Autechre Gear List

Originally from http://mikebaas.org/autechre
---------------------------------------------- 
Autechre Gear List
Future Music, 2003
http://www.maxmsp.ru/files/fizzarum/ae/fm1.jpg
http://www.maxmsp.ru/files/fizzarum/ae/fm2.jpg
http://www.maxmsp.ru/files/fizzarum/ae/fm3.jpg

Akai Z8 sampler & ADAT card 
AKG C1000 mic 
Alesis QuadraVerb GT effects 
Alesis Monitor 1 speakers 
Alesis MMT8 sequencer (x2) 
Analogue Systems RS8500 modular synth
with various modules 
Apple 7200 PowerPC 
Apple 9650 PowerPC 
Apple Airport LAN card (x2) 
Apple G4 dual 800 computer 
Apple G4 450 computer 
Apple G4 500 Powerbook (x2) 
Apple G4 800 Powerbook 
Apple Powerbook 1400c computer with Newertech G3/PB
1400 upgrade card 
Atari 1040STE computer 
Behringer Autocom 
Behringer Composer Pro 
Behringer Ultrafex 2 
Behringer Ultrapatch (x4) 
Boss RDD-10 effects unit 
Boss RSD-10 effects unit (x2) 
Calabash gourd rattle 
Casio FZ-1 sampler 
Casio RZ-1 drum machine 
Casio PT-7 workstation 
Casio SK-1 sampler (x2) 
Casio SK-5 sampler 
Clavia Nord Lead rack synth 
Clavia Nord Modular synth with
eight-voice card (x2) 
dbx DDP processor 
Digidesign 882 I/O interface 
Digidesign Disk I/O PCI 
Digidesign DSP Farm PCI 
DOD phaser pedal 
Dynaudio BM15a speakers 
Dynaudio M1 speakers 
Emagic AMT8 MIDI interface 
E-mu Esynth Ultra sampler 
Ensoniq ASR-10R Sampler (x2) 
Ensoniq DP2 effects unit 
Ensoniq EPS16+ sampler 
Griffin iMate adaptor 
Grundig tape recorder 
HHB CDR850 Plus CD recorder
(link is to the CDR830 Plus)
IBM 4.5Gb SCSI drives (x2) 
IBM ThinkPad computer 
Iomega Zip 100MB drive (x2) 
Iomega Zip 250MB drive 
Kenton Pro 4 CV/MIDI interface 
Korg Prophecy synth 
Korg MS10 synth 
Kurzweil K2500R synth 
LA Audio 4x4 compressor (LA Audio C400?)
Lexicon MPX1 effects unit 
Mackie 24:8 mixer with meter bridge 
Mackie CR1604-VLZ mixer 
Mbira with resonator 
Micropolis AVLT 2Gb SCSI drive 
MidiLink MIDI Data Extender
MOTU Fastlane USB MIDI interface 
Miny portable tape recorder 
MOTU micro express MIDI interface 
MOTU MIDI Express XT USB interface 
Nintendo Gameboy 
Oberheim DMX drum machine 
Opcode Studio 3 MIDI interface 
Panasonic SV3800 DAT recorder 
Peavey PC 1600X controller 
Philip Rees 5S MIDI switcher 
Philips oscilloscope 
Phonic MRT60 mixer 
PSE stereo spring reverb 
Pro Tools III PCI interface 
Realistic induction mic
Reyong 
RME Hammerfall
RME Hammerfall ADI-8 Pro audio interface 
RME Hammerfall Digiface digital interface 
Roland CR-8000 drum machine 
Roland Juno 106 synth 
Roland SH-2 synth 
Roland MC-202 synth 
Roland CR-78 drum machine 
Roland PMA-5 sequencer 
Roland TR-606 drum machine 
Roland R-8 drum machine 
Seagate Barracuda 4Gb SCSI drives (x3) 
Seagate Barracuda 9Gb SCSI drive 
Seck 18:8:2 mixer 
Simmons SDE drum expander 
Simmons SPM MIDI mixer 
Sony CRX 1600L CDRW 
Sony lapel mic (which one, we may never know....)
Sony MDS JE520 MiniDisc recorder 
Sony HR-MP5 effects unit 
Sony TCD-D7 Portable DAT recorder 
Sony DTC690 DAT recorder 
Symbolic Sound Capybara 320 
Tascam US-244 four-track recorder 
Tascam DA-20 MKII DAT recorder 
Tascam DAP1 Portable DAT recorder 
Tascam M2600 mixer
TC XII B/K phaser pedal 
Wacom A5 & A6 tablets 
Yamaha 4260TX CDRW 
Yamaha CBXD5 interfaces (x2) 
Yamaha CX5 M computer (x2)
(changed to M model, ok?)
Yamaha DX100 synths (x2) 
Yamaha FS1R synth 
Yamaha KX-W321 tape deck 
Yamaha NS-10M speakers 
Yamaha QY20 sequencer/synth 
Yamaha RY30 drum machine 
Yamaha SU10 sample

By Category

Digital FX
Alesis QuadraVerb GT effects
Boss RDD-10 effects unit 
Boss RSD-10 effects unit (x2)
dbx DDP processor
Ensoniq DP2 effects unit
Lexicon MPX1 effects unit
Sony MP5 effects unit

