whats the swing on drum and bass

psitech wrote:yeah i knew that but i mean can you hear the difference in realtime when recording whith note repeat?... this function is not necessary but it would go bit faster to record some basic drumrolls, i just got used to doing it this way on the 2kxl and it would sometimes lead to some interresting rythms would'nt thougth of otherwise

Nah I just tried it out. It would only shift the notes manualy not live. That would have been nice though. I guese they overlooked it or reguarded it as a bug. Time shift would be a nice feature to assign to a qlink fader. I will def try this out on my friends 2kxl though.

another cool thing would be if you could assign different timing on different pads so when you record something you could have the usual settings on the main kick and snare and other on ghosts and some hats and it would be easier to get some complex rolls and rythms just using the note repeat and pressing pads... and perhaps having a random timing button and all in realtime of course.... man i wish i knew how to program so i could make an os version that could do that if the mpc is powerful enough to handle playing different time settings at the same time that is

If we could find out what code its writen in I would be dedicated to learning how to do stuff just like that. When you think about all the different things you could do with the mpc as an interface for employing ideas that are more modular in thier nature, its capabilitys seem so much more astounding. Without knowing what the source code is the best we could do is max msp and reaktor 5 as slaves.

At the same time though I completely understand why akai didnt implement such a thing. I mean just look at the dificulty people have with the basic functions.. most users arent ready for something like that and it would just be a waste of the programers time.

The earlier later is a function of shift timing and doesn;t work in real time, TC is the only thing that works in real time.

TC per pad would be hard to keep track of and would complicate things unless you were methodical and organized about it, and even then it would be more to remember.

THis is one of the best threads I've seen in a while.

to be honest i think you are all worrying about the numbers too much- its gonna be rare that two same dnb beats have the exact same timing- you should spend the time getting used to moving your hits around til they sound good rather than focusing on exact numbers...

i only mentioned the push-pull because ive noticed that its reoccuring when i program dnb...its cos its based on breaks- doing enough of it gets quick templates in your head (like moving hats forward by 2 etc) but you'll find you will always have to tweak them....

one beat i made had the hats all over the place and the groove didnt fit 4 bars- i had to make an 8 bar groove for the hats to fit proper-

greg

whats the typical bars measure then for stuff like this 4-8, i tend to use 2 bars for evrthing then just use the repeat function in song mode,

and a quick refresher course how do you make your chops 1/4 ,1/81/16 th notes,
i usually just chop them in the zone field and chop them to where it sounds to where i can use them.

damn it's getting complex in here, i love it thou. great stuff guys.

dj e.d.e wrote:i usually just chop them in the zone field and chop them to where it sounds to where i can use them.

Using zones to chop works well if you're going for individual hits........but if you're chopping the break into larger pieces, it's better to sample the whole break, then select pieces and use the Edit >> Section>New Sound function. It's more flexible, because then your different pieces can contain some of the same drum hits, depending on where you chop........and you can make the length of the chop however short or long you want it.

Good thread. Great insight from some of you guys.
I haven't made a jungle track in years, or even listened to much jungle/DnB since it was "the big thing" in the mid/late '90s..........after hearing Threshed's tracks, I see that some of the people who have stuck with it have evolved way into the future. Very inspiring.
It reminds me of how BBoying went out of fashion in the public/media in the mid/late '80s.......and it went back underground, with dudes evolving into crazy wild styles - unbeknownced to the public at large.

here's a beat example made using note repeat... it would be hard to do this by hitting the pads...
http://files.filefront.com/example/;416 ... einfo.html

dj e.d.e wrote:whats the typical bars measure then for stuff like this 4-8, i tend to use 2 bars for evrthing then just use the repeat function in song mode,

and a quick refresher course how do you make your chops 1/4 ,1/81/16 th notes,
i usually just chop them in the zone field and chop them to where it sounds to where i can use them.

damn it's getting complex in here, i love it thou. great stuff guys.

I use a simple decompiling method. Say I start with a two bar break.

I reigon/zone it into two and segments. Then I chop into 4 segments, then 8, then, 16 and so on.. all segments are chopped from the original break so you dont have to go finding the smaller segments to chop from. And sometimes the math will be different so do a good job of counting off your peaks and listening close for ghost snares.

After you have it choped go to your pad assign start hiting the pads in order and rotating jog dial one click per pad and it will lay them all out from largest to smallest. Some people might prefer going from top to bottom or left to right when placing the sounds on the pads. I prefer top to bottom. One more thing to do when you assing is to seperate the different sizes into different pad banks. And set the progam to one shot.

Most of the time these day I just use single hits, but the said technique is good for anybody learning to program at higher tempos because you can use the larger segments as crutches untill you can easily work with the single hits and you still keep the flexibility of the break intact. Its nice because you can preview a segment of a break and then you realize you want only a part of that break you can go through your pad banks left to right for the smaller segments of the break. Its like a magnifying glass. And you will see with 16 hit breaks that the its realy easy to find what your looking for because of the pad layout. The proportion and size of your segments fit perfectly with the mpc. Alot of people would be pretty pist off at me for telling you all this but i dont care.. I would rather up the game and help the music itself grow to its technical and expresive potential. Oh and dont forget to do this instrumental phrases too.

psitech wrote:here's a beat example made using note repeat... it would be hard to do this by hitting the pads...
http://files.filefront.com/example/;416 ... einfo.html

Bad Ass! I would recomend using more breaks and fills with differnt filter types. Sounds realy organic so it would be nice to hear it grow and evolve.

threshed wrote:

psitech wrote:here's a beat example made using note repeat... it would be hard to do this by hitting the pads...
http://files.filefront.com/example/;416 ... einfo.html

Bad Ass! I would recomend using more breaks and fills with differnt filter types. Sounds realy organic so it would be nice to hear it grow and evolve.

Thanks!! yeah most of my beats end up like this.. i know i should take the time to work on the structure of the tune as a hole piece but i start playing with a new beat and loose my focus... or something, i dont know i'm just a bit lazy i guess

you and me both i feel you on that^^^

when i first started -99 whith only a 2kxl i had no problems finishing a tune, i probably wasnt so critical... ("critical" is that right?)... on myself back then... and i lost my job about a week after i got the mpc so i had alot of time over sitting with the mpc

psitech wrote:here's a beat example made using note repeat... it would be hard to do this by hitting the pads...
http://files.filefront.com/example/;416 ... einfo.html

Could you break down the logic and method involved in this? I understand the how to, but I think there is something I can gain from the perspective you used when implementing this strategy. I like it because it sounds almost exactly like a complex pattern created using delays but its more solid and less scattered. It would be neat to make large curves with it.

pretty simple really.. just different time signatures.. and the second sequence function, by having 2 sequences playing different tsigs at the same time some crazy stuff can happen..

that example is just one 24 bar sequence with some different time sigs
and a... i think it was a 32 bar sequence playing some other time sigs
meaning when the 24 bar loops it starts a completly new pattern
so it has to loop a certain amount of times before it starts to play the original pattern..