Back thread, keep it all in one place?

Yeah, some recurring threads get old fast but tbh I can deal with having to repeatedly big up music that I like...

Dubstep isnt about a template, as you currently suspect.

think about it like this

the DUB is the same as DUB from reggae, its a striped down, remixed, "dub" version of the sound. so the DUB in dubstep also refers in some ways to the production, its like a DUB version of electronic music, instead of reggae. but also the the DUB in dubstep does hold onto the reggae accent on 3 in the beat. then the step to me, is the way it evolved from 2step garage. just got that steppy dancy swing, but also the DUB, as in dub versions of electronic styles.

its all very open really, its just steppy dub/electronica. people who come from DnB and even Techno backrounds tend to use those big huge synths with massive LFO's sure.

SKREAM = DON of the wobble IMO

Burials great but so far he's written listening music not music 2 dance to - I'd love to remix some of his tunes for the dancefloor with some sick deep basses and heavier breaks - that would be sick (bootlegs be featuring in my sets real soon!).

As for wobble taking over yea what happened to DNB is to some extent happening to dubstep but just cos a tune's got wobble in it doesn't mean it can't be a sick tune and have reeces/melodies/acid lines/pad etc etc etc (ie. Have emotion or soul). I can't stand the underprocessed tone deaf crack smoking "sounds like the 1st tune u ever wrote" spastic end of jumpup any more than I can that anal beardstroking geeky atonal IDM shit but theres plenty of music out there that doesn't fit into either category you've just got to look real hard to find it!!

-boring wrote:
SKREAM = DON of the wobble IMO

Most definately!!

Watch out 4 Bar9 n all - people always mention the big names but there's plenty of new talent out there to watch out 4.....

pretty much just find what you like, and if you are a producer, dont make rubbish poser tunes

So could you sum up dark-idm with a single word or production formula?

and

Is there a single artist who is held up as a figurehead of the sound and whose work sonically delineates the dictates of that genre?




I think you know the answer to my questions, and through that I think you can deduce the answers to your own...

-boring wrote:pretty much just find what you like, and if you are a producer, dont make rubbish poser tunes

Tell that to Nero (hehehehe - only joking Dan!)

so many saying wobbles the flavour of the month

so many saying they hate wobble

is it fasionable

who cares aint no one holding a gun at anyone saying "play wobble"

its so basic do what the fuck you want . mix loefah into bar9 , burial into caspa ... play no wobs, play only wobs your the dj its up to you what you wana rep

Rob Sparx wrote:Burials great but so far he's written listening music not music 2 dance to...

id have to disagree, i LOVE dancing to burial! south london boroughs, wounder??? come on!!


and yeah man, check cyrus tranquera mixtape... DEEP!

I'm not saying you can't play a Burial tune out - Skream finished with Archangel last time I was @ FWD which sounded spot on. But I'm saying most of the tunes he's written (1st 2 albums) arent meant for playing in the peak of a set

lulz.

want to explicitly exclude the songs that contain those straight-out-of-fruity-loops samples that are in Benga's "Diary of an Afro Warrior".

this is the most interesting thing said in this thread.

as someone who has never used fruity loops, i would like you to expand on this statement please

i have always thought a lot of bengas tunes sounded....something.

Benga writes the siiickesstt drums tho, no denying that. Benga's drums are HUGE in the dubstep sound IMO, plus the man is getting better no doubt. still mad young ya know? skream is just a jerk

much respect to benga but this is interesting

I believe the poster was speaking to the tune 'pleasure' where the vocal bit is a sample that comes with FL - pleasure, give you pleasure..


at least thats the most obvious and overt use of a "preset" on that album - overt being the key word



For producers who are intimate with a production platform the presets themselves become something held close to heart, so perhaps its tongue in cheek or moreso like here's this sound and you take this common sound and recontextualize into something (extra)ordinary. I mean, 140bpm is the "preset" tempo on FL - its the tempo one would start at if they opened the program itself so you have to look at a bigger picture of the tools available to people and how they choose to use them - which in Benga's case can be considered nothing less than exeptional if not the work of something a whole lot more.