Analog FX
Behringer Autocom 
Behringer Composer Pro 
Behringer Ultrafex 2
DOD phaser pedal
LA Audio 4x4 compressor 
PSE stereo spring reverb
TC phaser pedal 

Computers
Apple 7200 PowerPC 
Apple 9650 PowerPC 
Apple Airport LAN card (x2) 
Apple G4 dual 800 computer 
Apple G4 450 computer 
Apple G4 500 Powerbook (x2) 
Apple G4 800 Powerbook 
Apple Powerbook 1400c computer
with Newertech G3/PB 1400
upgrade card 
Atari 1040STE computer
IBM ThinkPad computer
Yamaha CX5 computer (x2)

Analog Modular Synth
Analogue Systems RS8500 modular
synth with various modules

Synth
Casio PT-7 workstation
Clavia Nord Lead rack synth 
Clavia Nord Modular synth
with eight-voice card (x2)
Korg Prophecy synth 
Korg MS10 synth
Roland Juno 106 synth 
Roland SH-2 synth 
Roland MC-202 synth
Yamaha DX100 synths (x2)
Yamaha FS 1R synth 

Samplers
Akai Z8 sampler & ADAT card
Casio FZ-1 sampler
Casio SK-1 sampler (x2) 
Casio SK-5 sampler 
E-mu Esynth Ultra sampler
Ensoniq ASR 10R Sampler (x2)
Ensoniq EPS16+ sampler
Kurzweil K2500R synth
Yamaha SU10 sampler 

Drum Machines
Casio RZ-1 drum machine
Oberheim DMX drum machine
Roland CR-8000 drum machine
Roland CR-78 drum machine
Roland TR-606 drum machine 
Roland R-8 drum machine 
Simmons SDE drum expander
Yamaha RY30 drum machine

MIDI Interfaces
Emagic AMT8 MIDI interface
Kenton Pro 4 CV/MIDI interface
MidiLink MIDI interface 
Midiman Fastlane USB MIDI interface
MotU Micro Express MIDI interface 
MotU MIDI Express XT/USB interface
Opcode Studio 3 MIDI interface
Philip Rees S5 MIDI switcher 

Audio Interfaces
Digidesign 882 I/O interface 
Digidesign Disk I/O PCI 
Digidesign DSP Farm PCI
RME Hammerfall
RME Hammerfall ADI8 Pro audio interface 
RME Hammerfall Digiface digital interface
Yamaha CBXD5 interfaces (x2)

HDDs and CDRWs
HHB CDR850+ CD recorder 
IBM 4.5Gb SCSI drives (x2)
Iomega Zip-100 drive (x2) 
Iomega Zip-250 drive
Micropolis AVLT 2Gb SCSI drive
Seagate Barracuda 4Gb SCSI drives (x3) 
Seagate Barracuda 9Gb SCSI drive 
Sony CRX 1600L CDRW
Yamaha 4260TX CDRW 

DATs
Panasonic SV3800 DAT recorder
Sony TDC7 DAT recorder 
Sony TDC690 DAT recorder
Tascam DA20 MkII DAT recorder 
Tascam DAP1 DAT recorder 

MiniDisk
Sony MDSJE 520 MiniDisc recorder

Tape Recorders
Grundig tape recorder
Miny portable tape recorder
Tascam 244 four-track recorder
Yamaha KXW321 tape deck

Control Monitors
Alesis Monitor 1 speakers
Dynaudio BM 15a speakers 
Dynaudio M1 speakers
Yamaha NS 10M speakers

Mixers
Mackie 24:8 mixer with meter bridge 
Mackie CR1604 VLZ mixer
Phonic MRT60 mixer
Seck 18:8:2 mixer
Simmons SPM MIDI mixer
Tascam M2600 mixer 24

Mics
AKG C1000 mic
Realistic induction mic
Sony lapel mic

Sequencers
Alesis MMT8 sequencer (x2)
Roland PMA-5 sequencer
Yamaha QY20 sequencer/synth 

MIDI Controllers
Peavey PC 1600X controller

DSP Farm
Symbolic Sound Capybara 320

Other
Behringer Ultrapatch (x4)
Calabash gourd rattle
Griffin iMate adaptor
Mbira with resonator
Nintendo Gameboy
Philips oscilloscope
PT3 PCI interface
Reyong
Wacom A5 & A6 tablets

Sound on Sound, November 1997
http://www.soundonsound.com/sos/1997_articles/nov97/autechre.html

Roland MC202
Roland TR606
Roland R8
Ensoniq ASR-10
Ensoniq EPS
Ensoniq DP2
Alesis Quadraverb
Kenton Pro4
Clavia Nord Lead
Korg Prophecy
Casio SK1
Casio SK5
Casio RZ1 sampling drum machine: "That's really old school. The sampling quality is crap but it sounds awesome."
Philips Oscilloscope: "We have a lot of problems with high frequencies, so we try and keep an eye on it. We also occasionally write tracks that look good on the oscilloscope. Unfortunately it tends to be really basic rave stuff."
Yamaha DX11
Tascam 24 channel mixer: "Fat as f**k. We like the range and flexibility of the EQ a lot."
Korg MS20
Alesis Point 1 nearfield monitors: "We replaced our NS10s with these because we thought our music was suffering."

