Dubstepforum.com

nowaysj wrote:Your in the f x and there are three knobs which control the fx. Hardly fine control, but its just got that sound. Once you know those fx, you'll know this whole beat movement.

Kind of like once you get on an mpc or an sp 1200 you know first and second wave hip hop.

nowaysj wrote:I talk about the 404 being separate form the computer, but most of the time spent there on the 404. The chopping of samples, down and dirty, the beat played entirely off of the grid, all that shit is just you and your musical ability, your groove or lack of it. All that is recorded (resampled), all the chunky digital fx smushing, all that is stacked up. That shit DOES end up back in the computer, for me at least. So I suppose it is hybrid workflow. But the heart of it is in the 404, where man and machine meet. The computer is like having someone else there with you, another intelligence, and brings a whole different dynamic.

BTW, that microwave workflow 101 was directed to Wolf, asking for new ways to work on the 404. And really that is the old ways... but even I, a talentless, grooveless bore, gets results from it.

fragments wrote:I think I need to just chill with the KP3 for a while and make some music.

deadly habit wrote:

if you want to maintain the groove of the loop then just use careful eqing. use an EQ with spectrum analysis and spike the frequencies of the kick, snare, and hat, so you dont muddy everything up. this is what i tend to do if a use a drum loop.

or if you dont care so much of the groove or rhythm of the loop, then cut hits out of the loop then sequence them however you want, then you can EQ and/or add effects to each drum seperately. of course you could try to recreate the exact rhythmic pattern of the loop after cutting them out but it will be very difficult to get the exact same groove.

It's nice to see you not trolling for a change considering you make dope music.

Basically if it sounds good use it be it a preset/loop/sample pack, it's the end result that matters. It's easy to tell when something is 100% dry presets and samples though so processing becomes more of a thing.
Here's a personal example for you

One of my most popular tunes and it's all 100% samples no synthesis at all.
The crowd noises I think I got from freesound or just googling or asking a bud for some crowd sounds.
The sax is from a jazz sample pack a bud posted on DOA (originally from a history of jazz book I think).
The rhodes was a preset midi demo for lounge lizard iirc or from an old akai sample/loop cd.
The vocals are from an old akai blues and jazz vocal sample cd.
The bass is an 808.
The upright bass is an akai sample cd multisample.
The main break and the breakdown one are both from sample packs as well.

This tune landed in as unsigned tune of the month in Knowledge magazine back when it wasn't just digital and still in print and quite highly praised.
The remix by Theory which just basically sped it up to more modern mixable bpm landed on Marcus Intalex's Fabriclive mix cd.

Just goes to show you that it doesn't matter where you get the sources, but how you use them that counts, that's not to say I wasn't chopping and processing the hell out of things, it's still a lot of work.

Use whatever sounds good.

wub wrote:Think Deadly has mentioned his love of Lounge Lizard IIRC;

deadly habit wrote:

if you want to maintain the groove of the loop then just use careful eqing. use an EQ with spectrum analysis and spike the frequencies of the kick, snare, and hat, so you dont muddy everything up. this is what i tend to do if a use a drum loop.

or if you dont care so much of the groove or rhythm of the loop, then cut hits out of the loop then sequence them however you want, then you can EQ and/or add effects to each drum seperately. of course you could try to recreate the exact rhythmic pattern of the loop after cutting them out but it will be very difficult to get the exact same groove.

It's nice to see you not trolling for a change considering you make dope music.

Basically if it sounds good use it be it a preset/loop/sample pack, it's the end result that matters. It's easy to tell when something is 100% dry presets and samples though so processing becomes more of a thing.
Here's a personal example for you

One of my most popular tunes and it's all 100% samples no synthesis at all.
The crowd noises I think I got from freesound or just googling or asking a bud for some crowd sounds.
The sax is from a jazz sample pack a bud posted on DOA (originally from a history of jazz book I think).
The rhodes was a preset midi demo for lounge lizard iirc or from an old akai sample/loop cd.
The vocals are from an old akai blues and jazz vocal sample cd.
The bass is an 808.
The upright bass is an akai sample cd multisample.
The main break and the breakdown one are both from sample packs as well.

This tune landed in as unsigned tune of the month in Knowledge magazine back when it wasn't just digital and still in print and quite highly praised.
The remix by Theory which just basically sped it up to more modern mixable bpm landed on Marcus Intalex's Fabriclive mix cd.

Just goes to show you that it doesn't matter where you get the sources, but how you use them that counts, that's not to say I wasn't chopping and processing the hell out of things, it's still a lot of work.

Use whatever sounds good.

Taken from this thread - http://www.dubstepforum.com/viewtopic.php?f=8&t=75601

SunkLo wrote:Yeah Lounge Lizard is the dopeness but having a Rhodes is pimp mode x 1000. Collar popped so hard it's tucked in.

nowaysj wrote:Hey wubbiekins, you ever check this out. I thought I remembered discussing this w/ you at some point:

http://www.discodsp.com/nightshine/

A likeware Alesis 3630 emulation that sounds pretty good. (as a video demo that is)