Face Melt

i only care about dark subby stuff. fuck wobblez.

i've been cutting a lot more the last couple of weeks as well. after resigning myself to the fact that some scratches are just too hard for my brain to comprehend i've decided to create a new style that revolves around the scratches i already know. i call it 1985 style. it's pretty fresh. i usually scratch trumpets instead of the ahh sample. i'm new school like that.

http://www.teenageengineering.com/products/op-1/ i think the guys worked on some of the elektron products. there's been a bit of hype around it during its development. thanks in no small part to it's design. it's supposed to retail near a grand. i think it's a product of form over function, although it does look interesting and it will surely have its uses. just have reservations about the price. ps the same company make a lamp for over 600usd. http://store.teenageengineering.com/

what are we talking about compressing here? compressing a recorded dj mix or compressing a song you've made? if it's the first then you should just be applying very mild compression to control the peaks between the songs if you were going mental oriental with your eq. if you have a bunch of records and you're mixing them then they have more than likely already been through the mixing and mastering stage.

will downloading this give me the aids virus?

worst and sexiest.

haven't used my mpc1k in months. axiom and reason is fine for me. was going to get native instruments maschine but reason 5 has a new drum synth/sampler thing which should satisfy my needs. viva la software revolution!!

ruck offered rrrrrrrrrrrrap up for download a while back. a bit better quality than ripping it from youtube (which i did also). but still in two tracks. not individual ones. i'll upload tomorrow if topher hasn't. but i have to go to the dentist first and then recover.

danke

it is a dirtstyle beat but like broke said i don't know if it's an original or not. i'm nearly sure it's off of one of yoga frogs warflex releases.

well the bavarian illuminati did invent mp3s and are using them to control us all and make us like wack music. at least his diet of daily sun gazing is doing him well. he seems to have lost a lot of weight and is looking very neon these days. he must have absorbed some radiation or something.

thank you steve and topher. i had some of them before (can't remember how many) but they all got lost. here you go wax. The Amazing, Ghost and the Ruck. http://www.megaupload.com/?d=NUHQQMLH

anybody got that file that he posted up a couple of times. i think he was scratching "catch me buggin on the mic, every day and every night". i got fuga, dirty soap, rrrrrrrrrrap, beats for japan, megablastersss, that shit he did with ghostface (the amazing), the record he did with supreme, some poly bullshit, sketchbook, like a box of chocolates. i'm got that remix he did of tony loomin bassdrum, it's called don't ever step. basically i'm looking for that tape braille. where he wrote the review on it himself and talked about how great he was. and individual scratch files or beats if anybody has got any. if anybody needs anything uploaded tell me. i was supposed to upload some shit before but my internet died. i'm currently trying to get an interview with him to write a bio. thank you.

ps talk more about the venus project and rucker. i haven't been following him recently. if you're talking about all that mystic triangle and sun staring stuff. well tbh i couldn't understand any of those rants he went on. i just read the words but i took none of it in. i think my mind wasn't prepared.

holy fuck i forgot about those 3d glasses. that shit is futuristic. i got 3d glasses with my avatar only recently.

i remember a couple of people used to go at the ruck hard. dissonance obviously being one of them. it's funny in a way because i always thought people were just playing into him. it was always obvious he was never going to back down but people just kept going at him. like with all arguments to outside observers everybody on the inside looked like a major dick. ps dirty soap > wavetwisters

haven't heard this album yet. i can't remember if i liked the first one or not. i can't remember it being on my iPhone for very long either.

very nice indeed.

scratch nerds, pharaohs of funk and switchblade sermons. if anybody has that rucker tape please upload it. thnx.

i scratch regularly but i gave up all hope a long time ago of ever becoming even remotely good. now i just scratch for fun. i can't be bothered stressing myself trying to learn those complicated scratches. transforming and crabs. i'm happy. i try to incorporate some wonky scratches into some of my tunes. luckily i don't need to be super technical to pull off the sound i'm after.

bonsai rape IMO.

