Not cool.
I would have a word.
the main ceramic drum/bongo/whatever part in this is a Garageband loop
and i’ve heard this sample in like 5 different tunes lol
2 Likes
Lmao sounds like me sometimes
For real tho ur synths are nice af I hardly blame the ■■■■
1 BigUp
Bro this shit is pretty mad in hip hop lol
There’s certain pretty basic little synth loops used By some top notch producers. There’s one in a Bladee track by F1lthy that I found in some random UK rap tune from Liverpool that I would have guessed was original.
There’s some Chris brown pop trap track that uses the same exact, unedited melody loop from Cubeatz as a Hoodrich Pablo Juan track.
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Vivek used a loop straight from Reason on one of his earlier tunes
Yea and the bass preset for anti war dub is just a synth patch on one of the synths from reason
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sleng teng riddim is a casiotone preset
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The MT-40 that I picked up in a small town has the sequence borked, but the bass sound is there.
I also read (in a YT comment though) that that preset is based on “somethin’ else” by eddie cochran.
calvin harris
too
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logic 10.ableton is here https://www.apple.com/newsroom/2020/05/apple-unveils-biggest-update-to-logic-since-the-launch-of-logic-pro-x/
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That looks cool, but not cool enough to buy a Mac.
1 BigUp
??? 
?? Seems like a character out of Trailer Park Boys.
Also:
Can someone tell me the benefit of using a sidechain-trigger channel, i.e with one simple click that’s muted in the main arrangement, over something like lfo-tool?
He’s real and gives classic advice like buying a $3000 mic and using it w a Behringer Interface.
Depends on the circumstance imo. Ive used a s/c trigger when im sidechaining the sub with the kick, but the kick is a bit too compressed and the volume dynamics dont play nice with the s/c compressor (cant get it to respond the way i want because its compressing for too long no matter what, and i mostly just want the kick transient to punch through.) The nice thing with a trigger channel is you can contour the dynamics of the trigger exacrly how you want from scratch regardless of what the kick is doing. As far as why not just use an lfo tool, i guess it depends what the lfo tool is and its controls. I like having compressor controls to play with the release and such, if you can do the same with an lfo tool then fair play. I imagine (could be way off) that a compressor and trigger track would be easier than an lfo tool if it’s a really syncopated kick pattern that isnt just four on the floor. But at the end of the day all a compressor is is an automatic volume control so 
whatever works
1 BigUp
I see your point, but that’s exactly what you can do with something like lfo-tool; by moving points around you can shape the envelope of the ducking/sc-signal exactly to how you want it.
Good point! That’s something I didn’t think of.
I’m just generally curious, seeing how I get by with xfer’s lfo-tool, but keep seeing lots of producers using a sc-track. So I’m wondering if I’m missing out on some workflow-optimization.
That being said, my experience with lfo-tool is that it can be pretty tedious at times to place individual instances of the plugin on each group or channel I’d want to be sidechained.
And iirc going back to most of my current projects, it’s far more likely that I’ll be using compression at some point anyway, compared to the ‘default’ state of LFO-tool that’s more focused on special fx and advanced, synced filtering.
And for ‘default use’ a compressor is probably more convenientgoing to find it’s way into my m
Sorry for the long post 
I’m rambling more to my self than anything else.
1 BigUp
i like to use a trigger channel so i dont have to use compression to duck it
more like shaping instead of ‘‘reaction- pumping’’ (by having an open threshold and as little release, attack, and rate going on the compressor or enveloper or what ever i sidechain the triger channel with)
in theory a side channel trigger could react to every kind of physical attribute a sound used as trigger would have inherently- fx how the trigger sounds ‘eq’-definition is ¨
as opposed to just amplitude