I was asked to "roast" the mix of a songs by one of my patrons, so hey, I'm up for that!
Going thru what I'd change in the mix in my DAW.
I do this type of feedback every week.
I hope you'll get something out of this; listen to this in a decent environment.
I usually do this for Tier 2 members (I do plenty of feedback outside Patreon too).
2025-02-07 09:39:25 +0000 UTC View Post
The questions “What hardware sampler should I buy? What’s your fave?” probably rank among the most popular ones that I've received from people over the years on socials. People have been asking me stuff relating to my various fields of expertise on socials / over the internet for well over 20 years (that's quite literally one reason I started Patreon in May 2020 and moved most of my postings relating to my expertise here).
Even today, as I was sipping my morning coffee, I got this Q on my IG DMs, plus the hardware sampler topic surely is one that has been mentioned in Patreon requests several times.
This is why I thought I'd write a little bit about what I usually have to say in the context of the question here. I'll speak about some hardware samplers I've used and some I still use and which I still can recommend.
I want to add this post is absolutely not supported or paid for by any company mentioned.
There may be samplers you think should be on this list, but they may be missing because I never owned it or found it worth a mention.
I am thinking, over time I may actually update this post with sounds – would that be nice? I used to have a big sampler shootout in my Soundcloud maybe 15 years ago but I deleted it and have regretted it since. File that under "Forthcoming Patreon stuff!" ;-)
In all honesty, if you're asking this question, you probably shouldn't. People who usually want one usually know the answer to this, so I absolutely am not trying to sell you a hardware sampler.
The reason I used to use hardware samplers a lot in my past and especially my most formative years they were great to work with, while the then current software was not (clunky, heavy, and CPU power was a far cry from what it's now).
I actually started making music in 1992 with Amiga and its Octamed software (Finnish like me!), but I didn't get to hardware until early 2000 when I bought an Akai s2000 that I sequenced with a cracked Cubase for a while, and then got my first MacBook somewhere around 2005 maybe (memory is a bit hazy). That Akai s2000 is not one would fully recommend, though.
There are a few reasons I'd point out.
1) It is a device dedicated to playing sounds. Dedicated to making music and nothing else. They can't go online. You don't do tax returns with them. To some ppl this is important. It can lock you into "the zone". If you agree that reading a physical book feels nicer sometimes than reading the same thing on an iPad, now there's a hint.
2) Many of them very rarely crash or pose any future compatibility issues. A song you make with them today may well work fine in 20 years if the sampler still works. We all know how annoying it is loading a 10-years-old DAW project and running into plugin issues…tech moves quickly, too quickly.
3) Some of them definitely offer a sound advantage with the character you get thru sampling sounds in: it has always been part of my style to sample things in a bit hot, which clips the sound and colors it a bit. This can be very seccsy with drums and bass, in hiphop, jungle and DNB.
What most samplers also offer is some dirtification by the age old method: pitch the sound up at the source (say 12 semitones) and then pitch it down by the same amount in the device. Even with some cleaner samplers (such as Akai s3000 and EMU e5000), this will give you noticeably lo-fi results, especially when using lower sample rate.
4) Some claim and have done tests and said that when pitching sounds up and down via some hardware samplers seems to do a better job than some modern software samplers.
5) Nostalgic vibes. This is the hardest to explain, and I won't try and sell it to you, but using some gear that some of your musical heroes use or used a lot can put you to a certain mindstate as you feel the musical history wings flapping around you when you rock it: e.g., DJ Premier with his MPC 60 and Akai s950 (the former for sequencing, the latter for sounds), DJ Teebee with his E-MU Ultra, Marco Polo with his MPC 2000XL, Paradox with his Amiga and rack Akai…list goes on. And hey maybe Fanu with his samplers too ;-P
This def applies to DAWs too: it may be you love Drake tunes and have been looking up to Noah 40 and his love for Native Instruments and Pro Tools.
6) Working with these slow devices somehow lock you into the zone. It takes more time, but when you're actually using some of these relics, it may improve your focus (because you're not switching from your DAW to socials or emails every five seconds).
I do make an absolute ton of music with DAWs only, so hey I'm trying to sell this to you.
7) Sounding different. Want to sound different from your average Joe rocking an average DAW sounding average? Grab an old sampler and run it thru a desk and you will immediately develop a different sonic character, and that in my book is a lost art.
We could do a simple split into two categories: those that have a sequencer and those that do not. The ones that have a sequencer you can rock on their own, because they are standalone devices. Those that do not have a sequencer in them you have to play and sequence with your DAW. I have done both.
Now let's get to the actual content. I emphasise I absolutely am not trying to make this an exhaustive list of features or anything: these samplers, and their features, are the ones I usually mention in the context of hardware samplers.
To me, hardware samplers going thru an analog desk have always been a combo as essential as coffee with milk, tea and milk, bread and butter…I rarely have one without the other.
When you sample things in a bit hot and then add a bit of analog desk distortion, it really brings things to life. I almost cannot speak about not using a hw sampler without a desk.
Another consideration is that some old samplers tend to break and need fixing at times, and that is a long story.
This one can sound real crusty if you want, because you can freely alter the sample rate prior to sampling, which has a big effect on the sound. You can get fairly clean sounds, too, but you can go super low. It is surprising that this feature has rarely been offered in any other sampler later on, because it is interesting to say the least, when sampling some sounds and comparing how they come out at different sample rates. If you make really lo-fi hip hop or jungle, this guy might be for you.
