Posted: Wed Aug 05, 2009 8:03 am
^this.The Acid Never Lies wrote:*almost* chainsaw metal voovovoovovovoo
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this chainsaw sound in hundreds of tunes right now...
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Posted: Wed Aug 05, 2009 8:08 am
i say 100bpm Donk style double time beats with loads & loads of autotune & chainsaw bass, to me that is really what is going forward in 2fowsandand nine fambasel, lovley tunaes get m.....x
Posted: Wed Aug 05, 2009 8:10 am
variations of this theme - http://www.youtube.com/watch?v=pgVV8i9i ... re=relatedLojik wrote:Audio example maybe?
ok on second thought doesn't sound much like a chainsaw at all
Posted: Wed Aug 05, 2009 8:13 am
Becuase if people like it enough to start making tunes, they will try and copy the sound, people who already make jump-uppy tunes will try and make it too as a way of getting noticed etc etc, its not the first genre this has happened in. Any genre does it.seckle wrote:we don't even need to name tunes or the people behind certain tunes. that's really irrelevant. the point i'm trying to make is this depressing trend of the same palette of sounds being used by X amount of producers. why would anyone want to turn out tunes that sound just like the next man down the road?
(Thats not to say ever genre sticks chainsaws in their music but you know what I mean
)Posted: Wed Aug 05, 2009 8:26 am
hold tight wascal, this made me laugh & laugh
Posted: Wed Aug 05, 2009 8:32 am
any other? the dnb amen for example. originally it was a break, that was chopped up and put into a pattern. what you did with those chopped pieces of the break, set you apart from other people. how you arranged them together was up to you. this is what made people notice you back then. that's why there was the amen and then the tramen.Lojik wrote:Any genre does it.
amen was used as a foundational beat pattern for that whole genre for a few years until other breaks came into it, and new pads and textures. thats just dnb as an example.
this chainsaw thing is different because its a pad/texture, not a pattern or a beat. there's characteristics of a genre, and then there's trends/movements within that genre. two very different things. chainsaw's as b-lines and that sort of thing were done in dnb years and years ago by tech itch/dylan/hazard and some others. why it flooded into this scene is totally understandable, but on the other side of that, shouldn't we be asking for more depth, and against further imitation?
Posted: Wed Aug 05, 2009 9:20 am
I think it sounds cool.
Posted: Wed Aug 05, 2009 10:08 am
seckle wrote:unique muffins
Posted: Wed Aug 05, 2009 10:14 am
I like some of it but over all yes IM INCREDIBLY BORED when every single tune is going meeeeaaaaarrrr vowowvowvowvwowowow NIIIIEWWWWW BIT CRUSH BIT CRUSH
its not even music really is it....
its not even music really is it....
Posted: Wed Aug 05, 2009 10:35 am
i think it's much easier to use energy to type about things you dislike on a forum than actually channel that energy into something positive and therefore doing something about the things you clearly aren't happy with in this music.
i don't want to come across in a negative way and i respect that seckle is just trying to explore opinions.
i don't want to come across in a negative way and i respect that seckle is just trying to explore opinions.
Posted: Wed Aug 05, 2009 10:43 am
More autotune.
Posted: Wed Aug 05, 2009 11:01 am
in Bassline/Niche all the top producers share patch sounds as a way to "solidify" what bassline/niche actually is. They did this consiously, whereas it has happened to dubstep by accident to the point where the deep stuff has got pushed and pushed to the back burner. why? because if you do a big chainsaw type tune it will get wheel ups, maybe only for a week till the next new chainsaw one comes along, but it will get wheel ups and that to a lot of people is enuff to make that producer "big" (for 5 mins). and that to a lot of producers is all they want.seckle wrote:any other? the dnb amen for example. originally it was a break, that was chopped up and put into a pattern. what you did with those chopped pieces of the break, set you apart from other people. how you arranged them together was up to you. this is what made people notice you back then. that's why there was the amen and then the tramen.Lojik wrote:Any genre does it.
amen was used as a foundational beat pattern for that whole genre for a few years until other breaks came into it, and new pads and textures. thats just dnb as an example.
