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Drum And Bass Logbook And Subgenres

Posts 51 - 75 of 101
  1. 230755
    Unknown User : Fri 23rd Jul 2010 : 11 years ago

    SHITE! This is why I want to be able to edit forum posts.

    Okay I've been meaning to find out for a while now, but this seems to be the place to ask. Does anyone here know who's behind the Liquid DnB remix of Tanya Stephens "Boom Wuk"? I've got a spare kidney for whoever puts me outta my misery. I REALLY need to know!

    Problem is, I found it mixed in a set, and had to cut it out myself. The track list only mentioned "Boom Wuk (Liquid DnB edit)" so I googled Boom Wuk and found the original artist, but not who made the remix. It's pretty wicked, check it out if you can find it...

    Anyone?

  2. 340647
    Phyruis : Fri 23rd Jul 2010 : 11 years ago

    do know brother... will keep trying but.. ya know?

  3. 230755
    Unknown User : Fri 23rd Jul 2010 : 11 years ago

    whaa? Numberjack, that post wasn't a reply to mine was it? Couldn't have been, lol. But if it was, again, whaaaa?

  4. 337508
    subSpace : Fri 23rd Jul 2010 : 11 years ago

    i just love drum and bass thats that i dont care who does what as long as it sounds good then f**k all else

    viva la (DRUM AND BASS)

  5. 251164
    sn76 : Fri 23rd Jul 2010 : 11 years ago

    Good post, Jungle/Drum and bass has lasted far longer`than I think anyone would have predicted back in the 90s.I dug out my old vinyls from 1995/6 and had a good night listening to them recently. Made me realise how far this music has come since those halcyon days.I don't understand why kids today love the old skool so much when the modern sound kicks it so far into touch though. Many looperman tunes are better technically than some in my record bag from back in the day... anyway long live Jungle , still reckon it will be with us in the yrs to come. Big Up Crew Inside the ride as your mind kept wandering walls came tumbling down!

  6. 251164
    sn76 : Fri 23rd Jul 2010 : 11 years ago

    All crew must big up! Good post and long live jungle d and b in the uk and worldwide... who would have thunk it!?

  7. 337508
    subSpace : Fri 23rd Jul 2010 : 11 years ago

    you know init sn76

    this is the drum and bass revolution nice to hear from you again mate i dont see you post a lot any more have you been busy lol

  8. 379853
    Alen9R : Fri 23rd Jul 2010 : 11 years ago

    @Numberjack

    1.how many people have to do a certain thing in dnb before it becomes a sub genre?
    http://en.wikipedia.org/wiki/Music_genre

    2.reverb in dnb?
    Noisia and pendulum say one of the most important effects for hats and some percussion!

    3.I do not know what you think the "production process", can you specify!

  9. 274483
    xXSecretScienceXx : Fri 23rd Jul 2010 : 11 years ago

    ok some questions to get this thread back on track...

    when does the reese bass become important to dnb?...I'm wondering at what stage in dnb growth did it become so important?

    which sub genres use and which sub genres don't?

    which is the ultimate dnb DAW?from number jack....

    i have no idea...but it is so sick..........

    5 or 6 detuned sawtooths ........little bit of tape distortion..........and a lil verb,use eq to bring out your growl and take out any freq,that make it scream or too muddy.....and make shure you cut all the low end out so as to not make your mix muddy......you can also animate a filter (set on bypass mode)to make it freak out a lil .....

  10. 274483
    xXSecretScienceXx : Fri 23rd Jul 2010 : 11 years ago

    now on to drums.....

    sidechain your bass kicks and take out a lil of the low end as to not muddy up your bass.....make sure your bass kick and snare(wich i layer with a clap or two)ride smoothly together.....and a conga section(if you must use a loop it works fine)to add a lil extra...

    i like to use a filler type loop to make all the percusion cause im lazy and it seems to work fine and make shure you program your drums to the loop (like bass kicks on bass kicks and snares on snares)this will actually fatten up your drums....

    add a lil verb to your snare...just a lil bit you dont want to make it overpowered in your mix.....

    oh and use tube distortion on it.....just a tad of this will make your drums sound good....

    plenty of eq to go around as well here

    http://www.youtube.com/watch?v=f5ZdldlOO5s&feature=channel

    there is a link on eq...from boyinaband......he is sick with it......