It has an analog filter, for those that want that, but the downside is, you can't control it with midi CC: you can only control it via envelopes (settings per sound can be applied) or manually as you go. So you can't draw filter curves with Ableton Live like you can do with so many other hw samplers.
It comes with a built-in sinewave, which actually sounds really good somehow and many producers have used it for their productions. Drive that a hair in an analog desk and experience the fatness. Instant jungle and hip hop hotness.
Downside is it can't use more than one midi channel or program at a time, so all the sounds you have you're going to lump into one program, to different keys. So no one program for drums, one for bass, etc…just one program. Later Akais improved this with their multimode.
The s950 offers timestretching while s900 does not. Akai timestrech is a big thing for some people.
This is a mono sampler, so no stereo sounds, I am afraid. Then again mixing in mono will help some people.
CAN ping-pong loop a sound unlike many oldies! Can use modern, proprietary third party memory stick reader. Cannot chop samples.
Hear my tunes Truth Blues or Ain't Got Not Bacon for that Akai s950 vibe. My tune Reverse Dawn has s900 drums (my Patreon has a walkthru of the song).
You will nerds debate sound differences between the non-XL models and XL models, but unless someone actually proves it to me, my take is that there is no difference: they all sound the same. They are from the MPC3000 era and sound great.
The S series bring FX to the game, and they actually sound good. Fun fact: you can actually use these models as external FX units (for example if you have a hardware desk), which shows how forward-thinking these were.
Effects are stereo, and so is the sampler in general.
All these samplers have a certain punchy sound which works really dang well for jungle, hip hop, etc.
You get two sampling rates, 10K and 20K, only. The latter is kind of clean, but try sampling a sound with 10K pitched up and then pitch it down in the sampler, and you get nice lo-fi audio seccs. Tasty with drums.
Akai brought their multimode to the game with these, so you can create programs for different channels for better sound hygiene: I always create programs for drums, bass, samples, etc.
You get low-pass and high-pass filters, and one thing that sounds particularly good is using the LP filter, keeping it pretty much fully open, but then applying resonance to it: it gives drums this amazing sheen…I use to do that a lot.
Cannot ping-pong loop a sound. Can use modern, proprietary third party memory stick reader. Cannot chop samples.
You can timestretch samples: hear some of that in track Amen Demo Mode.
Filters can be controlled via midi CC values, so it's nice drawing filter shapes in your DAW.
I have created a ton of music with Akai s3200XL: hear Crusty-Ass DS165 or Too Blessed To Be Stressed or Drumsö Fuzz.
I'm putting these into different categories than the other S-series Akais, because their OS is different and they have a big old screen that looks nice. S6000 allows for detaching the front panel. Amon Tobin used to have one!
Offers the same features as the above S-series, but a bit more and feels and looks more modern.
It has reverb and delay FX that are very usable.
Sample editing is faster and more convenient than with the earlier models.
CAN ping-pong loop a sound. Can use modern, proprietary third party memory stick reader. Cannot chop samples.
I made the tune From Afterlife She Speaks with an Akai s5000.
Also Sekl - Control Signal (Fanu Remix) was an s5000 job.
These got really profiled into DNB somehow, more so than some others, probably because they offer much more in terms of modulation thru their Cords.
While Akai is more bare bones and sounds great and is easy to use, EMU caters to the more technical crowd, and this is why DNB guys picked it up.
It has a variety of filters and they can be controlled via midi CC values, so it's nice drawing filter shapes in your DAW. Also you can control those nicely via all the Cords action.
Internal distortion for basses sounds absolutely great (via sample gain), and there's an enhancement feature called AX that adds a bit of sheen to sounds. Distort that bass, add some AX to it, assign it to a complex filter, control it via your DAW and sound like in my tune Recharge…or sound like classic old DJ Teebee.
I've never been able to prove it (I haven't tried…) but I always felt that EMU punches slightly less hard with drums than Akai. Just a feeling. This is why I used to use Akais for beats a lot, and EMU often handled bass, pads, samples etc.
It can resample (see video), unlike so many other older devices, so that's a big plus for sound design ppl.
It offers basic reverbs and delays that are OK, but there is an (expensive) expansion card, RFX-32 that is a bit rare now, but it vastly expands FX and internal routing options even more.
So this is easily the most advanced of all rack samplers ever made in my opinion.
My old tune Siren Song was made at least partially with an EMU e5000 Ultra.
Happy+sad anecdote: I sold that sampler at one point, but years later the buyer got in touch, asking me if I wanted to buy it back. I did. One of the first things I did, accidentally, was format its hard drive that had Siren Song parts in it. So much for remix!
So I still own the very sampler that I used to produce the most famous song in my career.
Cannot ping-pong loop a sound. Can use modern, proprietary third party memory stick reader. Cannot chop samples.
These sound so badass. I have both.
I ordered my SP-1200 from Alaska They are known for the aliasing you get thru sampling sounds in and playing them pitched down. Some love it, some hate it, and it ain't for every sound, and it's been overdone. But it does have a very distinct sound.
It does one thing that isn't often mentioned, which is part of the sound, and it definitely enhances transients. This is why it punches harder than any other sampler out there. This is why hip hop heads love it so much.
