i thought he was joking
----- Original Message ----- From: "crix" <[EMAIL PROTECTED]> To: "Drum & Bass Arena Discussion List" <[EMAIL PROTECTED]> Sent: Sunday, December 30, 2001 12:25 AM Subject: [dnb-prod] R: How To Make A Drum N Bass Track > yeah didn't read this part easy!!!$$$$little wanker- it's just one friggin' > email to delete, and your mailbox is probably already full of porn spam from > all those "picture post" sites you've been visiting......$$$$$$$$$$$$$$$cool > tips but ......easy!!!!!!!!!!!!!!!!!!!!!and peace! > -----Messaggio originale----- > Da: [EMAIL PROTECTED] <[EMAIL PROTECTED]> > A: Drum & Bass Arena Discussion List <[EMAIL PROTECTED]> > Data: sabato 29 dicembre 2001 5.52 > Oggetto: [dnb-prod] How To Make A Drum N Bass Track > > > > > >I posted this a few days ago, and am wondering if the list was down or > something. If this is the second time you're gettin' it, don't go > complaining, you little wanker- it's just one friggin' email to delete, and > your mailbox is probably already full of porn spam from all those "picture > post" sites you've been visiting. ;) > > > > > >------------------------------------------------ > > > > > > > >DISCLAIMER: The following article tackles DnB from a dancefloor > perspective. The internet has spawned a strange culture of producers who > have never SEEN a dancefloor yet struggle to make their tracks sound like > the latest Digital release (which is designed for a DJ to use to get people > all hot and sweaty). If your making tracks only for other producers to > download on MP3 or for kids to listen to in their bedrooms, you have the > freedom to do whatever the hell you want. Take it already. > > > >Also, none of the following is meant to be dogmatic in any way; DnB is > always evolving and nothing is set in stone. Notice I made up terms for the > different parts of a track and the different sonic elements; youre not > obligated to use these in your everyday speech. Take a chill pill if you > need one... > > > >HOW TO MAKE A DRUM N BASS TRACK > > > >By Demon Seed > > > >This article doesnt deal with the specifics of how to make bass sounds, > program breaks, or purchasing/using gear. There are already a million other > sources for that stuff on the web. This is for those cats who can program a > phat break, know how to work their synth, but when it comes time to lay down > 6 minutes of funk, they get stuck. > > > >THE THREE FUNCTIONS OF PRODUCTION > > > >Producing a track involves three basic functions. Put your heart and soul > into every part, focusing your energies on each, so that when put together, > the final product is absolutely mindblowing. Well actually you don't have > to work THAT hard- as long as you know the rule of Where The Work Goes.. > > > >The Rule Of Where The Work Goes > > > >In DnB production, originality and innovation is a prime concern. However, > the law of "Where The Work Goes" lets you chill out a bit and enjoy using > those things that we already know and love. The law is as follows: Its OK > to occasionally use a "standard " element ( a sine wave for a bass, a basic > two step or amen break, etc), as long as you do something really dope > elsewhere to pick up the slack. For example, there are still people making > smooth "intelligent" style tracks using the "think" break. They can get > away with it , too. Why? Well, if you just spent 10+ hours crafting a > georgeous symphony of pads and fx, you can use "funky drummer" for all I > care. > > > >That said, lets check out the different functions that go into producing a > track. A good way to work is to handle each task one by one, in order. > This is just a guideline, of course- even then you'll still find yourself > jumping back and forth a bit from job to job as your work progresses and you > go back and change things. > > > >FUNCTION ONE: SOUND DESIGN/SAMPLING > > > >Here's where you make or find some kick-ass sounds. Check out other > sources for how to make your soft synth go baaaarooom or how to compress > your drums for punchiness. Some things to remember though: > > > >Drums: Make sure your kit "works" together, that the different sounds > complement each other. > >Bass: Best to create a new one in your synth or softsynth than to sample > one off your favorite T-bee record. DnB heads dig those oh-so-fresh-and-new > bass sounds... > >FX: Get alot of these, you'll need them. Bleeps, noises, wierd swooshes, > whatever. Don't sweat them too much- if it sounds cool, grab it. These > arent meant to be the focus of your track (keep reading). > > > >Sound design is the cornerstone of great DnB. The more you can learn about > how to manipulate sound- how to make interesting bass noises, how to get > that kick to "punch" just right, how to create twisted sound FX, the better. > The best producers (DnB or otherwise) are obsessive creators, manipulators, > and collectors of sound- they spend hours twisting the shit out of their > synths to create new patches, they