  11. 274483
    xXSecretScienceXx : Fri 23rd Jul 2010 : 11 years ago

    if anyof you use reason 4 i will gladly send you some combinator patches guys...........so u dont have to do a whole bunch of crazy work like i did

  12. 411556
    Unknown User : Sat 24th Jul 2010 : 11 years ago

    @jak, lottsa great names! past decade there has been a good DnB scene in downtown Toronto and have been fortunate to have experienced some awesome parties and memorable times, peace to all the cats! http://www.youtube.com/watch?v=l2q1lsfwGq0

  13. 340647
    Phyruis : Sat 24th Jul 2010 : 11 years ago

    @9Rihter .. really I just meant that the use of differnet types reverb is a important part of the production process for creating good dubstep some would say more than the "wobble" bass... so really the question stands... is there a production process that is that important in dnb?...

    is it ...
    Lfo.. or
    filters.. or
    reverb.. or
    EQ.. or
    compression..or
    sidechaining... etc

  14. 340647
    Phyruis : Sat 24th Jul 2010 : 11 years ago

    I just found out the most important process of dnb... and that is... get rollagee to master your tracks!!! just got the master for our first release and they are sounding awesome...

    sorry a little off the thread subject... anyway back to the questions..

  15. 337508
    subSpace : Sat 24th Jul 2010 : 11 years ago

    yeah damn straight lmao

  16. 379853
    Alen9R : Sat 24th Jul 2010 : 11 years ago

    I have somewhere a couple of interviews from famous jungle/dnb artists,
    if I find a set in the Logbook, there are a couple of interesting methods,
    and production process !

    @rollagee man you always doing good mastering in your track,
    Maybe you could make some tutorials or give advice,share a little magic,lol!

    @all if somebody has some tips or tutorial to share,
    please put in the Logbook!

  17. 274483
    xXSecretScienceXx : Sun 25th Jul 2010 : 11 years ago

    http://www.youtube.com/watch?v=TJ-Mm--w1vA
    fl studio drum stuffz

    http://www.youtube.com/watch?v=z15fzpOxRmo&feature=related
    here is sub bass stuffz for fl studio

    http://www.youtube.com/watch?v=oZPIUM2TA0U&feature=related
    here is fl reese bass stuffz

    http://www.youtube.com/watch?v=EC9rcek3OSk&feature=fvw
    tips and tricks from another dude....for fl

    can we all try this???? this guy is awsome,this is how to make a dnb track in 7 days.but you all know that we all could do it faster than that.....

    http://www.youtube.com/watch?v=Pe3Kg52uqNs

    big upps to "boy in a band"

  18. 375728
    Cybertooth : Sun 25th Jul 2010 : 11 years ago

    the only noticable difference (ive been told) between DnB and Jungle is the use of the amen and basslines tend not to match up quite like DnB (basically doing their own thing)

  19. 379853
    Alen9R : Wed 28th Jul 2010 : 11 years ago

    few drum and bass tips:

    1- Layering chopped up break beats (DRUM LOOPS) is a good way
    to get that authentic DnB sound. For a tight, modern sound,
    put each hits end point before the next drum sound occurs:
    simply leaving the end point at the end of the sample makes
    it easier to program junglistic beats, but you'll either have
    to tune or time stretch it to make sure it plays at the correct
    tempo

    2- One of the main advantages of using really tightly chopped
    beats is that you can easily pitch bend your drum part up and
    down without it ever going out of time. This technique can be
    used to create stunning percussive effects. For the best results
    try combining this method with other forms of processing such as
    filtering or degrading effects.

    3-When using heavy compression on your rhythm track for that fat
    break beat sound, you may find that your beat gets overpowered when
    a big kick drum sound is triggered. Consider putting any such sound
    on a separate channel with its own compression. If your kick drum
    needs enhancing, try beefing it up with a layered TR-909 kick drum
    sample, but resist the urge to turn it up too loud, make sure the
    sub bass and beat still have enough room to breath

    4-By using a variety of layered re-programmed break beats, you can
    quickly build up a complex rhythm track. The trick is to make it
    sound like one cohesive part that develops and builds, rather than
    several different parts all fighting for space. The golden rule is
    to accurately program your drums in the first place, although
    additional EQing of flabby kick drums, cymbals and hihats may help
    reign in errant beats

    5- For those liquid funk moments, a housey organ bass always
    sounds great. You can make your own using sine, pulse or triangle
    waves low-pass filtered until you get just a few harmonics poking
    through. Try detuning one oscillator up seven semitones for a handy
    fifth that will bring back some old school memories.

    6- These days it seems everyone is rockin the saw wave lead.
    This sound is easy to create - short attack and release envelope,
    a little chorus or pitch modulation on the saw wave and your there.
    Things can be made more interesting with a little degrading effect,
    and a bit of glide can add an interesting twist to your nasty lead noise.

