฿☈⊎⍡ ⌁≛ 🗿 ≛⌁


#470

those super full 2008 drums that also was part of dubstep like excision or skrillex
kind of have not aged well

the thwack of a snare

the whole frequency distribution focus, for the system sound is hard to shake off for these bros

its like pop music in the 80s when phil collins put all that reverb on
(who i enjoy lol)


#471

There’s a shit ton of cookie cutter Trap and you’re gonna call out the watered down Vengeance shit? Cmon now… :wink_og:


#472

Gonna throw some of my own freshly pooped brut into the mix here


#473

yes definitely its about responsibility as always lol
i dont listen to bad trap but will listen to bad VEC implimentation and have for years

working on saving the idea of good dnb from within a ‘lost’ genre
most people think jungle is the good one now


#474

It’s almost more beneficial (maybe just more fun) to reach “dnb” from somewhere else than to try and make new dnb these days

idk if you’ve heard Watching Airplanes new album Psyops, really fun electro jaunt that reaches dnb territories at points but is never expressly so, on the other side of the spectrum there is a lot of club-brut at like 90 or 180 that is just p brutal breakcore with a subversively mainstream twist


#475

i think it IS lost tbh
(the good techstep, or the good deeply breakbeat drum and bass )

but i think that stuff really did connect to the best music like miles davis or jamaican studio recording music before it

whereas all the new fast beat music is club music or software
(I appreciate that because its more open to everyone, i dont feel inadequate next to any modern producers, but then listen to remarc or dbridge and most would have to sit for a week with one EQ band on the hihats)

the best dnb was made in the same studio as rock and pop history

i think techno can connect back to detroit or berlin without a problem because its mostly just a drum machine

but dnb and hardcore can not


#476

i guess im just saying its been a really long time since i really heard a really good ‘new’ dnb track, but a lot of good dnb still being made on the sidelines of the genre haha

(i dont follow dnb very closely as a genre tho tbh)


#477

i think im also bad at figuring out genres haha


#478

what do you mean by this?


#479

edited the above post

it really was made in the same studios or on the same gear as say oasis or whoever

like source direct would buy an old desk off photek who bought it from a indie rock label or something
(and all those heads back then worked in studios to be able to afford the gear or use it when the brit poppers were touring or just not in the studio)


#480

ah i see, I still think a lot of it was just made home studio style tho tbh, you know im a gear head, but i really dont think its the ‘secret’ behind a lot of those classic tunes

simple PC tools lead to really focusing in the breaks i think since you had to spend ages really slicing everything and timing everything. Plus the convertors on the old emu samplers and mpcs. I think the difference isn’t the sound quality of the equipment 100% but that using some limited equipment made you focus on every aspect of the production more closely (if that makes sense)

I know a lot of those guys just used a cheap mackie mixer and overloaded the channels.


#481

yeah buts thats still a much múch higher standard than today in terms of fidelity
( a mackie desk)

and you forget that working with a desk takes education, that they would get working these past time jobs

(we’ve read up about tech stuff on the internet, that wasnt available to all these dudes then)

and that there were ONLY super nerds producing back then

(if that makes sense)

it is both, definitely about the fewer possibilities making you focus as you say
the whole dj premier of it all
but that also comes from working seriously with turntables which was unaffordable aswell


#482

yeah very true! i think this might be the biggest part tbh, you had to be fully dedicated to even know about the music, let alone how to fuck with some amiga software and really dig in to start making tunes. (let alone the more complex stuff like compression and eq with hardware)

now we can just watch some brostep guy from Idaho on youtube and learn how to compress


#483

edited again ^
you’re too quick for me :blush:


#484

its funny it took literally years for most of the liquid dnb producers to figure out it was maybe a bad idea to further compress all these super compressed 70s drums samples

but then dbridge, calibre, fracture and those guys came out with their clean breakbeat sounds

then on the other end it took absolute geniuses like optical to shape all the super compressed shit and that is a super exclusive little club with like three guys we all try to sound like :sunglasses:


#485

maybe this is just even more reason to really not try and recreate that era

I know its pretty much impossible to try and make any sort of art these days that isnt stepping in someone else’s footprints, but I think there is a lot of nostalgia these days and its really hard (impossible) to get away from, but its fun to try.

BRUT

Random thot: I think its important to try and make music that isn’t the genre you listen to haha

I really try to avoid it tbh


#486

absolutely
or create a genre everytime

i listen to moondog and marimba bullshit lol


#487

yeah haha, i just feel the easy temptation is to take the direct influence from the music you saturate your brain with everyday instead of digesting that inspiration into something new or to apply that idea to something else

i do it too often, but i try to remind myself not to

doing the video/visual stuff helps because im forced to take my musical inspiration and translate it, its forced

I need to take my visual side and put that into my music more again, thats how i used to make all my tunes, from an image


#489

i totally get that

pseudo synesthesia feels

but trust me, you are doing more than fine
you are on a fucking roll eventhough you might see it differenly!


#490

:salute:

i appreciate that

im really lucky in my life where i can dedicate a lot of time to what i love doing and i try to make the most of it

if im not sat in the studio making noises, im at my other desk carving woodblock prints or soldering new DIY gear. The other 80% of the time im making fun of British people.