hunt used record bins for that old Prince > album just to sample the dope snare on it. Do the same. > > > >FUNCTION TWO: WRITING/PROGRAMMING > > > >Again, check out other sources (like Spinwarp) for how to do this well. > Here's where you build your basic hooks and phrases, using the pieces you > found or made during sound design/sampling. > > > >Some thoughts: > > > >1. The search for new and creative programming (like new break patterns) > may take you into wierd territory. Dont make that shit too tweaky unless > you want your stuff to be listened to primarily in the dorms of nerdy > college students (yes, Plug rocks). > >2. As always, the best way to learn is to LISTEN. Jock that break pattern > off your favorite track, using different drums. Copy that bassline off the > anthem of the moment, using a different bass sound and moving the notes > around a bit to make it new and unrecognizable. From the old comes the new. > > > >Now as you start programming, keep in mind not all the elements of your > track are created equal. Each of your ideas will fall into a different > category based on what role it's meant to play: > > > >HOOKS: These are your main ideas- the heart of your track. Breaks, > basslines, synth lines, percussion patterns, all that dope shit. Again, > originality is generally the key, but keeping in mind "Where The Work Goes", > feel free to lets say, have your bassline be really simple if you found or > synthesized a hot new bass sound that noones ever used before. > > > >PHRASES: These are minor hooks that "play off" of your main hooks, > providing countermelody and all that other musical mumbo-jumbo. Examples > would be a little 2 note-bassline that plays at the end of every 8 bars of > your main bassline , a little synth or piano tinkle that appears here and > there, whatever. Things like drum fills (like maybe a 1 bar amen that comes > in and out) might fit the bill too. > > > >FX: These are "ambient" (meaning background) sounds- they add atmosphere, > flavor, and mood, but they are not the focus of your track. They are there > to break the monotony, giving the dancers some stimulation for the brain > while the bassline and beat shakes their asses. You dont have to write > patterns or lines for all of these. As a matter of fact, during arrangement > you'll make special effort not to make their pattern too repetitious or > noticable, otherwise it falls into the category of a hook. > > > >CHANGE-UPS: These are your secret weapons to keep your track rolling- > these aren't sounds, just ideas for cool stuff you can do to the samples and > loops you're already using. Dropping a kick drum out for a beat, drum > shuffling, filtering your bassline in and out (or your break), doing a > sudden flange or other effect on a sample or break, whatever. Generally > it's it's a good idea to wait until after youv'e already arranged your track > to worry about these (do what ya like though). > > > >These categories are FAR from rigid. For example, an FX played reguarly > enough becomes a hook of sorts. If you put a droning bass note after every > 16 bars of your main bassline, is that a phrase or an FX? Isnt it really > just part of a long, 16-bar loop? Who knows and who cares. The point of > all this isn't to obsessively label all your ideas. Its just about > understanding that not every element in your track is meant to play a > starring role. Try to give every element top billing and youll end up > making something that sounds like a '92 rave anthem (yes, Acen rules). > > > >FUNCTION THREE: ARRANGEMENT. > > > >Now it's time to fire up your sequencer. Here's where you put everything > together, giving each element in it's proper place loopwise. Your hooks are > just that -HOOKS- mean to be noticed and remembered, so they are heard > (looped) the most. Your phrases play off the main hooks and accentuate > them, but generally take a back seat and so repeat much less. Your FX are > there to add atmosphere- you don't need to make a recognizable pattern or > put much logic or reasoning into their arrangement- just put-em in prime > spots where they sound cool. (you dont even need to repeat all of them). > > > >A good way to work is to build a "skeleton" arrangement with your hooks > and phrases, getting down the basic structure. After that you can go in and > flesh out the track with your FX and add variation to your loops with some > change-ups. > > > >BASIC DANCEFLOOR DNB STRUCTURE > > > >I'll start by clearing up a big misconception about producing dance music > and dnb in particular. Im sure you all know about the "breakdown" (where > your beat drops out and the bass kicks in)-- how it comes in the middle part > of a track. WRONG. Well, kind of wrong. > > > >THE BREAKDOWN IS THE NOT THE MIDDLE OF YOUR TRACK, ITS THE BEGINNING. > > > >You see, there's a reason why dance music tracks are 5-7 minutes long while > most other (less repetitous) music clocks in like 3 or 4 minutes. Dance > music is meant to be played by DJs for people to DANCE to (see the > connection?). The first minute or so of your track is designed for a DJ to > be able to match it up with another record.