    7- For artificial intelligence style warbling synth lines, an LFO
    tied to the filter cutoff is your best bet. Make sure the LFO's
    phase is synced to the start of the note and try a variety of rates
    and phase positions until you come up with a suitable noise.
    Experiment using different wave shapes, LFO amounts and filter cutoff
    settings,and try further developing the sound with a little LFO based
    pulse modulation

    8- When using 'real' instrument samples or presets, it's important that
    they sit comfortably alongside your more processed sounds. If possible,
    create reverb and delay send effects so you can place all your sounds in
    the same virtual space. Along with good playing or sequencing, reverb can
    disguise synthesized reverb sounds. For an even more pronounced effect,
    try applying a reverb pre-fader soundscape style effects

    9- Make more sophisticated arpeggiator leads by applying frequency
    or pulse width modulation envelopes to the sound and varying the
    decay time. High-pass work well with this style of sound. When filter
    sweeping the sound in or out, try automating another synth setting,
    such as one of the envelopes decay time or filter envelope amount.
    For a trancey sound, delay is a must, but don't make it too extreme or
    you may mask any chord changes

    10- Now days, most virtual analogue synths feature a massive amount
    of wave shapes for you to experiment with. Instead of using a sine wave,
    try a variety of different wave shapes and low-pass filter them to
    remove all but the lowest frequencies. This will give you a sub bass
    with more interest than a standard sine tone, which can be enhanced
    further with tube amplification and other effects.

    11- A proper sub bass is all important when creating DnB tracks.
    In order to create the desired wall of sound effect, the bassline
    has to hit the low end of the frequency spectrum. The easiest way
    to create a sub bass is to use a sine wave with a very short attack
    time and quick release. Try using this sound to double the lead
    part, thereby adding beef, but remember to watch the levels,
    as you can have too much of a good thing

    12- Another classic DnB sound is that of the 'Reece' bassline,
    as used in Renegade Feat Ray keith's Terrorist. While it's
    unlikely you'll get in trouble for sampling this much loved tone,
    you can create your own version by layering up detuned square waves
    with a touch of low pass filtering. This can then be re sampled
    and further processed to create your own fearsome basslines.

    13- Another good way to keep the energy levels up on a switch
    is to introduce a kick drum roll underneath the main beat

    14- To create the familiar wah-bass effect you'll need a synth with a
    an oscillator set to a wave shape with at least a few harmonics
    (ie, not a sine or triange), filtered with a low pass filter. An LFO or,
    alternatively, a short attack and decay envelope, can control the cutoff
    of the filter. When using an envelope, the note must be retriggered
    quickly to create the undulating bass riff

    15- Variation can be added to wah-bass riffs by modulating the LFO speed
    or envelope amount via key-following, eg, the higher the note played on
    the keyboard, the quicker the LFO oscillates or the more envelope is
    applied to the filter cutoff. Try varying amounts of one or both of these
    techniques to create progressively more twisted bass flutters

    16- When adding overdrive effects to filters, try out the different
    distortion types available and experiment with varying amounts of your
    chosen effect. Using vast amounts of overdrive may sound menacing,
    but in the context of a track, less is often more. Try starting out with a
    small amount of distortion and increase the levels slowly until you reach
    the optimum settings for your sound. The key is experimentation

    17- Another parameter that requires judicious tweaking when creating
    distorted bass noises is resonance. While it's very tempting to crank
    everything up to the most ear bending levels, try to stick to subtler
    settings- the highest db filter won't necessarily sound the best.
    Experiment with a combination of filter types and resonance settings
    until you get just enough harshness to offset the, rumbling bass end

    18- If your using an LFO to create your wah-bass, there are a couple
    of options available to you. Syncing the LFO to the track is a convenient
    way of getting it to play in time, but you may find the flexibility of the
    LFO rate control is worth making use of instead. Try any alternative phase
    and shape settings to create a variety of sounds.

    19- Try using your synth or samplers pitch envelope to automatically bend
    notes downward. Experiment with different attack, decay and level values,
    and additional LFO pitch modulation, to create some unusual effects.
    If your instrument is capable of it, try applying different pitch modulation
    settings to each voice for yet more twisted bass

  20. 340647
    Phyruis : Wed 28th Jul 2010 : 11 years ago

    @9Rihter.. what daw do you use?...

  21. 337508
    subSpace : Wed 28th Jul 2010 : 11 years ago

    numberjack just thought i would mention upon listning to sharki demo master it came out very good i think my ears were playing up lol

  22. 379853
    Alen9R : Thu 29th Jul 2010 : 11 years ago

    @Numberjack, I use FL1

    more sub-genres and their definitions

    Drumfunk:

    Drumfunk is a term coined by producer Paradox. Heavily focusing on the actual
    breakbeats in drum n bass, the key feature of drumfunk is on a blistering array
    of drum patterns as opposed to the synth or bass-driven focus of other styles.
    Drumfunk still retains a good amount of low end, but it borders on the edge of
    atmospheric and original jungle in that its focus is much more centralized on
    drum patterns and drum edits. Also referred to as "edits" and "choppage."

