how do you build your drums? are u doin like full synthesis
that one is really nice tho, love the flow
1 BigUp
Chopping breaks and layering one hits.
Depends on what I’m doing. If I’m doing Electro I will go full drum machine. Or not. lol
1 BigUp
I can see this being a problem if one has no sense of rhythm, but it’s also TOTALLY genre specific imo. A lot of the “problems” you’ve brought up here in your last posts are. Some genres have off beat shuffle rhythms in their foundation. So, very case sensitive what will work with what. Not trying to come with critique really, it just seems your angle is very much based on what you make, and how. You can make what you want, innit? That’s the fun of it.
Though, apart from technical things like that, there are nowadays far more serious implications of buying sample packs, or using services like Splice, etc. I’ve seen a lot of people complain on Youtube that their music is taken down/demonetized because of copyright claims, triggered by royalty free samples somebody else has registered as their original work. The algorithms do not differentiate here, because how could they? They’re just doing what they’re built to do.
This is of course avoidable, and you’re still in the clear legally, as long as you can provide “proof” that you have the rights to what you’ve used. The big problem, though, is that Youtube’s system for reporting and clearing up stuff like this is not very well designed (at all), or has the capacity needed to handle all such requests.
One dude got his original jam video with hardware (drum machine, synth, etc) taken down for copyright, probably because the rhythm pattern itself triggered the algos. Now, if that’s not a fucking disturbing and serious issue with the system, and copyright laws in general, I don’t know what is…
Adam Neely, and others, posed questions like this quite long ago now, like “Can you copyright the minor scale?”. Seems we’re not far from that. Shit is seriously fucked.
Just wanted to clarify that when I wrote “compiled” here, I meant he has recorded most of it himself, from his collection of various instruments and drums.
1 BigUp
everyone comes at it with a different angle. however, the reason I always replace anyone else’s samples is probably not the reason you might expect. it’s because i do not want to hear about it, at all. that’s it. I would rather use a bad drum hit that I process myself, than someone else’s “perfect one”.
If we were making soft rock, or jazz, where it’s not heavy compression and high LUFS is not a target; you can take more into account the loss of dynamics and realism in a drum hit. Otherwise it is a lot of work for little gain. If i’m going to smash something like that, what i start with is immaterial. It’s just sound design of one big hit. It matters way more when you have a ton of “space” in the track. “less is more” is great in a more spacious song. by doing it all from midi, you can replace anything you want quicker than i typed this. But if I spend 3 hours on drums, I’m going to start off with nothing done. So I am 3 more hours behind finding out i will make a bad song today anyway. good drums do not fix my bad musical ideas. 
I saw a Dave Grohl interview about the recent loss of their drummer, and found out something I didn’t know. When he was the drummer for Nirvana, he approached Kurt Cobain a few times about writing songs. They used maybe one, or something.You can let a drummer write your tracks, but idk not every one is good for me.
1 BigUp
I get you. I’m coming from a musician’s angle, and the following sentences is just bragging.
Give me a guitar and turn on whatever song, whatever genre, and I’ll probably find the scale within about 5 seconds. I don’t know which scale or key it is, but I can hear it almost instantly. Coupled with experience from listening to a ton of different music and genres, I can usually just anticipate the chord progression and play along, even if I’ve never heard the song before. And I’m not talking about just following the root note of the chords either, but actually jamming to the scale and make the intervals fit, make harmonies, etc. I was using the guitar in this example, but it basically works for any instrument I pick up, I’m just best at playing the guitar. This is absolutely my core skill when it comes to music. I remember melodies better than I remember names, hehe.
All of the production, DJing and sound tech skills I have gained, is just a logical extension of this very deep interest in sounds and rhythms, and the pursuit of getting even better at playing different instruments.
Regarding music theory knowledge, my main goal is to know it well enough to be able to show and explain to others how to play stuff I’ve composed, and get feedback on how to improve it. I’d like to collaborate with other musicians and instrumentalists (and song writers, and singers/rappers) that are technically better than me, and create something bigger than I would have been able to create myself.
1 BigUp
Let’s say I buy the “perfect kick drum sample” from someone, and it is made to drop directly into my song. And all of this is 100% fact and true.