this chainsaw thing is different because its a pad/texture, not a pattern or a beat. there's characteristics of a genre, and then there's trends/movements within that genre. two very different things. chainsaw's as b-lines and that sort of thing were done in dnb years and years ago by tech itch/dylan/hazard and some others. why it flooded into this scene is totally understandable, but on the other side of that, shouldn't we be asking for more depth, and against further imitation?
in the muffin analogy i would simply make the dank muffins as i dont really care about muffins. and this carries thru to dubstep. the vast majority of people building and playing it dont really care about it as a scene or genre, they just see it as one of many to dip into, build for a bit, then build a bit of dnb, then sum hip hop, then a bit of funky even.
you are in quite a lucky position seckle (compared to the average schmo) in that you personally know most of the big guys on a personal level. this means that you could probably build summin and have it played by mala/skream or whoever as they wud activly listen to it cos you did it. whereas for the vast majority of peeps out there they need to do summin to get noticed and played, the easiest way for them to do that is to build sum chainsaw and get a small following of chainsaw lovers (as there are way more chainsaw lovers that deep stuff lovers), and from there gigs and releases follow the more like sum1 else you sound.
Originality doesnt always sell.
Posted: Wed Aug 05, 2009 11:12 am
thing is though, as we've all witnessed here many many times, its got little to do with where/who/how you know people. good music gets through. look at so many examples of this, from matty g, truth, vaccine, goth trad, l wiz, clouds, etc etc. its not geographic or socially related. its about unique creative vision and persistence. good music always gets through. sure, friendships help things, but its about sound first and foremost.DJ Whistla wrote:the vast majority of peeps out there they need to do summin to get noticed and played, the easiest way for them to do that is to build sum chainsaw and get a small following of chainsaw lovers
Posted: Wed Aug 05, 2009 11:31 am
i would argue that the ones you mention were "picked up" and promoted by the big boys:seckle wrote:thing is though, as we've all witnessed here many many times, its got little to do with where/who/how you know people. good music gets through. look at so many examples of this, from matty g, truth, vaccine, goth trad, l wiz, clouds, etc etc. its not geographic or socially related. its about unique creative vision and persistence. good music always gets through. sure, friendships help things, but its about sound first and foremost.DJ Whistla wrote:the vast majority of peeps out there they need to do summin to get noticed and played, the easiest way for them to do that is to build sum chainsaw and get a small following of chainsaw lovers
Matty G - Picked up by Loefah
Truth - by Mala
Vaccine - Paul Rose
Goth Trad - Mala
L-Wiz - Caspa
Clouds - Mala
These guys and girl would have found it ten times harder without these connections. And if you dont have the ability to get your tunes to these guys, or if they dont wanna play your stuff? (or more likely just dont have the time to listen to the 100plus dubs coming thru there myspace) Well then you need to get plays from all the other djs, who are all looking for exclusive dubs, and the best way to do that is.....
Who you know is just as important as what you make. Whether we like it or not.
Posted: Wed Aug 05, 2009 11:36 am
i see your points man, and i agree with most, but what you make is so much more important than everything else.DJ Whistla wrote:i would argue that the ones you mention were "picked up" and promoted by the big boys:seckle wrote:thing is though, as we've all witnessed here many many times, its got little to do with where/who/how you know people. good music gets through. look at so many examples of this, from matty g, truth, vaccine, goth trad, l wiz, clouds, etc etc. its not geographic or socially related. its about unique creative vision and persistence. good music always gets through. sure, friendships help things, but its about sound first and foremost.DJ Whistla wrote:the vast majority of peeps out there they need to do summin to get noticed and played, the easiest way for them to do that is to build sum chainsaw and get a small following of chainsaw lovers
Matty G - Picked up by Loefah
Truth - by Mala
Vaccine - Paul Rose
Goth Trad - Mala
L-Wiz - Caspa
Clouds - Mala
These guys and girl would have found it ten times harder without these connections. And if you dont have the ability to get your tunes to these guys, or if they dont wanna play your stuff? (or more likely just dont have the time to listen to the 100plus dubs coming thru there myspace) Well then you need to get plays from all the other djs, who are all looking for exclusive dubs, and the best way to do that is.....