My Name is Mud - Primus (Eskmo Remix) by Eskmo / Welder

My Name is Mud - Primus (Eskmo Remix)  by  Eskmo / Welder

Roni Size Quote

As a final question, Size is asked whether he feels that, given his Jamaican ancestry, drum & bass is his way of developing his reggae roots and pushing them into the 21st century. His reply is adamant. "No way! I'm not trying to push anything apart from maybe that I'd like to contribute to something. All I'm doing is just trying to give myself musical fulfillment. I love rolling sets of drums, whether in reggae or jazz or hip-hop. I love bass lines. I love acoustic guitar. I love melodies. I love some classical stuff. I love music. I'm a musicalist. I love the amalgamation of different types of music gelling together."

http://www.soundonsound.com/sos/may08/articles/ronisize.htm

Jungle Beat Tutorial

Jungle beat tutorial from SpeaK on Vimeo.

In this tutorial I create a basic jungle beat using two classic jungle breaks. Download the samples used from servut.us/~speak/misc/fltutorials/junglesamples_tuto1.rar

If you have any questions or comments, feel free to post them here. Also, I know the speech is a bit unclear at points, but it should be clear in places where it matters.

Check out my music at
speakmusic.net

________________________________________________________________

Even though I'm not the biggest fan of Fruity Loops, I still think that this is a very well made tutorial on how to make a unique Jungle beat without having to know much at all about music production and processing. The process that SpeaK uses can be transferred to any basic sequencer interface. So Check it out and enjoy.

Thanks. SpeaK. 

Dubstep Songwriting Structure (abridged)

Full Article
http://en.wikipedia.org/wiki/Dubstep

Rhythm

Dubstep rhythms are usually syncopated, and often shuffled or incorporating triplets. The tempo is nearly always in the range of 138-142bpm.^[8] Dubstep rhythms typically do not follow the four-to-the-floor patterns common in many other styles of electronic dance music such as techno and house, but instead tend to rely on a kickdrum based around the first and third beat of a bar (a characteristic inherited from 2-step garage) and longer percussion loops than the four-bar phrases present in much techno or house. Often, a track's percussion will follow a pattern which when heard alone will appear to be playing at half the tempo of the track; the double-time feel is instead achieved by other elements, usually the bassline. An example of this tension generated by the conflicting tempo is Skream's Rutten, which features a very sparse rhythm almost entirely composed of kick drum, snare drum, and a sparse hi-hat, with a distinctly half time implied 69bpm tempo. The track is instead propelled by a constant sub-bass following a four to the floor 138bpm pattern, and a sampled flute phrase.

Structure, Bass drops, Rewinds and MC's

Originally, dubstep releases had some structure similarities to other genres like drum and bass and UK garage. Typically this would comprise an intro, a main section (often incorporating a bass drop), a midsection, a second main section similar to the first (often with another drop), and an outro.
Many dubstep tracks incorporate one or more "bass drops", a characteristic inherited from drum 'n' bass. Typically, the percussion will pause, often reducing the track to silence, and then resume with more intensity, accompanied by a dominant subbass (often passing portamento through an entire octave or more, as in the audio example). However, this is by no means a completely rigid characteristic, rather a trope; a large portion of seminal tunes from producers like Kode9 and Horsepower Productions have more experimental song structures which don't rely on a drop for a dynamic peak - and in some instances don't feature a bass drop at all.

Rewinds (or reloads)^[12] are another technique used by dubstep DJs. If a song seems to be especially popular, the DJ will 'spin back' the record by hand without lifting the stylus, and play the track in question again. Rewinds are also an important live element in many of dubstep's precursors; the technique originates in dub reggae soundsystems, and is also used at UK garage and jungle nights.^[13]

Taking direct cues from Jamaica's lyrically sparse deejay and toasting mic styles in the vein of reggae pioneers like U-Roy, the MC's role in dubstep's live experience is critically important to its impact.^[14] As the music is largely instrumental, the MC operates in a similar context to drum and bass and is generally more of a complement to the music rather than the deliverer of lyrical content.^[15]

Tracks that use the Amen Break by the Winstons

 This list is just partial of course but a cool find. Enjoy.

______________________________

Repost from wikibin.org.

_______________________________________

0–9
*µ-Ziq – "Carpet Muncher"
*µ-Ziq – "Grape Nut Beats (Pt.1)"
*µ-Ziq – "Meinheld"
*2 Live Crew – "Feel Alright Yall"
*3rd Bass – "Wordz of Wisdom"
*3rd Bass – "Portrait Of The Artist As A Hood"
*4 Hero – "Escape That"