But I leave this file as audio, instead of it being triggered by a midi on/off note. Then I am making some kind of bass music where sidechain is important as all getout. Yepo, I will gladly accept the midi kick. There are a lot of ramifactions of taking the extra 0 time to use no samples.
Of course you usually want to throw all drums into a sampler and trigger with MIDI. You’re talking about no samples in the timeline here yeah? Just asking to clarify what you mean.
1 BigUp
not that ocd. but if you aren’t going to spend the extra track to make a midi kick only for the purpose of your sidechain. if your main kick is going to be audio, you are causing yourself perhaps small delay in processing, compressor response, or having to use higher ratio compression because of it. im talking about every note starting with midi, so that every one of them is replaceable in a pinch.
lets say i buy a sick sample and i want to use it. it still gets stuck into a track full of other stuff. so i have to do the same work to get the same thing. Why is someone else involved between me and my daw logic stock compressor? 
1 BigUp
more deleting. @ryan i redid the intro with all different sounds and i pulled the virus patch way down. now something else has become repetitive. so more deleting, and then more building. i’m starting to think a better explanation is “deconstructed” cooking. They will make something and take it apart; when clearly the most efficient answer would be to just hand back the bag of ingredients and call it a wrap.
my point is just that if i am making and deleting this much stuff, it is very easy to have 0 attachment to any sample or sound i start out with. I would love to say this is some “principled effort” to not use other peoples material. it’s because for me it is literally more time consuming than to make the stuff yourself and call it a day. When you have a simple snare sound, for instance; and no matter what you do it does not fit your mix; it’s gone in the blink of an eye. Samples are a rabbit hole. ;]
I think the worst way you could get burned working like this, is to decide you want to change a songs bpm after you start bouncing/stemming things with tempo synced effects parameters. like you guys do with LFO’s etc. you’d be screwed, and it would be a bit of work to change things around. and could even get stretchy. so you would finish at wrong bpm and speed up. not the best options.
but still… it’s getting deleted one way or another.
free tip for the sidechain department i forgot. if you are still writing a track, you might not want to enable the external sidechain at your compressor/s (like i am not yet). otherwise they sit there and await audio to react to, which is never coming. they aren’t going to complain they are processing the entire time, working on your cpu’s dime but doing nothing 
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You clearly make dubstep.
i can. it’s the same as half-tempo dnb. more or less. which is a stupid name really. half-tempo dnb would be like 87? 140 is a jungle record pressed at 45 but at 33.3rpm. Then it is a matter of taste.
Not even close
D&B is 170.
Dubstep is 140.
that is why i said it’s a stupid name. “half-tempo dnb” is ~140bpm also. “Jungle” records are about 160 ish. If you take a 165 or so bpm dnb record that is pressed at 45rpm, and play it at 33rpm; it is ~140bpm.
put this on 33rpm. thats what they call it what they do.
1 BigUp
Ah I see what you mean
it’s very close to almost fast speed garage tempo. i was actually wrong, it’s easier now that i remember. so house music is 120. old dnb like that, jungle speed still; about 160. and therefore 140 isn’t as crackhead math as it sounds. like i said it’s a dumb name imo
1 BigUp
One of my most authentic chunes, I made using Pro Tools…but I no longer have the project file; I don’t have it. I did however have my nana pay $600 for an iLok USB stick.
what? There had to be some reason. Most replacement dongles have always been around 20 or 30 bucks. Now with ilok cloud, we don’t even need them. I’ve never had any problem with it. maybe on pc it is different. on mac, it’s invisible.
pdc m8
That would be wrong. But as I said, it is just milliseconds difference anyway. Does it matter? It could.
PDC has no impact on audio which leaves the channel late/off beat. It has not played yet.
PDC corrects delay introduced to the plugin signal flow, which is caused by adding 32bit float plugins in a chain. (After the audio enters the plugin chain.)
It does not fix your late played notes. ever. Even with some form of exotic (imaginary) lookahead, it would introduce latency all over the place.
The same applies to incorrectly trimmed samples. If the sample start time is wrong, everything else after it has the same variance in it. (until you go back and fix it also).