The first one is placed on the first downbeat to add texture. The second one acts as a response to the rim fill and sets the texture for the rest of the beat. Finally, the third one acts as a new percussive sound that rings out to end the sequence.
In addition to the background ambience created by the effects, we added a 2. To prevent mud, make sure to EQ out the lows from the reverb. Some compression , saturation and stereo imaging brings us to the final result:. In , Loopmasters launched Loopcloud, the industry-leading subscription service that gives producers the tools they need to take their music further. Follow Loopcloud on:. Your email address will not be published.
Attack Magazine is funded by advertising revenue. To help support our original content, please consider whitelisting Attack in your ad blocker software. Find out how. Facebook Twitter WhatsApp. Beat Dissected is sponsored by In , Loopmasters launched Loopcloud, the industry-leading subscription service that gives producers the tools they need to take their music further.
Next Beat Dissected - Jazzy House. Leave a Reply Cancel reply Your email address will not be published. You currently have an ad blocker installed Attack Magazine is funded by advertising revenue. Find out how x. This website uses cookies to improve your experience. We'll assume you're ok with this, but you can opt-out if you wish. Obviously, name helps. And the way you present yourself.
It all catches up with you. So, I would say keep royalties and mechanical copyrights in good check. Be open with your artists and keep your business end in good order. There are inevitably things that can go wrong. Thank you very much. So ,we talked technically about the label side of things.
What did you start off using and what do you use now to make your music? Well, I started off using keyboards and tape recorders, then I started using a demo version of the software.
Then I started using FruityLoops, and to be honest, my set-up has stayed pretty consistent. I only got monitors in I was writing stuff on these little computer speakers and a sub, which was fun for a bit.
Definitely buy the best you can afford, because you get what you pay for with monitors, really. So over the years my set-up has stayed relatively consistent. My set-up is relatively simple. Whereas a lot of my other stuff comes from external sources.
I was very fortunate for a few years to have a space where I could just make as much noise as I wanted. Tell us briefly about building a track — where does it start for you? I mean, obviously everyone has their own process, but when you sit down and start from a blank canvas, how do you start building a tune?
It very much varies tune to tune. Some tunes you might hear a sample that you really want to use, and then you start playing with that and putting stuff on top of it.
It can drift very far from what you started with. But I think when you were talking about and I had all these different releases out, I think part of the reason was that I had a few different names, so if people bought a Ramadanman record one week, then a Pearson Sound record the next, there might be a lot of people that might not know that the two people are the same, and so it can be beneficial in terms of not over- saturating.
Also, with the name Ramadanman, it is something I made up when I was like I see it as a far more serious name, a bit less gimmicky, and also I think certain names can get associated with certain sounds and styles of music.
I think you see it happen quite often with producers. How do you deal with the Ramadanman imitators and the Pearson Sound imitators, of which there seem to be a few coming up? But it can be a bit frustrating sometimes. Who are your musical contemporaries at the moment? Who are you looking to that really inspires you? I kind of like it. I think too often there are tunes that 20 DJs end up having and they just become overplayed and people become sick of them.
I spend a lot of times in airplanes and airports as well and I was wondering what your favorite production or editing set-up was in an airport, on an airplane, when you only have that little table? I never make music anywhere other than my studio or my bedroom. I see traveling as a very different space mentally from DJing. I really wanted to know, what do you call your music?
But now it seems the opposite — when dubstep comes to mean something else, everyone runs away from it. But I guess it just takes elements from a lot of different music and combines them into something fresh, hopefully.
What do you think pushed the music scene to go forward all the time? I think the UK has always had this culture of soundsystems, this lineage of music. Some people subscribe to this theory of the hardcore continuum, where acid house goes into hardcore which goes into jungle, goes into garage, goes into dubstep.
You can have a very underground artist playing to 1, people in the UK quite easily. Often, the soundsystems in the UK are to a good standard, and I think having a soundsystem that accurately represents frequencies and has all the bass is important. I think if I played the tune I just played on tiny little speakers, it would lose a lot of its impact.