Who you know is just as important as what you make. Whether we like it or not.
otherwise, what got us hooked on this thing so many years ago? it wasn't just friends and beers...it was sound.
Posted: Wed Aug 05, 2009 11:45 am
I guess the only way for an average schmo like me to hear more of the stuff I like is to support the labels on the fringes that are pushing these sounds. While they're still up and coming, anyone who sends them a tune will be far more likely to get it heard - we need to keep congregating around labels that are pushing what we want to hear, and that means following the new kids on the block as much as the more established heads whose quality releases keep us coming back to them again and again. Ultimately this is what keeps a scene healthy, I think.
Posted: Wed Aug 05, 2009 11:49 am
this is always the way forward. whether that means endless lazer bass or not. i'd only say as someone said before.."everything in moderation". too much of one thing is a bit....The Acid Never Lies wrote:we need to keep congregating around labels that are pushing what we want to hear
Posted: Wed Aug 05, 2009 11:50 am
yeh man i agree, but i would argue that what got us into this has pretty much left now.seckle wrote:i see your points man, and i agree with most, but what you make is so much more important than everything else.DJ Whistla wrote:i would argue that the ones you mention were "picked up" and promoted by the big boys:seckle wrote:thing is though, as we've all witnessed here many many times, its got little to do with where/who/how you know people. good music gets through. look at so many examples of this, from matty g, truth, vaccine, goth trad, l wiz, clouds, etc etc. its not geographic or socially related. its about unique creative vision and persistence. good music always gets through. sure, friendships help things, but its about sound first and foremost.DJ Whistla wrote:the vast majority of peeps out there they need to do summin to get noticed and played, the easiest way for them to do that is to build sum chainsaw and get a small following of chainsaw lovers
Matty G - Picked up by Loefah
Truth - by Mala
Vaccine - Paul Rose
Goth Trad - Mala
L-Wiz - Caspa
Clouds - Mala
These guys and girl would have found it ten times harder without these connections. And if you dont have the ability to get your tunes to these guys, or if they dont wanna play your stuff? (or more likely just dont have the time to listen to the 100plus dubs coming thru there myspace) Well then you need to get plays from all the other djs, who are all looking for exclusive dubs, and the best way to do that is.....
Who you know is just as important as what you make. Whether we like it or not.
otherwise, what got us hooked on this thing so many years ago? it wasn't just friends and beers...it was sound.
I mean i used to wait for S&D to start playing when i was @ a night. That NEVER happens now. Not even with people who could be said to be keeping that spirit alive, like Threnody, Stormfield, Urban Collective etc....
The split has happened, and now we all need to readjust to the new dynamic:
Dubstep = Half-Step (usually with big wobbles and chainsaw bass)
Everything else that used to fall into Dubstep now = No-Name Music
A good example of this is from another forum i read (UKG) where the Skream La Roux remix none of them knew what style it was. I said its dubstep, but then they were like nah mate dubstep is like dnb slowed down, all midrange bass and stuff. This is from people being 100% serious who play @ your average joe clubs. They are simply saying the general consensus, which is one as real dubstep fans we find hard to swallow. But its true.
Once the world thinks that something is something, then it pretty much is.
Posted: Wed Aug 05, 2009 11:52 am
this is truthThe Acid Never Lies wrote:I guess the only way for an average schmo like me to hear more of the stuff I like is to support the labels on the fringes that are pushing these sounds. While they're still up and coming, anyone who sends them a tune will be far more likely to get it heard - we need to keep congregating around labels that are pushing what we want to hear, and that means following the new kids on the block as much as the more established heads whose quality releases keep us coming back to them again and again. Ultimately this is what keeps a scene healthy, I think.
unfortunately, most people will just stick with teh big names and not worry about other label and producers until those same big names start playing them.
Posted: Wed Aug 05, 2009 1:18 pm
autotune ftw
i think autotune sounds good if used well
i think autotune sounds good if used well