theres also an archive of the list here (it just started two weeks ago):

http://www.mail-archive.com/dnb-prod%40lists.breakbeat.co.uk/ 
 



On Tue, 18 December 2001, "Scope - Streetbeats" wrote:

> 
> I posted the following thread earlier today, prolly b4 u joined....
> 
> Welcome to the list - hope this helps
> 
> Scope @ streetbeats
> 
> >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
> 
> It's the same way most (breaks oriented) producers do it now.
> I always cut up breaks in soundforge myself.
> 1) its more accurate and MOST importantly
> 2) I don't just take the hits.
> 
> An explanation
> 
> I'll take a drum loop, say two bars in length, and once I've done all
> the Direct X/VST plugin magic in soundforge and wavelab......and once
> ive got it at the right temp.......then in soundforge I'll send the
> whole loop to sample number 1 say. Then I'll cut that first beat off,
> and so the loop is now shorter than the full two bars, and will now
> begin from say a hat inbetween the first kick and snare. I'll send that
> to sample number 2. Then I'll cut it from the snare onwards, and send
> this section to sample 3. Until I get to the end of the loop, the last
> sample I send over should just be an individual hit, the last one in the
> loop.
> 
> Why do this you ask? Well sure it takes more memory in my sampler, but
> memory is cheap, and if you know how to use a sampler well then you make
> efficient use of that memory.
> 
> The main reason for doing this, is that all of the feeling in a break
> and the movement in it, the groove if you like is held in the bits
> inbetween the main hits. Sometimes people refer to these as ghost hits,
> and if its not ghost hits then the feeling often just comes from things
> like the decay characteristic of the hits. So the way I use breaks, I
> have any individual hit I want to hand, keymapped. The difference being,
> if I hold the key down, I get more than just that hit, but a part of the
> loop too.....
> 
> Now back in the very first instance, at or before the conception of
> hardcore and d&b, drum loops would be taken in there entireity, time
> stretched and laid down straight. Then as time progressed you could see
> these loops maybe being split into a couple of sections etc, and
> slightly rearranged. And b4 you know it you have producers like source
> direct and photek cutting these breaks up as I described above to give
> you ultimate flexibility and re-arranging power.
> 
> So by laying down these various sections of breaks, in different length
> segments or whatever - there are no rules - you can very quickly build
> up different grooves.
> 
> Once you have that groove, you may want to clean it up a little by
> deconstructing any longer sections of loop you are playing on a single
> note into smaller sections, or even individual hits. When doing this,
> the envelope and filter settings in your sampler become crucial in
> obtaining the same feel as you had whilst just playing a section of the
> loop on that one key.
> 
> This step is also very important for achieving a fat sound, because you
> should have kicks, snares and hats on different channels on the desk, so
> you want the hist to be as granular as possible whilst retaing a real
> groove.
> 
> Its hard to describe, but quite a simple concept.
> A lot of producers I run into who are just getting going will be using
> recycle or whatever and programming these individual hits, and the
> result often sounds staccato and interupted. That's what you've got to
> avoid.
> 
> Note that the whole above ranting, is only one part of it, having the
> right sound on your breaks is awhole other consideration.
> 
> Hope this helps someone.
> 
> 
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