A–D
*A-Sides and MC Fats – "Crazy V.I.P"
*Abstract – "The Message"
*Acetate – "Cold Steel Pressure"
*Acetate – "Noir"
*Afro Kid – "Yo DJ"
*Altern-8 – "Re-Indulge"
*Amazon II – "Booyaaa!"
*Amon Tobin – "Nightlife"
*Amy Winehouse - "You Know I'm No Good"
*Andy C – "Cool Down"
*Aphrodite – "Bomber"
*Artificial Intelligence – "There For You (D Kay Remix)"
*Atari Teenage Riot – "Burn Berlin Burn"
*Atari Teenage Riot – "Raverbashing"
*Atari Teenage Riot - "Deutschland (Has Gotta Die)"
*Babylon 5 – "Yes Yes"
*Back 2 Basics – "Horns 4 95"
*Bizzy B – "16 Track Relic"
*Bizzy B – "2099 Dub"
*Bizzy B – "Afraid Of The Dark"
*Bizzy B – "Bad Boy Sound"
*Bizzy B – "Bless This Sound (feat. Equinox and TDK)"
*Bizzy B – "Creation"
*Bizzy B – "Darkside"
*Bizzy B – "Deep, Dark And Nastie"
*Bizzy B – "Deep In My Soul"
*Bizzy B – "Exceeding The Speed Of Sound"
*Bizzy B – "Fire"
*Bizzy B – "Flava"
*Bizzy B – "Jah Works"
*Bizzy B – "Merda Style 2004 (feat. Equinox)"
*Bizzy B – "Sound Test"
*Bizzy B – "Strength"
*Brand Nubian – "The Godz Must Be Crazy"
*Brockie, Ed Solo & DJ Kane – "Outboard"
*Capone – "Jah"
*Ceephax Acid Crew – "Dog Drum N Bass"
*Cex – "Am I Soundboy"
*Concept 2 – "Cause n Effect"
*Daniel Bedingfield - "I Can't Read You"
*David Bowie – Little Wonder
*DÅÅTH – "Illuminator"
* – "Droppin' Science Vol. 1"
*Dead Dred – "Dred Bass"
*Deee-Lite – "Come on In, the Dreams are Fine"
*Dosh – "I Think I'm Getting Married"
*Digital – "Sounds Of Freedom"
*Digital – "Waterhouse Dub"
*Digital – "Waterhouse Dub (A-Sides Remix)"
*Dillinja – "Acid Trak"
*Dillinja – "Fluid"
*Dillinja – "Fusion (Remix)"
*Dillinja – "I Wanna Know"
*Dillinja – "Mutha*ucka"
*Dillinja – "Super DJ"
*Dillinja – "The Angels Fell"
*Dillinja – "Violent Killa"
*DJ Hype – "Tigerstyle (Krome & Time Remix)"
*DJ Hype & DJ Zinc – "Musically Dope (Ganja Kru Remix)"
*DJ Rap – "Digable Bass"
*DJ SS – "Black"
*DJ SS – "Orange"
*DJ SS – "Rollidge"
*DJ SS – "The Intro"
*DJ Starscream – Sword Sharpening Remix feat. Shannon Mitchell
*DJ Sy – "The Chain"
*DJ Zinc – "6 Million Ways"
*DJ Zinc – "Feel"
*DJ Zinc – "It's Like That"
*DJ Zinc – "On Fire Tonight"
*DJ Zinc – "Reachout (Remix)"
*DJ Zinc – "Super Sharp Shooter"
*DJ Zinc feat MC GQ – "Bring The Danger"

E–H
*Ellis Dee & MC Fats – "97 Style"
*Enduser – "Kill It"
*Eric B and Rakim – "Casualties of War"
*EMF - "Unbelievable"
*Equinox – "Acid Rain V.I.P"
*Equinox – "Do You Understand Me?"
*Freestylers – "Breaker Beats Part 1"
*Funky Technicians – "Airtight"
*Ganja Kru – "Magic"
*Ganja Kru – "New Frontiers"
*Ganja Kru – "No Fear"
*Ganja Kru – "Plague That Never Ends"
*Ganja Kru – "Science"
*Goldie – "Chico: Death of a Rock Star"
*Heavy D – "Let it Flow"
*Heavy D – "Flexin'"
*Heavy D – "MC Heavy D!"
*Heavyweight – "Oh Gosh"
*Hive – Ultrasonic Sound
*Hixxy & Sharkey – "Toy Town"
*Hrvatski – "Apostle"
*Hrvatski – "Atelier"
*Hrvatski – "Carrot (Hrvatski's Nightvision)"
*Hrvatski – "Catstep/My Kitten/Catnip-Vatstep DSP" remix of Kid 606
*Hrvatski – "Cirrus Minor", a cover of the Pink Floyd song
*Hrvatski – "Corcoran"
*Hrvatski – "El-Ron are Dangdut Kings"
*Hrvatski – "Epoxy (Live)"
*Hrvatski – "EWC1"
*Hrvatski – "Ghatam)"
*Hrvatski – "Paint It Black", a cover of The Rolling Stones song
*Hrvatski – "Pulse"
*Hrvatski – "Rhetoric"
*Hrvatski – "Routine Exercise"
*Hrvatski – "Sucka"
*Hrvatski – "You Didn't Look High Enough"
*Icu – "Chotto Matte A Moment!"