    Artists:
    Paradox / Alaska
    Breakage
    Seba
    Fanu
    Nucleus
    Equinox
    Chris InPerspective
    Fracture and Neptune

    Drumfunk example:
    http://www.youtube.com/watch?v=JQBB2DkNmFk

    Tech Step:

    Techstep originated with producers like Ed Rush, Optical, Matrix, and Rymetyme.
    It is directly credited with the outbreak of the neuro funk style. Shares many
    similarities with neuro, though typically techstep is more raw sounding.
    The techstep terminology is pretty self explanatory, as it is generally
    described as an infusion of techno elements into drum n bass. It can have a
    funky vibe to it, just as some techno does, but its focus is on a darker sound
    without going into the realm of hardstep

    Artists:
    Ed Rush & Optical
    Bad Company
    Goldie
    Konflict
    Trace
    Doc Scott

    Tech Step example:
    http://www.youtube.com/watch?v=oxB0BBBvgCo
    http://www.youtube.com/watch?v=8UAUDbWrVhA (this is a BOMB track)

    Hard Step / Dark / Evil:

    Open the Floodgates and wait for the hounds of hell to take your soul,
    Defined by the blazing amounts of drum edits with a low heavy bassline,
    Often vocals and heavy, distorted effects. The all out evil side of drum and bass.

    Artists:
    Dylan
    Tech Itch
    Kryptic Minds & Leon Switch
    Limewax
    Raiden
    Eye-D
    Loxy + Ink

    Hard Step example:
    http://www.youtube.com/watch?v=T1DXrJogZvw (real example of "evil"step)
    http://www.youtube.com/watch?v=7_plPqHaVC0
    http://www.youtube.com/watch?v=93m1iKaKRZk

  23. 379853
    Alen9R : Thu 29th Jul 2010 : 11 years ago

    @Numberjack SRY i mean i use fl 8-9

  24. 337508
    subSpace : Thu 29th Jul 2010 : 11 years ago

    ok here is is my input into this thread

    found this on a drum and bass page on facebook it is very good info
    Drum and bass (commonly abbreviated to D&B or DnB, occasionally DaB) is a type of rave music which emerged in the mid 1990s. The genre is characterized by fast breakbeats (typically between 160–190 bpm, occasional variation is noted in older compositions), with heavy bass, sub-bass lines, and occasional infra-bass lines. Drum and bass began as an offshoot of the United Kingdom rave scene of the very early 1990s. Over the first decade of its existence, the incorporation of elements from various musical genres led to many permutations in its overall style.

    In the late 1980s and early 1990s, a growing nightclub culture gave birth to a new electronic music style called Rave music, which combined regular beats alongside broken, syncopated beats, strong basslines and a faster tempo than that of house music. By 1991, musical tracks made up of only "broken" beats began to be known as "jungle", branching off into a separate musical genre (circa 1991-1992) popular at raves and on pirate radio in urban Britain.

    These tracks often combined ragga vocal tracks with broken beats and bass lines. By 1994 jungle began to gain mainstream popularity and fans of the music (known as junglists) became a recognizable part of British youth subculture. The sound took on a very urban, raggamuffin sound, incorporating dancehall ragga-style MC chants, dub basslines, but also increasingly complex, high tempo rapid fire breakbeat percussion. At this time jungle began to be associated with criminals and criminal activity and perhaps as a reaction or perhaps independently of this, producers began to move away from the ragga style and create what they labeled drum and bass. There is no clear point at which jungle became drum and bass, though most jungle producers continue to produce what they call drum and bass.

    As the music style became more polished and sophisticated, it began to shift from pirate to commercial radio and gain widespread acceptance (circa 1995-1997). It also began to split into recognizable subgenres such as jump-up and Neuro. As a lighter sound of drum and bass began to win over the musical mainstream, many producers continued to work on the other end of the spectrum. This resulted in a series of releases offering a dark, technical sound which drew more influence from techno music and the soundscapes of science fiction and anime films, this subgenre became known as techstep (circa 1997-1998).

    Towards the turn of the millennium, the UK garage sound emerged and quickly eclipsed drum and bass in popularity. Drawing a key part of its inspiration from drum and bass, it was commonly believed that UK garage was a replacement of the genre and statements were made to the effect that "drum and bass is dead". However, consistent development of the genre proved otherwise. The appearance of liquid funk and other subgenres brought a wave of new artists incorporating new ideas and techniques, supporting continual evolution of the genre. Drum and bass is perhaps not well-known as a genre, but makes frequent, unrecognized appearances in the mainstream such as in television commercials, as well as being a major influence for other musical styles and some of its artists (notably Goldie).[1]

  25. 337508
    subSpace : Thu 29th Jul 2010 : 11 years ago

    just realised the first section of the info i gave you gave at the beggining my bad but there is other info there lol

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