ChevChelios

herp derp

Save yourself some skrillas and buy this shite here http://gradientaudio.bandcamp.com/album ... s-volume-1

Got one of these thangs off dnay yesterday Gonna be givin it a work out today, shall post pics promptly

haha, nah, but I get royalties from my tune which is included.

So the Gradient Audio - Future of Bass Vol 1. compilation came out today, if you got some spare cash you should check it out, got some cracker tunes on it, all on the forward thinking tip. Here's some mad copy/paste spiel on it... HxdB Presents...Future of Bass Volume 1 : GRDLP002 (TEASER) by Gradient Audio Here in 2011, it seems there is an almost limitless amount of electronic music to absorb, coming from seemingly limitless sources. As wonderful as this dilemma can be, it can also be overwhelming to both casual listeners and DJs alike. This ambitious compilation, curated by Vancouver’s bass wizard, HxdB, aims to create a snapshot of what is now commonly known as bass music and become a beacon for listeners to find their way through an ocean of music. Also with its breadth and scope, it perfectly represents this exciting time, by bringing together a group of superb artists from the creative ether to demonstrate their interpretations. The project represents all that is right with modern electronic music, lending it’s inspiration from the need to look past stymieing genre titles and focusing on the fresh and exciting, multi-faceted sounds found in bass music culture. Much sonic territory is explored in this globe-spanning affair, with 24 artists, from points on the map as diverse as the UK, USA, Germany, Australia, Canada, Austria & Puerto Rico. What can you expect from this release? Fearless explorations of sub bass frequencies and futuristic soundscapes, from the blazing, 8-bit arpeggiators of Cairo’s ‘They Met in Flushing’, to the soothing, yet emotive vibes found on Kid Smpl’s ‘Comfort’. Funky-inspired tribal drum patterns sure to move a dance floor in FBOM & Outlaw Producer’s ‘Compound VIP’. Rude bass lines and 808 sub pressure found in Hodge’s ‘Boy + Girl’, oldschool stabs, happily sitting on top of chopped breaks and righteous vocal treatments in Magnum’s ‘Schemes’. Cure’s reworking of HxdB’s ‘Mustard’, perfectly balances catchy melodies and infectious funky synths. Acre’s ‘Effected The Most’ shows us the raw emotion of garage-influenced vocals and minimal percussion. Sclist’s ‘V’ takes us on a journey to a rave surely set in the year 3000, with intense percussion and quirky atonal sounds. Submerse & Resketch funk things up with their J-garage classic, ‘Wafu Wafu’. Juxta’s clever remix of Cedaa’s ‘Hypnotiq’ is a funky, footwork- inspired roller, while Self Evident’s ‘Look in Your Eyes’ takes things in a different direction with it’s triplet swung beats and almost wonky, but engaging synth-work. Wachs Lyrical’s ‘Felt Smasher’ proves just how effective the classic 808 kit can be when tweaked to sub-tickling perfection and DFRNT’s ‘Tribal’ is a sublime auditory journey with it’s slow-burning aggression, massive tribal drums and all-consuming bass. The commonality that unites this package is the shared goal of each artist to innovate and continue pushing the envelope of modern dance music, while captivating dance floors and imaginations alike. ◆tracklist◆ 1. Acre - Effected the Most 2. Hodge - Boy + Girl 3. Magnum - Schemes 4. HxdB - Mustard (Cure Rerub) 5. FBOM & Outlaw Producer - Compound VIP 6. Simon/off - Take Your Time 7. Cairo - They Met in Flushing 8. DFRNT - Tribal 9. Wachs Lyrical - Felt Smasher 10. Submerse & Resketch - Wafu Wafu 11. Sclist - V 12. Shureshotz - Redlight District 13. Mirror State - Bad Connections 14. Blind Prophet - Constants (feat. Brea) 15. Artifact - Forgive Me 16. Cedaa - Hypnotiq (Juxta RMX) 17. Kid Smpl - Comfort 18. B1t Crunch3r vs Gravity - Malfunction (HxdB RMX) 19. Self Evident - Look in Your Eyes Buy it at these lovely digital retailers... http://www.junodownload.com/products/hx ... 1764082-02 https://www.beatport.com/en-US/html/con ... 20Vol.%201 http://www.audiojelly.com/?a=singles/624288 http://www.digital-tunes.net/releases/h ... s_volume_1 http://www.amazon.com/gp/product/B0056M ... 424&sr=8-3

