quote:

Originally posted by DjStephenWiley put Camelspace on the everything!

That's better

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Here's mine that got released almost 3 years ago.

Triloops

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I found that messing with FX creates intersting patterns. Oftentimes taking an arpegiated sound to like C1 creates nice textures that when sideshained qnd mixed with drums create something quite menacing and evil.

Also, splicing out the parts you want and gluing them with certain sounds creates funky results. Experemintation is your best source that are purely your own. Time consuming but very rewarding. I'm only scratching the surface of the art after many hours of trial and error.

Oh and I absolutely LOVE my MASCHINE. It opened the world I never could find with conventional drum machines and I've had them all - 909, 808, machinedrum, and tons of others.

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quote:

Originally posted by Lolo Here's mine that got released almost 3 years ago. Triloops

dude tinyurl that link in your sig - it stretches the screen

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after this thread i started messing about and made i loop but put a chorus on the closed hat, compressed the snare tail to make a thwack sound and then i got a sweep and put camel space on it and tinkered with the trance gate and got some nice results

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Processing a highly structured and complex pattern of sensory input as a unified percept of "music" is probably one of the most elaborate features of the human brain.....understanding how music is perceived and how it may elicit intense sensations is far from being understood.

I'm useless at loops and have been in the 4+ years producing in Cubase. I've just realised re-wiring in Ableton with my main DAW - Cubase, and just using edited loops seems like the way to go, they are in-time with your Cubase track - whatever you throw at it and its even a good way to start a remix of a track with vocals etc..

I'm pretty new to Ableton so will have to checkout this 'Groove Pool' these elders speak of.

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quote:

Originally posted by daeus I'm useless at loops and have been in the 4+ years producing in Cubase.

i was never good at, or even really interested in, making loops until I got a Maschine. But, now that I have one, I find myself sometimes just making various loops for hours on end. The problem is that I never stop to save them - I just sorta improv in real-time. Not sure how productive that is, but it sure is fun and beats the hell out of watching TV I guess.

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Never used a drum loop here. Add a touch of reverb on the midrange percussion, a little extra on the snare, 25-50% swing or a good groove template, some light compression with a quick attack/release, then compress it again against near the final stage against the kick. Never had any complaints about drums, although I usually put in a crapload of other processing as well (filter automation, stutters, fills and reverses, that sort of thing).

There's only one thing I still find difficult, and that's achieving the super snappy sustained yet somehow not overpowering snare/clap-like sound that you typically hear in good breakbeats. It's doable, mind you, I just find the process frustrating.

For four-on-the-floor, trance or housey stuff, easy peasy.

One other thing: I don't "make loops", I write MIDI sequences against a drum mapper (Battery) and bounce for post-processing if/when needed. I can't stand listening to the same loop 500 times in my own track, I have to change something every 4-8 bars or so.


Edit: Oh yeah, one other other thing: A lot of people underestimate the effect of a bassline on a drum loop. Those loops on the vengeance CD may sound uber phat but you don't necessarily want them in your mix. A lot of times you can take a fairly ordinary-sounding drum loop and when you put it together with a big warm bassline and possibly a midrange rhythm loop, it will sound better than any drum loop on any sample CD.

There was a time when I used to listen to some released tracks and go "shit, how do they make the percussion so tight?" And eventually I realized that in 9 out of 10 cases it's not really the percussion at all, it's just a very well-coordinated ensemble of rhythmic elements.

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Last edited by DigiNut on Jan-22-2010 at 23:30

quote:

Originally posted by DigiNut There was a time when I used to listen to some released tracks and go "shit, how do they make the percussion so tight?" And eventually I realized that in 9 out of 10 cases it's not really the percussion at all, it's just a very well-coordinated ensemble of rhythmic elements.

+1 I was listening to tech trance/house and was like how do they use just a closed aht and a snare and get it sounding so great, it was the bassline pushing the loop forward

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Processing a highly structured and complex pattern of sensory input as a unified percept of "music" is probably one of the most elaborate features of the human brain.....understanding how music is perceived and how it may elicit intense sensations is far from being understood.