DnB Producers?Bassline Question...

Is this JJ thing useful for darkside basslines or should I get a replacement S5000?Basically can it do a proper Akai style instrument program, and have a good realtime HPF and reverse envelopes?I see that there is portamento but I can't find much on what the programs are capable of.I would love to drop waveforms from my DSI MEK into my MPC and rinse shit out all proper.I'm probably asking too much, but it would be nice not to have to drag the 5000 around again like before.Cheers.

I think it should be possible.

i dont do dnb on the mpc ,but already made some
reeces with it, using layered programs and realtime sliders. but you should have a look at os2 and its envelopes.

but hey, have a try and see what comes around.

i haven't really been keeping up with what's happening with the jjos2.0, but the last time i looked it over, the main problem you would have with using that is that it doesn't use loop points.
if you've already had an s5000 before and you liked the way that operated, i would suggest getting another one.
to me, not having loop points is pretty crippling as far as doing pads, strings, or basses with samples.
other than that, you could do about anything you want with a 1000 and jjos. and i guess you could always do anything you needed loop points on with software and then transfer it to the mpc.

agreed. we have a kind of trimmed down loop point, where the end of the loop point is by default the endpoint of the sample selection...

ideally, the loop points would be freefloating w/ adjustable and independant start/end points.

the way it is currently, it's on you to rebuild the tail of samples such as JP was talking about with specific release tailoring. not ideal. it does work but could be better, and when/if we get crossfade loops in trim it will help a lot

actually one time jp had one of the coolest ideas for the future of loop selections within samples, i hope someone picks up on it someday.

good luck with that.

when I produced dnb (under Defiant / Gein -- buy my records LOL!) we used to spend a week in logic processing mids. layer, detune, process, bounce... load into an emu--layer, detune, process, bounce... load into kontakt... repeat...

the filters on an MPC, or most samplers for that matter aren't gonna cut it if ur trying to do anything of release quality... just way to much processing required for the MPC to be useful for that purpose. pendulum, noisia, etc... they all do what I described (I've worked with them) but who knows, you could end up being the first big MPC dnb neurofunkmaster

oh missed the other question. dont get an akai sampler dnb... great for hip hop, you can't beat the envelopes but you dont wanna be doing a ton of filter processing work on that.

EMU z-plane filters all day. just can't fukkin beat a z-plane... should be able to find one on ebay for pretty cheap. I think I had a 4xt and even that lesser model rocked it. not to mention internal mixes on an emu sound so spacious. its amazing and so obvious what tracks we made on an emu and what was primarily done in logic

The Akai filters are what started the joint.The Akai 1000 to be exact, The 5000 has tons of filters.The 12/dB HPF in the Akai 16 bit sampling engine with it's aliasing artifacts create that super rough UK sound.The Emu is too warm and precise for my tastes.Great sampler I suppose but the screen and modulation matrix of the S5000 tear it up IMHO.So, I guess another 5000 it is.I'm considering software but am not sure though cause I keep looking for an Akai sound quality.It's such a big heavy beast though.Well, thanks for the info.Cheers.

My understanding of the history of D&B production is that most of the early stuff was done with Emu stuff if it was made in the States and Akai if it originated in Europe. Much of it was sequenced with Atari ST/Falcon setups as they needed the Atari timing and resolution spec to make those numbers work.

The Emu does have some very smooth analog filters that would produce a rather different sound than the Akai digi stuff, but then again there's nothing stopping anybody from using external filtering w/midi control regardless of what sampler setup is used.

jkp you're right... it started that old jungle sound with big nasty amen beats and all that. true. thats when all they had were chopped breaks and a sine rolling underneath it.

but no one makes that 160 bpm, source direct style shit anymore. not to say you shouldnt but its def not something with any public market.

i was just tellin ya what we all used to do... i was real good friends with noisia, pendulum, infiltrata and photek and those guys swear by the EMU zplanes although yes, it is more smooth... definitely for making those morphing basses

not to sound like even more than a cock than i usually do but i have releases on moving shadow, freak (dylans label), habit, g2 and magic vinyl and everyone of those tracks, the EMU took part in.

now the sound is so played to me... nothing else to really do ... its all about zero-dynamic loudness wars now ... so im on my hip hop/rnb tip.

plus i like not living on a couch

(that said: im looking at an akai sampler right now with no emu in sight )

Yes, I have noticed some twisted stuff coming out of ATL Hip Hop that sounds like a DnB producer had his fingers in the cookie jar.I actually produce more Nu Skool Breakz with an Electro twist now.I was throwing around the idea of doing some DnB parties in Kakalack just for ha has and wanted to do something proper though.I guess the couch still suits me fine.My little excursion into the hip hop world earned me a 3 yr. bid that just ended.LOL.So, I've sort of written it off.The DJ/Producers in DnB I prefer go along the lines of Simon Bassline Smith, Andy C, and Mampi Swift.I must say I am surprised that DnB still has the same approach pretty much after being down 3 yrs.In a way to me there is still alot of territory for exploration if you use your own approach.I really like the ride of the mix still.Besides, Big Money, Guns,24" wheels aside, I found that the struggling rappers believe their own hype too much.But they all scream like little girls when you put two hot ones in them I grew up in ATL so I learned from the best or worst, take your pick.Now I'm just trying to avoid the crowd that makes my trigger finger itch, so to speak.Cheers.

i gotcha bruh... you in the cack now? i gotta lot of friends from Colombia... b-phatz has bought a few beats from me. he aint super big but i know he's been rockin mixtapes up there for a minute. not sure if you heard of that cat -- real nice dude.

if you hear anything outta the block ent, grand hustle (watch for the big kuntry album, im all over that), and dj toomp with a little bit of that DNB feel, it's def been me. it's a paycheck for me as no one asks me to change my beats up at all... once it leaves my spot, i dont give a **** what they say over it. im makin my own shit and lettin it ride. ive been real lucky... my spot is right next to toomp's so i just take cds over there all the time and come back and find someone's on that shit. i used to work in marketing, so before i was any good with hip hop, i talked the talk and got myself a lot of ins. now im doing a lot more walking and never had a chance to get called on my bullshit lol

lemme know if you're ever in town... id be down to jam on a dnb bit, maybe show ya a couple things or just fuk around. i dont do it anymore as mayhem is the main dude in town and he has a baby with my ex girlfriend so needless to say, we aint exactly homeboys. that **** still owes me 2gs but its whatever hahaha... lemme know wassup mang

man im mad censored lol

i gotta get better at gettin round that.... i never understood censorship on boards but hey, it's their house, im just a guest.

pendulum, noisia, etc... they all do what I described (I've worked with them)

awesome !

can you tell me how pendulum achieve those rolling crash sounds in their ride patterns ?
I've messed with a few things (eg samples ,attacks and releases, layers ) but can't quite get there , any help would be much appreciated...been frustrating me for a while.