When you make beats with this, you don't have to emulate lo-fi: it IS the lo-fi.
It does have a sequencer, which is kind of limited and annoying. Absolutely not for sequencing fast music with lots of 16th note action, trust me on this one.
Sample editing is super limited and annoying. In a nutshell, it is an annoying old-ass device that sounds absolutely 10/10 for some styles.
It is very expensive and has enjoyed a lot of hype thru internet, which has raised the prices. But it's one of things that still hasn't been 100% emulated, but a good contender is the espi app by Low Hiss, which I can recommend. It is possibly equally painful to use as the real SP, especially if you don't use the app with a touchscreen.
Cannot ping-pong loop a sound. SP-1200 can use a modern, proprietary third party memory stick reader. Cannot chop samples.
Sound examples: Heinäkuu by FatGyver, Funky Haaga Shit by Fatgyver, and one of the best hip hop albums ever made, Temples of Boom by Cypress Hill (prod. by DJ Muggs).
This old boy isn't the fastest to use, but it has a sequencer and it does sound quite nice. You can "compress" sounds which makes it more lo-fi.
The sequencer is actually really nice to use, especially for its age, and especially if you buy the aftermarket ones (you can get the chips off eBay). I'll skip the details. But you can really tell it was designed by a person who wanted to design a machine that is made for rhythms and which is nice to use. It's frigging big, too, which adds to the charm.
It doesn't have a filter, unlike MPC 3000 (which definitely deserves a mention, but the only reason I am not mentioning it is I've never actually owned or used on but I know it's great as its OS is the same as in the 60).
Annoying downside is in some units, low sounds tend to click way too easily. Mine does it too. There's pots inside that should fix this if you know what you're doing, controlling DC offset or something, but I can't be arsed (tried once, didn't work out).
I make a few beats every year and whatever reason, they do come out hecking punchy and large. No FX, which can be kind of fun, too, TBH.
Cannot loop a sound at all. Can use modern, proprietary third party memory stick reader. Cannot chop samples.
Sound example: High and Dry by FatGyver, Letkis by FatGyver.
One of the questions I've had a lot is "If you got to keep only one device, and it's not your computer, what would it be?" the answer is easy: MPC Live or MPC One (then again, if I had to make a selection with a DAW plus an old rack sampler, then it'd prob be my EMU e5000 Ultra or Akai s3200XL).
These units are modern and hence absolutely superior in terms of sample editing and sequencing compared to the old units. I love making music with the new MPCs.
I get asked about these guys a lot so wanted to mention them for that reason as well.
Loading samples and projects is fast, they can be saved on modern SD cards so backups are easy, and in a nutshell they offer a whole plethora of modern conveniences.
I'm in MPC tester team and can say the future is bright, but can't say more than that. I know that right there may sound like Akai sponsored this post, but that's not the case. I wouldn't even be in the tester team if I didn't love the product or actually like making music with it (in general I can assure I will never promote a product to you because someone'd pay me for it; this music thing and certain integrity is too important to me).
Chopping is a breeze and touch screen is definitely a nice touch.
Can ping-pong loop a sound. Has a memory stick slot. Can chop samples.
Some criticise the new units for not sounding like the old units: my reply to that whinery is here.
Making music with trackers is so different from using any other device. It feels like coding, which doesn't entice me one bit BUT tracking does!
I started making music with Octamed on Amiga (video) in 1992, so getting back to tracker action every now and then warms up me old heart.
It's a slightly limited device, but one that somehow improves your creativity, because the right amount of limitations.
My tune Marshall is largely Polyend Tracker work.
It can resample a highlighted part of the sequence, which is interesting for sound design and sampling.
One feature that doesn't get mentioned much has to do with the fact that this device can actually sound crusty, too, if you want, thru its settings for anti-aliasing, and if you flick it off, there's something happening that, to me, reminds of how the SP-1200 sounds: kind of dirty, but often in a good way. There's also Extra Headroom and Limiter modes, and with those, you can inject extra aggression into your sound.
Can ping-pong loop a sound. Has a memory stick slot. Can chop samples.
Well, that's it.
If you read this far, I salute you! 🫡
Funny or not, writing all this made me crave for more sampler action in my life, haha.
Feel free to shoot Qs and I'll try and get back.
Let's add that "sound examples for various samplers" to the ever-growing list of Patreon things to do.
2025-02-02 11:33:05 +0000 UTC View Post
As I'm working on yet another song of mine, I thought I'd share a few tips/tricks/thoughts relating to it.
The WIP is here so you can hear it to get more out of the video once you've heard it – not fully finished yet! It's from a forthcoming FatGyver album of mine.
It's small stuff, but I think it's the small stuff that actually makes a big difference in how the song flows and how it energy works. In other words, nice little improvements make the song that much nicer to listen to!
Want to emphasize, I'm not done with the mix, so I'm still in songwriting phase – I'll finish that last, once the song is done, so ignore the mix as it's prob as strong as it could be...needs some EQ etc.
The release version will be a bit different.
Hope you'll pick up a few little tricks…small stuff goes a long way in making a song nicer!
2025-01-28 15:49:15 +0000 UTC View Post
Hiya free members!
I uploaded this video so yall could see it as a nice enticing taster of what I have to offer my paying members 👌🏻😎
If you want to see TONS more content like this, please become a paying member and start rummaging thru my content (videos, samples, collections)….it’s a lot.