I–L
*J Majik – "Your Sound"
*J Majik – "Arabian Nights"
*John B – "Green"
*John Rolodex – "Rinse It (Amen Mix)"
*KLF – (as The One World Orchestra) – "The Magnificent"
*Krome & Time – "Ganja Man"
*Krome & Time – "The Licence"
*Lemon D – "Get Dirty"
*Lemon D – "Static"
*Lemon D – "This is Los Angeles"
*Lenny De Ice - "We are I.E."
*Lesser – "Mensa Dunce Squad (Leg Up Program)"
*Lesser – "This Is What We've Become"
*Lifer's Group – "Jack U. Back (So You Wanna Be a Gangsta)"
*Linkin Park - Faint
*Lords of Acid – "Crablouse"
*LTJ Bukem – "Demon's Theme"

M–P
*MA3 – "Those DJ's"
*Maestro Fresh Wes – "Bring it On"
*Mampi Swift – "Rock It"
*Mampi Swift – "Tripped"
*Mantronix – "King of the Beats"
*Mask – "Mad Professor"
*Mask – "Square Off"
*Mask & Gang Related feat Swabe – "Dictation (Remix)"
*Mental Power – "Red"
*Moby - "Feeling So Real"
*Movement Ex – "KK Punani"
*Moving Fusion – "Thunderball"
*N.W.A. – "Straight Outta Compton"
*Nas - "Hip Hop is Dead"
*Nasenbluten – "Big Gonads"
*Nasenbluten – "Hurricane 2000"
*Nasty Habits – "Shadow Boxing (Remix)"
*Nice & Smooth – "Dope Not Hype"
*Noisia - "The Tide"
*Oasis – D'you Know What I mean?'
*Orbital – "Satan"
*Paradox – "Hologram"
*Pascal – "Turn It Over"
*Paul Oakenfold "James Bond Theme (Bonus Beats)
*Pitchshifter – "Hidden Agenda"
*Powerpuff Girls Theme Song
*Prisoners Of Technology – "The Trick Of Technology"
*Public Enemy - "Fight the Power"

Q–T
*Ram Trilogy – "Huggy Bear"
*Ram Trilogy – "Titan"
*Ray Keith – "Chopper (Original Mix)"
*Ray Keith – "Dark Soldier"
*Ray Keith – "Dirty Chopper"
*Ray Keith – "Dread Colony
*Ray Keith – "Dread Jungle Techno"
*Ray Keith – "Eastern Promise"
*Ray Keith – "Jah Dread"
*Ray Keith – "Nina's Rinse"
*Ray Keith – "Plasma"
*Ray Keith – "Sinister (Bad Boy)"
*Ray Keith – "Tear Out"
*Renegade featuring Ray Keith – "Terrorist"
*Remarc – "Bad Bwoy"
*Remarc – "Bad No Bloodclart"
*Remarc – "R.I.P"
*Remarc – "Ricky"
*Salt-N-Pepa – "I Desire"
*Scarface – "Born Killer"
*Schoolly D – "How a Black Man Feels"
*Seba - "Car Crash"
*Seba - "Forever"
*Secret Chiefs 3 – "Jãbalqã"
*Shitmat – "Amen Babylon"
*Shitmat – "More Fire('93 Ting Mix)"
*Shy FX and UK Apache – "Original Nuttah"
*Shy FX – "This Style"
*Skeptic – "Tear"
*SL2 – "S.L. Electro"
*Slipknot – "Eyeless"
*Special K – "Twist (Ray Keith Remix)"
*Special K & The Dream Team – "Switch (Remix)"
*Splash – "Babylon"
*Splash Collective Vol.3 – "Rebels"
*Squarepusher – "A Journey to Reedham "
*Squarepusher – "Anstromm-Feck 4"
*Squarepusher – "The Barn "
*Squarepusher – "Bonneville Occident"
*Squarepusher – "Central Line"
*Squarepusher – "Come On My Selector"
*Squarepusher - "Cooper's World"
*Squarepusher – "Eviscerate"
*Squarepusher – "Go! Spastic"
*Squarepusher – "Hello Meow"
*Squarepusher – "I Wish You Could Talk"
*Squarepusher – "Male Pill Part 5"
*Squarepusher – "Mind Rubbers"
*Squarepusher – "The Modern Bass Guitar"
*Squarepusher – "My Red Hot Car"
*Squarepusher – "North Circular"
*Squarepusher – "Planetarium"
*Squarepusher – "Plotinus"
*Squarepusher – "Port Rhombus"
*Squarepusher – "Problem Child"
*Squarepusher – "Steinbolt"
*Squarepusher – "Tomorrow World"
*Squarepusher – "Tundra"
*Squarepusher – two untitled tracks on "Burningn'n Tree"
*Squarepusher – "Vic Acid"
*Squarepusher – "Welcome To Europe"
*Technical Itch – "The Rukus"
*The Flashbulb – "Amen Iraq"
*The JB – "Back To Life (The Dedication)"
*Third Rail – "The Apprentice" trilogy
*The Crystal Method – "Keep Hope Alive"
*The Crystal Method – "Name Of The Game"
*The Crystal Method – "Roll It Up"
*The Prodigy – "Breathe"
*The Prodigy – "Firestarter"
*The Prodigy – "Mindfields"
*The Prodigy – "Narayan"
*The Prodigy – "Serial Thrilla"
*Theory – "Conquering Lion"
*The Third Eye Foundation – "Semtex"
*TNT – "2 Degrees"
*Total Science – "Squash"
*Total Science – "Squash VIP"
*Trinity – "Amen Bleeps"
*Twisted Anger – "Dread Come To Conquer"
*Twisted Anger – "Dread Come To Conquer (Remix)"
*Twisted Anger – "Mothership"

