This was not America’s first dubstep night…
I remember meeting Zed Bias there at Rothko one night in 2005 though…
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In this discussion Matthew Herbert, Phoebe Kiddo, Young Guru and James Holden uncover the causes of (and solutions to) creative blocks. Hear from these artists how they get stuck, how they get unstuck again, and how they ultimately manage to get music made. Discussion moderated by Dennis DeSantis, author of Making Music: 74 Creative Strategies for Electronic Music Producers.
https://www.dailymotion.com/video/x4bgkzo_dmx-krew-boiler-room-collections_music
Boiler Room visited influential producer DMX Krew aka Ed DMX for an afternoon of chat and music selections in the latest episode of their Collections interview series.
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Good post. Disagree with a few points but tbh that’s because I’m reluctant to admit I’m a waceman
Nice beat, but he’s got far too much already made when he starts this so it’s got a bit of a paint-by-numbers feel.
Pretty solid, though seeing him do with this a keyboard rather than an MPC is a little grating.
[quote]Marshalling fierce DIY ethics, chemical excess and pounding grooves, London acid
techno was the bastard child of the mid-’90s UK underground, fuelling debauched squat raves with punk attitude and squelchy 303s. Harry Sword speaks to the founders of this belligerent force[/quote]
http://daily.redbullmusicacademy.com/2016/06/london-acid-techno-feature
33 classic techno creation tips - http://www.musicradar.com/tuition/tech/33-classic-techno-creation-tips-154667
Vaporwave, Retrowave, other Neo-80s Genres
I’m curious as to how you all would approach this. If you hate these
genres and this sound, this isn’t the thread for you - but I’m not a
huge fan of a lot of it myself. Mostly, I’m interested in what it does
very well, creating such a realistic time-machine experience.
Specifically, most of this stuff is made 100% ITB, often with few or no
samples - yet it still often comes out sounding convincingly non-modern -
on way more levels than just “throw a tape saturator on there”.
There’s of course no one way, no one VST or sample pack to have the
neo-80s sound - so tell me, how would you go about doing it? What
techniques, plugins, etc. would you employ in composing this sort of
stuff? What tools and techniques would you avoid? Obviously there are
shit tons of arpeggiators, and lots of very simple monosynth patches,
but it’s more than that.
I particularly like this ambient drone sort of album, and want to better
understand how it sounds so distinctly retro with so little actually
going on - since I know enough to tell it’s a number of factors coming
together. Skip around a bit, as it changes styles and techniques
throughout.
One of the few vaporwave albums I can actually stand, as a clearer
example of the kind of stylistic effect I’m referring to - which as far
as I know is 100% ITB. It’s super heavy on sampling old music, which is a
lot of the effect, but plenty of this stuff is done without sampling,
and gets the same effect.
you just need an 80’s hardware polysynth, reverb and a sidechaining compressor.
vaporwave is sampled smooth jazz and 90’s elevator music slowed down with a lot of reverb and delay
The Macross example is pretty much all old funk samples from the 70ies-80ies.there’s one or 2 sounds in there which i recognise from the korg legacy wavestation and some of the synth sounds are undeniably digital,trying to be vintage.checkout arturia and the korg legacy collection
Your 1st example is 100% digital (missing that haze from either recording to or using samples from a VHS/cassette tape).i guess what it kind of has in common is the ambient wash and pseudo tape delays.you can prettt much make albums of this shit with the valhalla dsp stuff especially uebermod and vintage-verb,maybe a bit of shimmer too.an ambient/vaporwave diy kit (if ya like)
forgot to mention inversions and sus chords=80ies.add 7ths and 9ths and you have that pseudo-jazz,retro-anime sound going
JuceOPLVSTi is a very good free VST emulating the OPL chip in Ad Lib/Soundblaster cards. It loads patches ripped from the actual games.
https://bsutherland.github.io/JuceOPLVSTi/
Edit:on your ambient example…to make up for the absence of the "haze"i
mention earlier,the guy/gal/thing has ran the entire mix through a
frequency shifter…kinda like what BoC do to get that kind of
"sea-sick"stereo effect on certain elements (e.g sunshine recorder on
Geogaddi)
ive been watching videos of zaytoven making beats
this is defo more SAUCE than source
cool how he leaves the metronome on even when hes far along in building the track.
Seen it, still love it.
His ASCII cyberzine is well worth a read;
http://www.legowelt.org/cyberzine.htm
Production tips buried deep. Also includes plans on how to build a reverb in the bath.
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theres an entry in one of the issues about music loops and angels that I love, gotta hunt that down again. The whole thing is so great
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some really interesting insights in the Q&A part of the article, just skip the lame pitchfork journo intro
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Drum Machine Sample Database:
Goldbaby Free Samples:
Free MS-20 Drum Samples (Wave Alchemy):
deenotech’s Mini Pack:
https://www.sendspace.com/file/3ikl3h
https://drive.google.com/file/d/0B03oDsnVuW5Db081c08xZ2VfXzA/view
Trent Reznor interview talking the gear used on TDS;
http://www.theninhotline.net/archives/articles/key394a.shtml
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Inspiration:
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I’ve just listened to this. Really good! I have been receiving the emails from TapeOp about it and have been meaning to get to it.
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^good read.