Post-Tune is the way fwd
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future tune
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Can’t wait for post-future tbh.
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Still in the pocket though, no?
I used to produce riddim for a while, when I first started getting into production. The scene is full of elitist pricks who are all using the same maelstrom patches. Trying to be original in any sort of way is strictly prohibited, and will get you flamed over the internet. The following base of Riddim is composed of listeners who look at the soundcloud waveform, skip to the drop, and comment “WOI BIG TUNE” “MASSIVE” “BANGER” “FUCKING SICK” on every track.
I honestly feel that most of the producers in this scene couldn’t make any other genre, or style that isn’t riddim. When I went to the deeper side of 140, I had to basically relearn everything. I had no idea of what proper mixing was, because half the producers didn’t properly eq anything, and slapped a limiter, and soundgoodizer on the master and called it a day.
I can’t say I particularly care for Riddim anymore.
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A truly exceptional read. Wow
Seems to be an American offshoot of the dubstep / brostep / trap scene, so may partially explain why UK heads are repulsed by it.
According to Getter, he coined the term (see youtube interview), but I don’t think the genre label is really sticking. There are some dope tracks that might be considered riddim though.
https://soundcloud.com/ascended-audio/getorix-bouncefree-download
Nope, those are both just as bad as everything else posted in this thread. Unimaginative wank, just people making a ‘cool’ bass patch and then trying to drag it out for 5mins. At least that Bommer track has the common sense to realise this and keep itself mercifully short.
A lot old dubstep artists used one bass patch over and over. The only difference is the use of filters tbh
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And their use/understanding of both “dub” and “step” as opposed to “mid range” and “plod”.
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Got to disagree with you. It’s not about being imaginative or atmospheric or virtuosity. IMO the syncopation of rhythms and the timing changeups are what really makes these tracks work. The shit that gets your head nodding and it’s rough. I like it best when underproduced, like old jungle or dubstep.
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Sounds change… Dubstep has a high end on it now. Theres still a sub and i know a lot of riddim tunes with sub work that can bring the old stye to shame
yo g theres no point arguing with these fuckers looool
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And therein lies the problem with the whole shitty sub-genre.
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link?
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Yeah, I don’t think these producers are coming heavily out of dub reggae like UK dubstep producers are. In the US, hip hop and soul are the bass music antecedents. So, they don’t necessarily understand dub or step.
It’s like we’re getting dub second hand through contemporary dubstep. There’s also no sound system culture here.
it’s dance music. not the symphony. 
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this is so wrong haha
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@tabasco
man i think whatever genre it is, it cant be bad. when i made this thread i wanted to hear opinions, not bashing. you might not like riddim, but atleast try to imagine how others might like it. sure it might not have advanced sound design and might be repetitive, but really, whats wrong with that?
we’re not trying to give riddim a prize for being the hardest genre to produce in or a genre that stands out for its uniqueness. riddim is heavily infuleced by brostep, and it is basiclly the same elements of brostep but arranged in a more repetitive way.
the point of ridddim (for me atleast) is just joking and fucking around(and head bangin), most of the shit out there is just some weird bass patch (probably made in less that 2 mintes), drumz and delayed claps + some weird stupid funny voice sample. some tracks are really innovitaive in their use of these things.
so to conclude, i think you cant say that any genre is bad or pointless in principle, and especially these sub genres that are so closely releated.
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