just wondering apart from doing "live" work, how does ableton fair as a standard compositional tool for studio use? it really has taken over the EDM scene in the last few years and i'm wondering should i jump on the bandwagon or stay on the hate train. as far as renoise. well x2k is right, it's a tracker. and like he said they were quite popular, especially in europa, during the early days of electronic music. essentially the main difference between a tracker and a more traditional DAW is the interface. this versus this everything goes vertical instead of horizontal for a start. there is no piano roll or audio clips either. basically to sum it up it's just vertical step sequencing. renoise, and all trackers, are sampler/sequencers. so if you are working with drums it is great. you use pattern commands which you type in next to note values. these commands have various effects, such as delaying the note, retriggering it, turning an effect on or off, etc.. probably the biggest advantage that renoise offers is speed and workflow. once you get used to it everything else seems retarded, especially for drum programming. but you're not doing things in it that can't be done in other programs. it's really just about speed and ease of use. for all the talk of trackers being difficult to learn i actually found renoise very easy to grasp and it made more sense to me. i guess the interface throws a lot of people off. if you are working with recorded audio then renoise would be a no-no as it doesn't use audio clips. but if you're just working with samples and plugins then it really is one of the best tools for electronic music production. it also comes with some great (although simple) native fx. it's priced really well too and the demo is non-restrictive. except you can't save. so try out the demo and see what you think. this guy has four videos that should help you get started.

well i'm going to attempt to form a semi-serious argument here. nowadays that group of people who is able to make music has widened again (from people in studios, to dedicated pocket money savers to anybody with a laptop). the problem with comparing software with physical objects is kind of complicated. there is sometimes no potential loss to the developer if somebody pirates their stuff. people have to remember that not everything pirated was going to be bought. the waves plugins would be a great example. they were pirated to hell, simply because people thought they were the best plugins because they were the most expensive. the majority of the people who pirated the plugs wouldn't have bought them if cracked copies weren't available. the reason being is that the majority of the people who pirated the software were bedroom musicians and the software ran into the thousands. i can understand that it must be frustrating being a software developer when people talk about pirating software as if it weren't an offense but my previous comment was really just echoing what is already happening, and what will continue to happen. and while it would be naive to say that pirates don't need commercial developers (the fact is that money equals more time and energy being spent on development which leads to a better product) it would be equally naive to think that software developers will only exist as long as somebody is buying their product. there are a whole host of free plugins out there that are really high quality. while they may not be up to the overall standard and flexibility of paid plugs, this will obviously change as the years go by. i really have no problem purchasing software if it's fairly priced (i've spent hundreds, not thousands, on software myself) but when you are living on very little a week and maybe have a family to support (not that i do) and if your music making is simply a nice hobby you have (which let's be honest it is for the overwhelming majority of people, wheter they like to admit it or not) it starts to become really hard to justify spending upwards of 150euro on a single plugin when you can as easily get it for free. i really have no delusions about ever making money from music. i simply make music because i like to make it. i also have no delusions about how software is created. i know it just doesn't magically appear. unfortunately i also am aware of how business works and i know that if every company could charge 500euro for a single plugin and get away with it then they would. i hope that piracy will help drive the price of software down. because driving the price of software up sure as hell isn't going to curb the piracy problem. as for extra incentives for purchasing the software. i personally believe there is little. i have cracked plugins and plugins i've paid for and i've never really had any problems with the software acting all crazy except in the case of plogue chipsounds which i had ironically paid for so i was able to email them for assistance. i also believe that the argument that "if you buy a softsynth you will learn it. if you crack everything you will only skim the presets" to be unfounded as it really all is down to the individual. for example i have no problem with downloading cracked software but that doesn't mean i'm going to go out and download every single crack of all time. no. i download a lot of demos and a lot of cracked software and i delete what i don't want. out of the softsynths i have the paid for synths (the native instruments komplete bundle) actually get less use than synths i've pirated (albino and circle). remember this is just my personal point of view as a consumer and as an end user, you as a software developer, consumer and user (and obviously different brain) will obviously have a different view from me. like i said i have no problem with paying for software if it's fairly priced (renoise and reaper being examples of sequencers which are extremely fairly priced IMO when compared to some of the bigger players) but i, like many others, sometimes want to use some tools that may be a little bit out of our price range.

why does everybody love ableton so much? their fans are like apple nut jobs or something. i program my drums in renoise and mix and do everything else in reaper. i don't do anything live. do not get hardware because in this day and age when you compare software to hardware, then hardware is a luxury if you have a lot of money.

just crack something until you start making money.