U–Z
*Urban Shakedown – "Some Justice '95"
*Undercover Agent – "Oh Gosh"
*Unreal Tournament – Michiel van den Bos – "BOTMCA#10"
*Unreal Tournament – Michiel van den Bos – "BOTPACK#9"
*Unreal Tournament – Alexander Brandon – "Go Down"
*Unreal Tournament – "Lock"
*Unreal Tournament – Andrew Sega – "Mechanism Eight"
*Unreal Tournament – Alexander Brandon – "Organic"
*Unreal Tournament – Michiel van den Bos – "Run"
*Unreal Tournament – Alexander Brandon – "Three Wheels Turning"
*Unwritten Law – Introduction track on "Here's to the Mourning"
*Venetian Snares – "Dance Like You're Selling Nails"
*Venetian Snares - Hand Throw
*Venetian Snares – "Herbie Goes Ballistic"
*Venetian Snares – "Második Galamb"
*Venetian Snares – "Kétsarkú Mozgalom"
*Venetian Snares – "Szamár Madár"
*Venetian Snares – "Szerencsétlen"
*Wots My Code – "Dubplate"

How to Create a Good Jungle Loop

The original formatting was pretty F'd up so I've tried to clean it up as best I could. Enjoy.

By: Pedro (Submitted to the AKAI Mailing List)

Hope this ain’t just old news to you all...

I wont go into subjects like equalization, compression, and other
techniques to enhance your sound once you have it recorded. Mainly
cause I know jack sh*t about it (if it sounds good, I'll notice),
but also cause it ain’t really necessary since I'll be starting from
recorded loops, which should have been equalized, compressed and
professionally processed anyway.

Nevertheless, it isn’t hard to apply some fx to your drums: try a
small amount of distortion, delay, flanging, and of course resonant
filtering and see what you can get.

My goal will be to create a good loop. If it wasn’t a cool loop to
start with, you wont get much better results even with state-of-the-art
signal processing.

(1) Finding a loop
The first thing you need is a drum loop. Jungle is a genre which
was built over 70's breakbeats mostly. So, grab that dusty lp of
james brown, your daddy has stacked away in the attic from his wild
years, and find a section where the drummer is going solo. I also
do a lot of sampling from jazz albums, with a swing feel and
occasional odd-tempos, but lets keep it simple for now.

You can also get breaks from the net, or from sample cd's, but I
rather have acoustic drum loops to start with (something in the lines
of "vinylistics" or "on a jazz tip"). You can (aarrghh :P) get a
jungle-cd and use a preprocessed loop, which is definitely more jungle,
but also less fun, and you end up sounding like everyone else
(actually I use parts of well known jungle breaks, like the amen,
studio or rawthing, just as fill-ins, but who doesn’t :))

The basic rhythm you want your loop to have is the 1 bar classic:

Tempo    1 . . . 2 . . . 3 . . . 4 . . .
Kick     O   O               O
Snare            X               X
Close HH /   /   /   / / / / /   /   /

Note: the close HH track is normally made of a conventional 8th note
hi hat with another soft snare or side-stick sound, like this:

Tempo    1 . . . 2 . . . 3 . . . 4 . . .
Close HH /   /   /   /   /   /   /   /
Other Sn               #   #

Of course there is no velocity info to liven it up, but I hope you
get the picture. Its such a common rhythm that you must have heard
it sometimes. Not that its needed for the loop to have that structure
(anything will do), but since this is so common, there is no need for
anything more complex.

This loop will help me identify the basic components of a break, which
are:
- the kick
- the snare
- the shaking part, that in here goes from the middle of beat 2 to
the middle of beat 3, and can be just two closed hi hats, or a closed
hi hat and an 808 snare, a close hi hat and a drumstick... whatever
makes that characteristic rushing shaking 16ths sound prior to the
beat.

The shaking part (I'll call it "shakes" for lack of a better name
- you know what I mean) is very important, since that’s what is gonna
give the loop that jungle sound, and we will need to preserve the
exact timing of each bit since its that human feel that makes it
interesting (another reason to use acoustic loops).

Using just a one bar long loop like this, you can do any breakbeat
you like, provided the loop has the three components (specially the
shakes, so find a loop where that effect is present).

I assume you all know how to trim the recorded loop to make it
loop perfectly, so I wont go into that. Using recycle you can
easily set the loop later, anyway.

(2) Processing the loop
I usually change the tempo of the loop first, to fit whatever I have
in mind. Lately I've been using slower tempos, around 140bpm, but
that’s up to you. Just keep in mind that later you wont be able to
change the tempo that easily, so its better to time stretch the loop
first. Early breaks pitch shifted loops as well as a result of speeding
up, but nowadays just apply pitch correction if you like the sound of
it (I do, in moderate doses). Any other sound processing you want to do can be done now as well, cause later you'll be busy playing.