Oh shit yeah, the abbreviation threw me a bit, gonna link some favs of them for sure. Seems to happen with all the UK underground music, or really just music in general, definitely happened to dubstep. Although I dont really think the jungle scene really hit the mainstream too hard cept for this

Haha yeah I heard the garage scene was a bit too trendy of the hardcore ravers, probably why it died out so quickly Never heard of M.A.W. though...

Man you had it good raving in those days in the UK, mad jealous, UKG glory years. Some srs cheese comin up AND THE BIG FAV!

Nail on the head mate

Sweet as man, Ill let you know

Cool beans man, um, I wont be able to come pick it up for 2 weeks, but I call dibs so everyone else can fuck off Where abouts are you?

Hey mate, keen on the ddm 4000. Got any pics? Also what condition are the faders in?

Common misconception there. MP3 encoding doesn't actually decrease the dynamic range. When people hear compression they usually think in that way, but logically, decreasing dynamic will have absolutely no effect on the size of a file as it has nothing to do with with the 1's and 0's really. What it does is more or less reduce the sample rate. An MP3 encoder will go through your audio file and basically hack out bits that it doesn't think are necessary and replaces it with noise. Its quite easy to hear in a 128kpbs file, go to soundcloud and listen to a tune that normally has nice crisp hi hats and listen to what the shitty soundcloud encoder does to it, sounds fuckin bollocks. At the end of the day, the punters aren't gonna notice cause they're fucked up and the music is too loud to hear it properly, so really it comes down to you and if you can notice. I can notice and thats why I stopped sending my tunes around in 320, its a comfortability thing innit.

Thats fuckin retarded! Im gonna go out on a limb and say you have an off-the-back-of-the-truck-internet-style copy right? If so then its probably just one of the many problems that happens with cracked copies of things. If its legit then I'd be shooting an email off to yo tech support peeps cause you've managed to go backwards in time somehow

Unless you're Timberland or something you dont make shit. Theres way more money in DJing, thats why so many people do it. The odds are stacked against you if you want to make money producing. Producers 4 lyf3!

A gentleman's agreement. HUZAH!

Was a devastating Saturday morning. RIP to the true grandaddy.

I live to serve

LARF!

It usually means you've launched a clip from the session view, if you look on the transport up the top there will be a button highlighted that looks like a horizontal lines on top of each other with an arrow pointed at them, its next to the "OVR" button, it needs to be un-highlighted for ableton to read automation.

Dubstep is a sinch. Corny melody for 14-30 bars, two bars of silence and insert some chav tellin you you to fuck your mother, then bang! Add wobbles, lasers and generic halt-time beats. In all seriousness though, if you want your drop to have some impact there are a few ways to do it, as said before, structure is key, but there is more. For a banger: On the first beat of your drop you're gonna want to fill up as much off the audio spectrum as possible (that is 20Hz - 20 kHz), dont go completely all out and ram every possible noise in there or you're gonna go majorly in the red, but a good recipe for dubstep would be sub bass sweep, big midrange bass, a fairly solid beat and a crash cymbal or some white noise. For the more musically inclined: It will come down to chord structure, you'll want the last chord to sound as if it wants to resolve somewhere, for example the 12 bar blues which has been used a billion times (cause it works), you play I,IV,V in C major, V or G feels like it wants to resolve to I, so when you get to the end of your build and the V chord plays into the your I chord it makes everyone feel warm and fuzzy inside, it goes from unstable to comfortable, euphoria ting. I hope you can make sense out of that last bit, but its hard to explain without writing a billion words. Put those two ideas together and you have yourself some musical and production genius.

One day I shall rob you, then you will have nothing...

Just out of curiosity, why would you need a soundcard on a plane? It seems a bit pointless if you're just gonna be using headphones.

Haha that's pretty funny seeing as it was a vinyl only release.