But for now, enjoy – this one’s on me! 👊🏻😋
2025-01-25 17:33:53 +0000 UTC View Post
Very simply, I’d love to know what YOU would like to see me cover on my page.
I’ve been running this page for almost five years and done 270+ posts (phew! Have you checked out them all, browsed to the very bottom?) and I obviously have a long list of things planned and coming.
But now YOU can have a say, so let me know what you’d like to see me cover around these parts!
EXAMPLE: One new video idea I’ve been having: producers could send me tracks and I’d make a video about then commenting on them (mix/production/idea). A bit like Timbalands similar vids. I’d of course need some tunes from some of you :)
2025-01-24 19:50:43 +0000 UTC View Post
I have just created a new collection: BASS (<- link).
Contains all bass-related posts!
PS: That's an old pic of me with my Genelec 8350 (I still use them and have mixed and mastered two truckloads of music with them in the past few years).
The amount of comments from ppl that I have small speakers after they've seen my studio pics and don't understand perspective and that they're far from me, haha…then I've showed them this.
I'll buy Genelec 8351 one day.
I’m doing this DNB mix+master and its really low bass needs some special attention…let’s use clipping to help it.
USE HEADPHONES OR GOOD MONITORS or you won't hear a single change…this is not for phones that much 🎧🔊😋
Not every song and its element is 100% ideal, and the bass department in this song isn't the easiest, so I'm trying to help it a little bit.
I'll do a bit of on/off, and also at the very end, blow up the bass completely so you can hear what clipping can offer to your bass, so that's the tip.
Let me know what you think!
Haven't sent this to the label/client yet, so I'll have to see what they have to say 🤞🏻😋
2025-01-17 14:08:45 +0000 UTC View Post
I want to be talking about EQing a bit and do a few lessons.
I thought I'd either do one megalesson – or a few shorter ones, and decided for the latter.
So let's start by talking about finding resonances with EQ and also check out bloom VST real quick.
A lot of times it's fairly simple: you only need decent ears and a good clean digital EQ that allows you to solo its bands to find a resonance and take it out.
In this video, I'm finding resonance on a vocal on master, and also on an old drumloop, and I'm doing manual work but also using a trusted resonance tool.
A very common resonance spot is around 3K on vox, instruments, etc.
I was asked to do quick feedback (remember: I have feedback tiers if you want it!) on this rap mix/master (the song you hear was not treated by myself), and one thing that stuck out to me was the vocal resonance, so wanted to show you how I find it and how I'm taking it out.
Remember, when you're cutting a master signal, you may be cutting into everything, so be mindful about where you cut and how much.
In this vocal scenario, I'd ideally go to the vocal and cut the rez there instead of master – as i think this may be cutting a hair too much into the snare (which I actually found a hair loud, so in a sense, it's helping a little in that regard, too) but this is not my mix or master, but I still think I can help the master resonance in this one.
After all, I master stuff all the time and it's my job to find resonances.
I can't sing high enough praise for bloom or soothe by Oeksound, so wanted to use bloom a bit here on an old whistley-sounding drumloop.
2025-01-12 10:15:11 +0000 UTC View Post
60-second quicktip time!
Every now and then I get kicks that distort too much.
The good news is you can try and make it better, as the distorting part often happens after the punch part.
Shaperbox filter module is a godsend for this. Also, what I often do to kicks that have subby tails is use its volume module for overall shortening/tightening.
2025-01-07 16:40:42 +0000 UTC View Post
I have Breakbeat Intelligence Agents (BIAs) working for me around the world, reporting to me about new breakbeat discoveries.
So here's a few you should know about.
I will make a video of me working on one of these – which one would you like to see? Leave a comment!
I admit there's two there I still haven't used myself, so I'm itching to make something and also have you see what I can come up with.
(Some of you have kindly asked for more written posts, and I definitely hear you: focus has been on videos, but I know videos can be long and need a lot of focus/time.
📺BTW, video lesson coming up soon: talking about EQing, as it's a big part of my daily work, so be on the lookout…soonish! Will def talk about MIXING as well as mastering this year too)
Things quite honestly don't get much funkier than this one. If you like this sort of music and drumsounds, we are friends. Was reported to me by UK BIA, Stephen C.
HERE is a clean download.
This one has been used in DNB, by Break in his song "Slow Down" (ft. Die)" which is a heavy-hitter, an absolutely classy banger. It's the type of the tune that if you play it at an event and ppl don't react, you may just quit the gig and go home and get some sleep instead.
TBH I've been dying to use this one, and making a song with this break in 2025 is def in the cards (been holding back with some ideas, as my album took a lot of work; will def do a tune with this this year!)
UK Breakbeat Intelligence Officer, Jarryd, reported this one to me yesterday, and I'm thrilled to say I've never heard this one before!
HERE is a clean download.
The punch and tone are great; should be great for DNB and hip hop.
Note that there are no ghost snares, BUT the snare roll in the intro might work.
For other ghost snares, steady choices could be THIS or THIS (downloads for those two here and here, respectively – the latter one was used by Danny Breaks in Solar Jive and Solar Funk).
I forgot who reported this to me, oops, but thanks, as this is a sick one: it sounds so big!