(3) Recycling and creating programs
Now we need recycle. Well, not necessarily, since all it does is
automate some tasks you can do by hand, but I at least NEED it
since I cant get mesa to work, and need something to talk to my s2000 So, lets load the loop in recycle and slice it. Since you can slice.
it several ways, I follow this rules:

1. I need at least one "clean" snare and kick sound, so don’t just make the whole thing a single slice.

2. The more you slice the more keys its gonna use on the sampler, but the more control you'll have over the rearrangement of the loop (just don’t wait till you’re MIDIing it to find out you needed one more slice).

3. If you cant use a slice independently (I mean clean), there’s no need to slice it (for instance, the closed hi hat sometimes stays just a few ticks behind a snare, so there’s no point in slicing it, just use the hat and snare as a single slice).

4. The shakes are best kept in 4 consecutive slices, but you'll need at
least to cut it in half (between the 2nd and 3rd hit).

In the above example here's what I might do:
(note that the slices will NOT stay on the exact beat or half beat: we want to preserve the original un-quantized timings!! - just place them immediately before the sound so that it sounds ok by itself).

Tempo    1 . . . 2 . . . 3 . . . 4 . . .
Kick    |O  |O  |   | | | | |O  |   |
Snare   |   |   |X  | | | | |   |X  |
Close HH|/  |/  |/  |/| |/| |/  |/  |/
Other Sn|   |   |   | |#| |#|   |   |
Slice # 1   2   3   4 5 6 7 8   9   10

This way I have isolated two kick sounds (1 & 2), one may have an open hi hat, while the other not, etc; the snare sound (3 & 4) which also need not be the same or played the same way; and most important of all, I have my shakes all split (slices #4 to #7 and eventually #8).

Now you’re ready to send it to the sampler: put the L and R markers where they belong, set "1 bar" and transmit with MIDI file. This midi file will be your way of preserving the position of the slices, so don’t loose it.

Recycle sets all mute groups to 1, so I have my own template with this off (no mute). Also remember that this is just a break, and a song may use several of them, as well as other sounds. My approach for using several loop drum programs (since I want all of them accessible at the same time) is to have all loop programs with the same number (to also use in single mode) and midi channel, but with different key ranges. If you change the key groups of a sliced loop like this one and transpose it up or down so that they don’t overlap some other program, remember to transpose the recycle midi file too. Later we will need other sounds, like hi hats, cymbals, other snares and special fx, so you may use your fave programs for that as well.

(4) Splitting into break components
Now lets load the midi file in a sequencer, the tempo should be right, so just play it. If everything is ok, you should hear the break in its
original form. If not, check midi channels, muted tracks, whatever.

First thing to do is to split the loop elements to individual tracks, so
just copy your midi info to two empty tracks, and then erase all but kick in one track, all but snare in another, all but shakes in the third. Play it - you should hear it just the same.

(5) The main driving structure
Now, its up to each person creativity, so just play around the keyboard with the kick and snare sounds (forget the rest for now) and try to record on an empty track, a loop with just kick and snare. If I were to suggest kick/snare patters, this would be even longer, so lets just say you have this loop that goes tum-tum-ta-tum-ta-ta-tum-tatata :)

The snare always stays either dead on the beat, or the middle of it,
so try different possibilities. Programs like hammerhead are nice to
give a sense of positioning, so that later you don’t have to experiment
to know how its gonna sound.

You can also use the tracks you made with just kick and snare as a
starting point, but I rather prefer recording it all real time myself

This is going to be the skeleton of the loop, so give it a solid feel (you
can quantize it, since this tougher sounds should not seem sloppy timed). Don’t worry if it still sounds empty. Its important that you have the kick and snare where they belong first of all.

(6) Fine-tuning shakes
In our example you will notice that the last slice of the shakes also
has a kick sound over it. Since I want just the shaky thing, its best
to replace that with a close hi hat sound (use one of the shake's slices). You may also want to experiment concatenating two shakes, since that can be very effective.

If the slices of the shake were A,B,C,D,E, with A to D being a beat, and the E the start of the new beat, you can concatenate it just:

4+4 : A, B, C, D, A, B, C, D, E,

thus making it last two beats of pure shakiness (the beats would be on
the A's and the final E - you have to take the E in the middle so that
it doesn’t overlap the 2nd A - am I making any sense?)

You can also leave a pause between the two copies, or just use a

2+4 : A, B, A, B, C, D, E

structure, which lasts a beat and a half, and starts at the middle of a
beat, lasting to the end of the next one.

These shakes, must be sliced so that they end before the beats, but
specially before the snare, or before the end of the measure. Some
examples of positions for it: (The 'x' are the slices of the shakes, but I've also placed some snares '#' so that you see the shake ends on the snare).

1 . . . 2 . . . 3 . . . 4 . . .
            x x x x x           original one
        #           #           example snare
1 . . . 2 . . . 3 . . . 4 . . .
                        x x x x 
at the end (leave 5th slice off)
        #               #       
can go with this snare (copter)
1 . . . 2 . . . 3 . . . 4 . . .
                x x x x x x x x two beats (4+4)
        #           #       #   try this one...
1 . . . 2 . . . 3 . . . 4 . . .
                    x x x x x x one and a half (2+4)
         x x x x    x x x x x x 
a complete beat, then pause then 2+4
x x x x x   x x x x x   x x x x this is jungle
#   #   #           #           with maybe this snare...
        #                   #   or this one...