- it's just mixing space. Your > core audience won't really hear it except chopped up between another track > or fading in under it. This doesn't mean you have permission to make it > weak, especially since DJs and other producers and of course record labels > WILL be giving a listen. Just know that as far as the dancefloor is > concerned, it's not really the beginning- the beginning comes when the DJ > slides the fader over during the breakdown. > > > >That said, here's a good "template" for your basic dancefloor DnB track. > Obviously you'll find records that break this mold- as we speak people are > already starting to experiment with shorter tracks and other ways to "build" > DnB (trainspotters- reread the disclaimer, up top). Still, the basic > structure below will probably be around for a while due to it's proven > effectiveness on the dancefloor. The format is simple: INTRO, GROOVE, > ROLLOUT, RELOAD, OUTRO. > > > >INTRO: Mixing space. Noone hears this stuff except for record collectors > like us; most DnB heads out for a night of dancing simply wont. You can > "tease" your listener with filtered or otherwise altered versions of your > hooks/phrases, or wow 'em with some clever FX, but don't give away your > favorite ideas in your intro, because it wont to be heard(much). A good > idea is to save this part until sometime after you've built your > groove(below)- you can then decide which ideas to go back and "introduce" or > just go back and orchestrate some wicked FX madness. > > > >GROOVE: This usually starts with the infamous breakdown, so the crowd can > get all hyped up and brock out when the beats kick back in. This is the > "main part" of your track, and, as mentioned, is the TRUE BEGINNING of it. > You dont have to hold back here- Give 'em a good 64 bars or so of your main > hooks before you take em to the next level... > > > >ROLLOUT. Heres where your track gets amped up. This is your climax, where > you essentially "raise the stakes". This often takes the form of harder or > more frantic percussion, whether it be adding a hard snare or adding congas > or doubling up on hihats/shakers or adding an amen. You can also add new > hooks/phrases/FX or do some freaky change-ups with ones you already got. > Again, great ideas are as near as your record collection. > > > >RELOAD: Now that you have your dancers screaming for more, do them a favor > and give it to them. This is a kind of shorter repeat of your > groove/rollout-a hybrid combination if you will- oftentimes starting with > another breakdown . It needs to be slightly different this time around > though . You can do this by introducing new elements, or you can use > change-ups to keep it rolling. > > > >OUTRO: Here the track "deconstructs"- things dropping out and what have > you. You know how it goes. This stuff aint meant to be sweated over- like > with the intro, your'e just giving the DJ some beats and noises so he has > time to mix the next record in. Using your intro again or a little variation > of it can work. > > > >Again, a good way to work is from general to specific. Loop your > hooks/phrases and get the framework done, then spread out your FX and make > change-ups where your loops seem too repetitous. As you arrange you'll > probably go back and forth to your other functions as producer- > making/finding new sounds you might need, reprogramming breaks and lines, > etc. > > > >IN A NUTSHELL (CONCLUSION) > > > >Producing is a three part job- you make and/or choose sounds, you program > the different elements, then you sequence the pieces together (not > neccesarily in that order). The heart of your DnB track is in the middle > (which is actually the beginning!!)- the groove- full of memorable hooks and > supporting phrases that climaxes to a fullon rollout assault. Then you > reload- taking them for the same ride, but freaking it just a little > different.. Sprinkle some FX all around and add change-ups to your loops to > keep it interesting. Sandwich the whole thing between a sweet little > intro/outro so the DJ can put it in his set. Shake-don't stir, look both > ways before crossing the street, be nice to your mama (or mum). Peace. > > > > > > > >--- > >Drum&Bass Arena Producers Discussion List http://www.breakbeat.co.uk > >You are currently subscribed to dnb-prod as: [EMAIL PROTECTED] > >To unsubscribe send a blank email to > [EMAIL PROTECTED] > > > --- > Drum&Bass Arena Producers Discussion List http://www.breakbeat.co.uk > You are currently subscribed to dnb-prod as: [EMAIL PROTECTED] > To unsubscribe send a blank email to [EMAIL PROTECTED] > --- Drum&Bass Arena Producers Discussion List http://www.breakbeat.co.uk You are currently subscribed to dnb-prod as: [email protected] To unsubscribe send a blank email to [EMAIL PROTECTED]