IIRC I haven't used it but I'm quite sure Fistfunk used it on his EP on my Lightless label (obviously I'm biased, it's absolutely sick DNB work…someone once called it "like black Danny Breaks" – oh and he's Finnish too!).
HERE is a clean version and HERE is one I've put thru an Akai s950 (nothing too aggressive on processing)
Hope you like them! More will come (videos and text posts).
I don't want to do a mega long list; I think we're all so flooded with info etc these days, sometimes it's easier to digest and focus on a smaller batch.
If you make something with these, feel free to send a link!
New stuff coming soon as always, as has been the case for 4.5 years, so stay tuned.
And hey happy 2025 – hope it's started good for everybody!
Was cleaning up my Google Drive and noticed I have a folder of tasty Finnish drumbreaks up there, so why not let ya'll have them.
There's 35+ breaks, and you probably haven't heard them before.
These breaks are mostly from a Finnish funk/soul label, Timmion, so check them out on Bandcamp: they have breaks on their tunes very often. And their tunes are honestly dope, and everything gets released on vinyl, too...great listening, great vibes, and it all sounds so 70s even though they're made today most of the time.
You simply can't not like them.
Make sure to buy something to support them, because they rock.
For breaks, look acts like Calypso King & The Soul Investigators, Myron & E, Cold Diamond & Mink, Didier's Sound Spectrum etc.
These should be good for downtempo, hip hop, jungle and that sort of thing.
Happy 2025 :-)
2025-01-01 08:22:57 +0000 UTC View Post
Transient plugin companies HATE this little trick…or something, ha 🤪
A less-known Ableton technique for sculpting extra transients for your drums.
You can also use this technique for creating extra bass filth.
FM is the name of the game!
2024-12-26 08:54:28 +0000 UTC View Post
What a year it's been! I thought it might be interesting to look back and see what went down
(Btw leave a comment and let me know where you’re from and how year went...I wanna know and hear from you!)
🎚Non-stop mixing and mastering music. Over 450 songs incl. full mixes, stem masters and stereo masters.
Full-time affair, clients varying from superstar DJs to hobbyists to major record labels.
RIAA award + Billboard nomination.
Ended the work year on a high note: another major mix (Warner/Atlantic).
🎛 My Patreon page kept growing, hitting all-time high member count (800+ as we speak). Been doing exclusive production and mixing content non-stop.
New series “Breakbeat Of The Month” has been a highlight.
Trust me, ain't slowing down! Will continue to create content for paid members.
🎧 Doing mix/production feedback/tuition on the side.
🎹 I managed to finish a 10-track album for Straight Up Breakbeat that I love dearly. It comes out in March 2025. Phew, I am so proud of it…watch out next year!
🎶 “Balcony Acid” EP came out on Metalheadz sister imprint, HeadzState…My 4th Headz affair.
🎶🎶 My “Stars” remix vinyl for absolute DNB legends Source Direct came out on Odysee.
🎶🎶🎶 Was honored to have a track “Piscean” on Laurent Garnier COD3 QR 016 vinyl compilation.
🎶🎶🎶🎶 I curated and released a DNB compilation “Breakbeat Brigade” by lesser heard artists on my own dear Lightless label. I’d love to do way more of this if I had more time.
🎶🎶🎶🎶🎶 A jungle single, “Green Fields Forever”, came out nicely before end of year. Thanks ODJ Dizzy for believing in my music: you’ve been inspirational since mid-90s.
😎🎹 Involved in NDA hardware testing for various devices
I am extremely grateful for all the demand and the fact that I do all this 100% as my living, from my work chair at home.
Hasn’t come easy and has taken (and does take) years and mountains of work, but it’s so worth it.
I couldn’t have it any other way: a decade of doing all this full-time and official now.
Now, a little break to work on more music.
-Janne
2024-12-20 14:13:18 +0000 UTC View Post
Found this dope break in a movie and you should have it too!
Did a bit of isolation work, compared the results, and got busy.
Get some strong eggnog and I hope you enjoy the video!
Wishing everyone super relaxing holidays with all your loved ones (and a lot of FOOD).
HERE is the cleaned up version done by Lalal.ai which I still find the best for these jobs.
2024-12-19 13:52:00 +0000 UTC View Post
D&B breakbeat re-creation time! I've been obsessing over this old J Majik tune on Metalheadz again because it's one sick tune in many ways and pretty much embodies so well what D&B is to me.
I've always liked its intro beat which truly is like nothing else.
The drumloop is clearly Soul Pride by James Brown, which I've gone thru in earlier episodes of Chopping Science (click here to see the other episodes).
I've obviously heard it many times, but never like in that song.
Now, let's try and mutilate and see if I can get close enough to what J Majik did!
I always encourage you to roll your own, so I hope this inspires you.
SAMPLE DOWNLOAD 👇
You can download the drumloop I made HERE (it's 166 BPM).
Join me for a breakbeat house type idea creation session 🎛👌🏻🙂
Been meaning to use this classic hiphop break for years, and I finally heard it again at a restaurant the other day.
Been also hungry to get a breakbeat house idea going AND combine that with a bit of Phase Plant wavetable bass design.
It call came together pretty nicely here!
Sometimes you have a plan (a lot of times I come up with some sort of idea or a vibe even before I start), and sometimes it works out, and sometimes not, but TBH this came pretty close to the "vibe" I had had in my head for days
(man, the times I was not happy…it does happen).