Remember, the shakes create a tension before the snare, so they should end just before it (since I'm using a 5-slice shake here, the last slice is OVER the snare sometimes).

You just need to slide the shakes in multiples of a half beat (60 ticks in 120tpq time base). The goal is to preserve the human timing, so now you must slide it in "quantized steps".

By now I would have several tracks in my sequencer so that I can easily mute, experiment, slide, copy, paste, whatever.

Another thing: this shaking part is in all known breakbeats you can get
from the net or sample cd's, so if your loop lacks it, apply the above
method to any breakbeat and just use the shaky part! I have loops with 3 or 4 combined breaks, where I use the kick from one, snares from other, just a shaky part from another, a roll from still another....

(7) Where are the gaps?

So, now you should have something interesting. The rest is up to you. I have several sampled rolls from real players that I use as snare sounds (two fast to slice), and that I use with moderation to fit in some gap I have left. You will also need hi hats, rides and cymbals to add to the loop, since probably it had few.

From now on, its basic experimenting, adding sounds, fx, other snares, I dunno. I guess being very at ease when playing hand percussion, gives me a sense of rhythm that just makes this easy for me, but the overall rule I apply when programming drums is SURPRISE. If your snare is placed in the conventional 2nd and 4th beats, just move it elsewhere, and instead place a not so obvious sound where the snare would be (use a roll snare, for instance).

This is the basic formula, but of course there's so much more to it... even just in the programming field, besides from obvious rhythm notions, you need several loops, you need to be able to combine parts of one with another, layering them, time, patience, experimenting and dedication.

I know the minute I press "send" I'll remember some other thing, but I've already spoken too much. Hope this triggers a more broad discussion, since I want to know everyone's tricks of the trade too.

An introduction to the jungle genre of music (by Brent Edwards)

by Brent Edwards

The term "Jungle" allegedly originated from a ghetto in Kingston known as the "Concrete Jungle." This was the birthplace of the music known today as Jungle, the precursor to the wildly popular Drum & Bass genre, and a powerful sound in its own right.
Jungle is characterized by sampled breakbeats, their speed increased from the original recordings and heavily edited to produce a "rolling rhythm" effect (most notably the "Amen Break," a sample also heavily used in mainstream Hip Hop), and deep synthesized sub bass notes. Popular styles of Jungle are Ragga, which features Jamaican Dancehall-style "Rap-singing," a reflection of the roots of the style, and Oldskool or Darkcore, which draws many influences from the British Breakbeat Hardcore scene of the early nineties. This style features a more synthesized sound, airy pad tones, and pitched up vocals sampled from Disco and R&B records of the 1970s.
Many of the most popular early Jungle DJs were successful Rave DJs and Producers, and easily converted to the emerging style as Hardcore dwindled in popularity. Micky Finn, Fabio, and Grooverider were among these ranks. Still others emerged as brand new artists on the scene, including DJ Dextrous, Omni Trio, and many others. Most of the MCs featured in jungle tunes traced their roots back to the Jamaican Dancehall movement. Notables include Barrington Levy, Demolition Man, and Topcat.
The popularity of Jungle reached its peak in the mid nineties, after Hardcore music had lost much of its popularity. At the same time, however, the new Jump Up style, which would later evolve into the more techno influenced Drum & Bass genre in the coming years, was diverging from the traditional "rolling breaks" style of drum arrangements. Instead, Jump Up producers pushed a "steps" style, which consisted of more standard 4/4 drum arrangements with the downbeats emphasized heavily. Eventually this simplified sound proved to be more accessable, and little by little the classic jungle sound began to die out.
In the present day the Oldskool Jungle style is all but dead. However, the early years of the new millennium saw a resurgence of the Ragga Jungle style in the USA and Canada, partially fueled by the popular rave "Konkrete Jungle" in New York City, and through on-line communities. This "New Style Ragga Jungle" is more aggressive than the original style, taking cues from Drum & Bass and the experimental Breakcore and Glitch styles. The more popular artists promoting this new underground style are General Malice, DJ Rhygin, The Archangel, Krinjah, Chopstick Dubplate, and a multitude of others.
The evolution of Jungle music, from Ragga to Oldskool to Drum & Bass and back to Ragga again, has created a fertile environment for brilliant artists and performers to display their craft. It is clear that no matter what direction Jungle takes in the future, it will continue to produce startlingly intricate, aggressive, and beautiful sounds.

Randy Sarafan's Simple Sequencer

Randy Sarafan writes:

One of the keys to making good music is mindless repetition. That is what the simple sequencer is great at. It does the same thing over and over again in an eight note sequence. You can adjust the frequency of the note, the duration of the note and the pause between notes. If you get really good, you can anticipate the next note and change things up on the fly. This little box is sure to provide endless hours of fun.

Build one yourself with the instructions. [via Make]

Samson Zoom R16: Multitrack mobile recording

Samson's Zoom R16 is a 16-track recorder that writes audio files to SD cards (although only 8 tracks can be recorder at a time). Better, it can be operated on just 6AA batteries for mobile recording. Even better, you can connect it to your computer and just use it as a control surface.

There's even a built-in stereo condenser mic that makes it possible to do some basic recording without plugging into the XLR/1/4-inch inputs.

Price! $400 is suggested.