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eleventigers wrote: That's why i started to think about all those 3/4....

i'm not really too excited about hearing electronic waltz music....

NoSpin wrote:

eleventigers wrote: That's why i started to think about all those 3/4....

i'm not really too excited about hearing electronic waltz music....

3/4 is not titled waltz music or so. These are just standarts which stop us thinking of anything else.
Remember Cinematic Orchestra's 3/4 tunes, 7/4s of Venetian Snares, Autechre or poyrhythms of Biosphere. These are clear examples how to use such signatures.

go for it! cant wait for the audio

sek [espionage] wrote:feelin me?? when I'm not playing strictly dubstep parties.. I'm usually playing a mash sound of hiphop, detroit electro, gutter and dubstep.. people fucking love it.
I dont want to jump to any conclusions but from the conversations I've had with some UK peeps.. I get the impression that names like Aux88 mean very little over there.

picking up on your point on Aux 88, if someone doesn't come from the techno / electro side of things it's pretty certain that they won't have heard of them. which is a shame because aux 88 are ace and people should really check out the direct beat label. keith tucker's the man.

scoz wrote:

sek [espionage] wrote:feelin me?? when I'm not playing strictly dubstep parties.. I'm usually playing a mash sound of hiphop, detroit electro, gutter and dubstep.. people fucking love it.
I dont want to jump to any conclusions but from the conversations I've had with some UK peeps.. I get the impression that names like Aux88 mean very little over there.

picking up on your point on Aux 88, if someone doesn't come from the techno / electro side of things it's pretty certain that they won't have heard of them. which is a shame because aux 88 are ace and people should really check out the direct beat label. keith tucker's the man.

Nice tings blud. Big up the Aux 88......

i think that this scene is probably more self conscious than any other that came before it - i.e. drum & bass, techno in their early days. I'd put this down largely to the internet. now this can be a bad thing or a good thing. this post falls into the latter.

ive worked with some polyrhythms before using 2against3 and 3against4 patterns accompanied by a dubstep style beat, can get really interesting patterns and textures of sounds this way....

http://upload.wikimedia.org/wikipedia/e ... inst_3.mid

http://upload.wikimedia.org/wikipedia/e ... inst_4.mid

inasoundubs wrote:ive worked with some polyrhythms before using 2against3 and 3against4 patterns accompanied by a dubstep style beat, can get really interesting patterns and textures of sounds this way....

http://upload.wikimedia.org/wikipedia/e ... inst_3.mid

http://upload.wikimedia.org/wikipedia/e ... inst_4.mid

And then it loops after 32 beats if it's 3against4.

Check out some African druming for poly beats

metalboxproducts wrote:
And then it loops after 32 beats if it's 3against4.

you will probably want something 4/4 underneath tho to make it mixable?

metalboxproducts wrote:Check out some African druming for poly beats

on it. trus.

Jarman wrote: Just last weekend a Vancouver local dropped some of his newly produced tracks at a dirty little underground party. The DJ was Taal Mala ( http://www.myspace.com/taalmala ), and what he was dropping was like no dubstep I'd heard.

heh. that one he did against Meesha sound pretty nice actually.

Dub boy wrote:

obIwan wrote:. I think next step is ragga/dancehall, already happened with Almighty Father and Check it, not to mention Soca big up the small island man and gyal dem

I've been dropping Soca & Grime in my bashment sets for time now.... Soca & Grime snares sit together like a dream mate, and it's all proper lairy dancing tings. I've cained Almighty Father since it came out, still do. Bug records fit this vibe well too, well the less insane riddims anyway lol. Check Atki2's myspace also for a tune called Body Good... fits this vibe very well and he's got some more raggavibes on the way which are gonne be BIG

It's harder to incorporate dubstep into a bashment vibe, but some of the 'bangers' work well.

Check Benga "Worldwar7" and Babycham "ghetto story" mashup,
Unda Mi Sensi remix remix or remix, remix, remix, or Coki marijuana but i see what you mean rhythmically the two beats are very different

eleventigers wrote:3/4 is not titled waltz music or so. These are just standarts which stop us thinking of anything else.
Remember Cinematic Orchestra's 3/4 tunes, 7/4s of Venetian Snares, Autechre or poyrhythms of Biosphere. These are clear examples how to use such signatures.

i just imagine us dancing more like squares to 3/4... it was halfway a joke though.... time signature isnt exactly what i think we should focus on experimenting.... rhythm, sounds, arrangements....

concentrating on time signatures is a road to nowhere.

KION wrote:concentrating on time signatures is a road to nowhere.

that's true. i was just wondering why dance music has gone this way, it's more like a research for me.... locking on anything is road to nowhere as well.

i mean it's really obvious that i4/4 is just the "natural" signature for most stuff.. when you listen to some of the vsnares stuff in 7/4 or even 14/15 and similar weird stuff it's like an unnatural, un-groovy limitation to the tunes. there are some 7/8ers or 5/4ers that work pretty well but when a producer starts doing a tune based on the idea "i'm gonna use irregular time signatures" it will turn out shit in most cases.

Kazuo wrote:i mean it's really obvious that i4/4 is just the "natural" signature for most stuff.. when you listen to some of the vsnares stuff in 7/4 or even 14/15 and similar weird stuff it's like an unnatural, un-groovy limitation to the tunes. there are some 7/8ers or 5/4ers that work pretty well but when a producer starts doing a tune based on the idea "i'm gonna use irregular time signatures" it will turn out shit in most cases.

E = MC2 ?

I think aswell, if you want to get far in this scene you have to have a close contact with other producers not just fans - Myspace has made all of our lives better in some ways i.e. getting our music out there but if you really want things pushed forward --- its time for the underdogs. Im fed up with all the big names dominating the scene its like Schumaker (spelling) to F1 back in the day - If someone hogs the limelight then it of course will be hard for up and coming people to make their way up the ladder. Im urging more people post up some dubs, even if its 32 bars long and still in development -
BUT PLEASE DONT TAKE THE PISS and post up summin you made in like 2-3 minutes. I mean back in the day when i used to mix grime, you look through the online stores --- ah whos this? Shit this is fucking sick whos this guy? Im gunna try and get a set on a few stations - I personally want to promote as many people as i can to pave the way to the ranks.

in late on this one.

I agree with a lot of the (constructive) critical thought thus far, re: dominance of halfstep wobbles, maximalism, etc.

I'd like to add a couple of thoughts:

DJs are the Quality Control department of the Dubstep Factory.

One thing I miss in a lot of tunes these days is the exploration of space. I don't mean just a big ol' reverb on the snare. I mean experimenting with how non-standard mixing and textural layering can create new and unexpected sonic spaces for a tune. Almost to the point where it moves beyond writing a song into sound-design territory. The more minimal tunes obviously do this more, because they have to, but it's perhaps less of a conscious focus than it 'used to be'.

Luckily, the sound is still on a path with a million forks in it, and given the incredibly broad appeal of the sound (people from all genres of music liking it), I expect all those paths to be taken.