Man do I have breaks works lined up for 2025…just wait!
2024-11-27 10:27:43 +0000 UTC View Post
I have a big plugin pack coupon to give out. There’s some badass plugins in this pack – see below for description!
I’ll do the draw on Dec 3. Should you want this pack, just leave a comment. Applicable to all paying members (not free members, and your subscription to my Patreon has to be active on Dec 3 to be applicable).
Nectar 4 Elements simplifies vocal polishing with intuitive controls and AI features that remove the guesswork, while T-RackS Tape Machine 80 emulates the warmth of the classic Studer A80 tape recorder, complete with analog tape effects and unique tone-shaping tape formulas.
Enhance your mix with sonible's pure:verb for high-quality reverb that adapts to your input sound, and explore rich, flexible distortion with DriveMod, which combines modulation effects and powerful drive settings. Bloom Vocal Aether Lite offers easy-to-use vocal samples and textures to energize your music, while CUBE Mini introduces a whole new level of 3D sample morphing and sound design with 35 sample sources and deep effects.
For creative effects sound design, BLEASS Motion FX features modulated, sequenced effects with minimal CPU usage, while God Mode delivers enhanced harmonic distortion using push-pull technology. The bundle also includes Dawesome LOVE for granular, ambient soundscapes and SEQUND Lite for polyrhythmic sequencing, giving you a versatile, high-quality production suite—all without spending a dime.
I have new video stuff coming very soon, but to kick off the weekend, here's a little story here that’s always worth telling, and hopefully it can be inspirational/motivational to some of you.
It was autumn 2017 or so.
I had been properly musically depressed for a while; felt nothing was happening. No gigs, no remixes, nothing much. A real drag. Motivation was gone. This wasn't just weeks; it had been for months. Prob the lowest I had been for years.
I still had been sending music out for a while (I do have my own little Lightless label where I've stayed active, but it's worth it releasing on some other labels too, for the sake of reach).
I've always been one to set a goal and smash it: I've got a university degree, become Ableton Certified, moved out of the worst countryside to the capital city, and so on.
I've never been one to target tons of labels, but label-wise, I did have another lifegoal to smash: I wanted to get on Metalheadz, as to me, there is no higher authority in DNB, and no other label that's still strong comes close in terms of impact. Since mid-90s, I had been listening to their music.
To me, their Platinum Breakz 1 is still one of the pinnacles of DNB and I was listening to it on repeat when I lived in the countryside in my youth.
I had been sending music to them for many years. I've never been one to give up on goals, but I was about to let this one go after so many years.
The only thing I had heard back was some words from their A&R around 2007 when I did a bootleg of Goldie's "Angel" and also when I was shopping an album around (that I later released myself on my Lightless label as "Daylightless").
Sounded promising then, but things died out eventually (fun fact, believe it or it: Photek also nearly wanted to release that same album but never did).
Didn't hear back and I thought, you know, it's kinda healthy to sometimes say you really tried but this one thing will never happen. Sucked thinking of dropping one of my lifegoals, but hey, sometimes you have to.
So yeah, back to this autumn 2017. I had this one track on the go, slower stuff. Someone had sent me a breakbeat called "Baretta" via email just out of the blue and I had started working a song around it.
The break was really dirty yet banging.
Wasn’t sure if it was good or not.
I remember, it was Friday, and a friend who lived close sent a msg about housewarming party real close with free beer.
Man I used to love drinking beer and lots of it (I've made quite a lifestyle change since so I don't drink much).
I was like hmmm, uhhhhh, I dunno man, because I might work on this song. Decided not to go and just finish that track. It was done by Sunday.
On Monday, yet again, I sent it to Metalheadz, real depressed in a way as I had been sending for years and it was slower tempo too. Sending music felt like a chore that earned me nothing.
As I was sending it, I said to myself, why even bother, and felt a bit desperate and pathetic: if they haven’t picked any of the DNB in all these years, they ain’t gonna take the slower number: they do DNB and technically this isn't is, as it's slower.
I'm not making this up just for the sake of a good story, but as I had sent the email, I did say to myself, "And this shall be the last email to Headz ever".
(btw nothing I say I mean as critique towards Headz; I can't imagine how much music they receive, and a lot of it good)
Well, hell, two weeks later the label A&R asked me if the track was still available, as the head honcho Goldie would want the track for the label.
It all started from there. Got mega inspired straight away and finished 3 other songs in the next few months and then it was phonecall with Goldie time in January, I think.
That was probably THE high point for me inspiration/motivation-wise in my career.
And there I am today, listed as a Headz artist. I am very proud of this.
4 releases deep (3 DNB, one house + slower breaks).
Lesson here?
Sometimes your heart is right when it wants to stay at home and make tunes! The whole music game takes so much blind faith, it's unreal. A lot of ppl won't necessarily relate. It's lonely and takes a lot of time and energy, often when you don't even want it (because finishing songs takes a lot of energy sometimes).
It's all about ups and downs 📈📉 It's never a straight line.
But I always hope it's still about the journey anyways.
I've always said, the moment you create that 32-bar loop that impresses you and gets the headnod going, that's the best part, and rest is downhill, ha!
Well, ain't gonna take more of your time, but if you make music, I hope you get some music made this weekend!
If you do, feel free to slap your song link in the comments or just leave any comment :-)
You can find my music on Bandcamp, Spotify (DNB link / hip hop link), and all other arenas.
-Janne
2024-11-22 12:58:06 +0000 UTC View Post
Been creating snares for you!
It’s difficult, and much harder than kicks especially if you want somewhat organic instead of analog white noisey ones. Still looking for the best methods 😉
📁 Here is a bunch of snares! 📁
By the way, do not sleep on my other Patreon samples either!
I’d say these’d be most fitting for hip hop, DNB, jungle, and that sorta stuff.
Not all extremely processed; some can work as layers.
BTW, always try and tune your snares: what works in a DNB tune can work well in a hip hop one if you pitch it down, and the other way around.
Soon, let’s talk about ProQ3: I’ll show you everything I love about it and how I use it in my daily work.
Also, a big plugin pack giveaway around the corner!
2024-11-20 16:48:57 +0000 UTC View Post
I have decided that I will keep the downloads going for my Fanu & FatGyver DNB and hip hop breaks sample packs – for paid members.
These were (and still are) sold via my Bandcamp.
📁 DOWNLOAD LINKS 👇🏻
2024-11-09 09:22:43 +0000 UTC View Post
Let's get our hands dirty making funky hip hop beats with Addictive Drums 2.
I heard it got an update, so I just had to take a look how sweet it looks and get busy creating some funky drums!
Join me on this quick sesh to make some beats from scratch!
There are also two other Addictive Drums sessions on my Patreon: HERE and HERE!
And don't sleep on other drums stuff.
Hope you like!
2024-11-08 11:42:24 +0000 UTC View Post
I sat down to generate new kicks for my forthcoming productions. I love having something I've literally certainly never heard before.
I wanted to share these with you. These should be fairly useful for DNB, hiphop, and related styles. These are not samples I've ripped from somewhere; I have generated these myself!
I hope you like! Does someone want snares? ;-)
2024-11-03 08:24:39 +0000 UTC View Post
I have a UJAM Circuits plugin license.
Seems to be a sweet analog drum machine type of thing.
Want it? Just leave a comment.
Seems the code I've been given expires on Nov 3, so let's be quick and do the draw on Nov 2, so let's be quick! If you win, be ready to grab it quick before it expires – I will do the draw by end of day Nov 2 and comment on the winner's comment and DM ya!
THE ONLY RULE? You have to have an active subscription to my Patreon. So this does not apply to free, non-paying members.
2024-10-31 14:56:29 +0000 UTC View Post
This was originally posted on my website in 2017 and it was later on one of the very first posts when I launched my Patreon in spring of 2020. Ableton posted this back then too, if I'm correct 😋
I still actually use this one, so I've decided to give it a little update! (There's so much stuff on my Patreon now, I think some of the old stuff that may feel a bit out of reach may deserve a bump anyways)
So what's this for…now this is for those who want some LO-FI in their lives!
GRAB EITHER:
• V2 WITH UPDATE + macros for Ableton Live 12
or
• THE ORIGINAL FROM 2017 (should prob work with Ableton Live 10/11)
A lot of times I like a certain edge to my sounds, and more often than not it's a bit rough as opposed to clean and hi-fi, so do try this on your drums and bass at least.
How did I do it? I sampled two drumloops into my SP 1200 and back, and then put those on an audio track in Live and decided to try and make the original versions sound as close to the SP 1200 versions as possible. The result is this audio effect rack for Ableton Live. It’s not 100% 1:1, but it’s close enough, and sounds quite lo-fi and dirty....it can make DRUMS sound nicely old, lo-fi, and gritty – but feel free to spice up other sounds with it too. Especially good for oldskool hip hop drums!
You may have to tweak some of the controls to make it less aggro for other musical elements, as the starting point may be too hot for musical stuff.
The starting point takes the sound somewhat close to SP-1200 drums via EQ, Saturator, and Redux – this is what I found in my tests. I haven't added any controls for the EQ; it takes the edge off of very digital sounds and tries to model an SP-1200 type EQ profile.
I've added macro controls to the updated v2 version that allow you to tweak it in another direction:
🎛️ Gain in upper left allows you to tweak the gain going into the plugin. The amount of gain you added is compensated for at the very end of the chain, so output will be turned down by the same amount, so overall level doesn't get louder.
Default position is the center position, which should be ok for drums. But if you run some melodic stuff into it and feel it gets hammered too hard, try turning down the Gain and go counterclockwise. I've set it to +- 10 via mapping browser in Live.
🎛️ Downsample knob sets the sample rate. At its most counterclockwise position, there is no change. But as you go clockwise, you get more aliasing, which is a big thing with SP. This is very audible in melodic elements, so do try it out.
🎛️ Bit depth knob allows you to turn the signal bit depth down to 10-bit if you want. This will add a bit of noise to the signal. I often like a wee bit of noise in my sounds (I often try and avoid an "overclean" sound in my productions. You can of course "mod" this via mapping browser if you want this to go lower (if you don't know how to do this, leave a comment and I will explain).
🎛️ Speaking of signal getting too hammered (especially melody stuff), try turning down Drive. It decreases the drive added by a Saturator.
🎛️ The starting point is mono, because SPs are, but you can change between mono and stereo via the Mono knob.
🎛️ Widen knob adds subtle width! Doing this with a very short Reverb. Use this to give mono elements such as drums a hair more width. This gives you a hair of width even if the Mono mode is on.
Try this with basses for example: turn down Gain, Drive, and Downsample, and add turn all up a little bit: can be nice for bass spice!
You can add a bit of width for basses too via the Widen knob.
Feel free to mess with it and let me know how you like it!
I’d like to emphasize that
1) this is not the result of any intensive experiment that took days of work using tons of audio material and intensive testing, which is what would be needed if you wanted to create a reallyreally authentic version that’d suit all scenarios and all samples, and
2) I’m definitely not trying to say this’ll replace any actual SP 1200 out there. So take this lightly if you're a grumpy SP1200 owner (like me)!
You only need Ableton Live; no 3rd party plugins needed.
2024-10-27 08:42:16 +0000 UTC View PostSo one thing that has been requested a LOT is to make a DNB beat with Ableton stuff only. So I took that and combined it with my recent against-the-clock idea...and I think this came out quite OK!
If you have never tried this challenge, try it: it can be REALLY difficult. You will HAVE to concentrate on the vibe, as the time goes by way too quick when nerding out with details.
Not gonna lie: there's been a few takes I've done and trashed because they didn't feel good enough. Still, even this one is 100% unplanned, unscripted, so I didn't plan for one sound because I want to keep it true and real to the idea.
I want to give you this project too so you can download it and work on it if you wish!
You can download the project HERE (you may need licenses for some of the packs as some samples I think are from paid packs).
Phewww!
2024-10-20 08:16:32 +0000 UTC View Post
I have 101 FatGyver-made hip hop drum loops for you.
🗯️The download link: it's in the chat that you can see if you are subscribed to my Patreon (any tier, but not free members) .
If you want, and aren't subscribed to my Patreon, you can buy it for a special low price from my Patreon shop OR full price via Bandcamp. If you want a 50% discount code for Bandcamp, use coupon “patreon50”.
📝 GET HEATED WITH HIP HOP AND FEEL THE FUNK!
FatGyver slams you with a heavy load of hip hop breaks.
Most of these beats are from FatGyver releases, and there’s a few from the vaults.
This selection should resonate in those who grew up with 90s style hip hop: Premier, Pete Rock, Cypress Hill, etc.
A lot of this stuff has been beefed up and colored by MPC 60, SP 1200, Pultec EQ, 1176 compressor etc.
Use these as they are, speed them up for styles like jungle, footwork, etc., layer with house, etc.
Or, pluck some one-shots out of them and use them in whatever floats your boat!
2024-10-13 06:05:13 +0000 UTC View Post
Chop chop! A less intense chop job but more focus on more spacious minimal vibes.
Working with Jimmy McGriff: The Worm
I often hear ppl sample the break that Optical did, from Optical I mean, but once again I want to have you roll your own. If I now made a tune out of this, I'd def process it even further to make it even more my own, but I think this'd be a pretty good starting point!
DOWNLOAD the break I put thru my Akai and Soundcraft mixer HERE.
DOWNLOAD the project with the break HERE.
Some relevant DNB recommendations (I should actually do more of these, right? Lemme know if you'd like to hear more) as these two use the same break:
• Optical & Ed Rush: Lifespan (sick, sick, minimal techy tune in a class of its own)
• NOHA: Start (Optical remix) (another tune rocking the Worm break)
One more for good measure: not the same break, but from Optical anyways…absolute badman business, and like someone says on the comments, "9 minute tune, today's youth doesn't have the attention span for this"…now I don't want to disrespect the youth but I will say today's musical climate can be a bit ADHD and some ppl cater too much for playlists and whatever…screw that, and if you want to make a 9-minute tune, then make a 9-minute tune!
2024-10-06 08:01:01 +0000 UTC View Post
I am happy to present to you on my Lightless Recordings imprint today a fresh new compilation of D&B.
“BREAKBEAT BRIGADE” features several lesser heard yet promising DNB beatmakers.
Been hearing the productions of these guys for a while, and it’s about time you hear them too.
They all rock and have a great style of their own.
We got some hard-hitters, breaky numbers and some more soulful bits in the mix.
I actually have several Patreons of mine on this compilation!
Out via all digital arenas – some links below.
Let me know what’s your fave track!
Been meaning to go against the clock to make a beat for the longest time.
First effort is here! I actually liked this a lot.
I admit 100% I didn't realize how fast that 15 minutes would go. I did ZERO preparation, planning, scripting…none. So it came out ok, considering.
The only rule I set for myself is that I'd use Ableton Packs only, because I felt I'd need some frames for it.
Let me know if you'd like to see more; I def feel like I want to explore this avenue much more!
2024-09-22 08:27:02 +0000 UTC View Post
If you are subscribed to my Patreon, you can download my DNB breaks pack.
🗯️The download link: it's in the chat that you can see if you are subscribed to my Patreon (any tier, but not free members) .
If you want, and aren't subscribed to my Patreon, you can buy it for a special low price from my Patreon shop OR full price via Bandcamp. If you want a 50% discount code for Bandcamp, use coupon “patreon50”.
Next weekend, let's make some beats! 📺🥁
Would you like to see me do
1) new breakbeat of the month featuring Amigo (Beta version) or
2) 100% unrehearsed beat out of random Ableton Packs? (EDIT: It came out great and the video is now up!)
2024-09-14 10:37:23 +0000 UTC View Post