A lot of people are frustrated there because they know how good we have it in UK and Europe. And you said earlier about being in a more privileged position where you can play a lot of genres and I think a couple of years ago, people who would come to see me play would be expecting a certain sound, and at that time things were already moving.
So, you do get it, but now I do feel very fortunate to be able to play a two-hour set and be able to start at house music and end at dubstep and play all sorts in between.
I mean, obviously stuff like the ambient thing or music that I make for different intentions, then it becomes different. So I always have that in mind. Do you see yourself in the future doing the club stuff, or do you see yourself produce more like the ambient stuff?
I just like to keep doing everything really, I enjoy being able to make big club records, but then I like doing something really introspective, like a three-minute drone piece or whatever. I like being able to do that. You were speaking earlier about when you gave your physics teacher your CD or whatever it was with your music on it, and you said you had an explanation of what you were feeling when you created it, or…?
It was less feeling, it was just jumbled thoughts of a , year-old, you know? I did two different kinds — I did fake radio shows when I was about 10, just pretending to be the interviewer and the interviewee, and all sorts of stuff.
Some tunes that people find deeply sad, I find incredibly euphoric, and I think the way music is interpreted should never be dictated. I think a lot of music nowadays can almost be telling people how they should react to it, when I find some of the best music has been people that have very personal interpretations. I was into grime before I was into dubstep, in fact. People like Dizzee Rascal, Wiley, they were very present living in the UK, they were in the charts, they were on Top Of The Pops , they were on television, they were on the radio, so it was kind of impossible to ignore.
So, I checked out grime, and kids in my school were always swapping CDs and stuff like that, I was definitely into grime. I find some of them just incredibly forward-thinking and completely out-there.
I think maybe there should be a comprehensive sort of A Hessle grime tape. They only exist as a two-minute freestyle on some pirate station, and were lucky enough to be recorded maybe. That too. Unfortunately, sometimes in that scene, it can be too much about the money. We were talking about music cycles and the UK music scene. Do you think that in a couple of years people will ask you to play bass music? I think genre names have always been a bit stupid. So, even a name like that is really misunderstood.
What do you think is going to happen? Do you think that it will be the same cycle, like the music gets noisier, or more intelligent things will come from it?
I think there will always be people doing really interesting stuff. People like Richard Russell, who runs XL Recordings, he said recently on Twitter something like, people are always hungry for new music. People might always assume that the mainstream content is lowest-common-denominator kind of stuff, but I think innately, people have a hunger for new stuff and progression.
I know you have a problem with certain names like dubstep or future bass and so on, but I was wondering if you have a problem with names, or with the labeling process itself — do you think it should be more condensed? They might be stupid, but to a certain extent you need it. So you do need these labels, but unfortunately, they have a side effect often of defining a genre, or coming to represent something which is not necessarily the music. So, the question is, do you think that there can be something almost harmful in that, in the quest for novelty?
There can be a danger with trying to make something so new and out-there that it just becomes really unlistenable and very self-indulgent and a bit arsey. People will still dance to that, it might take people a little while to pick it up. You mean if someone made a massive record, but it came out a year later than a record that kind of did the same thing, does that mean that record is no longer a massive record?
You know, I write a block of tunes in a similar style before progressing and doing something different. The way I see it is that you spend ages working on a style, and then you release a tune that sort of encompasses all of that, and everything you wanted to do. Why would someone give this record the time of day, when someone has done it a lot better a year ago? North Carolina, and I went to school in Tennessee. Lots of flannel. I only started listening to proper dance music or club music in the last couple of years, really, and I just wanted to go back to that question of genres and progression.
No, actually I was wondering more about the creative angle. I think there are a few people who inadvertently make club bangers, without realizing it until it gets picked up and gets recontextualized.
A club track will get picked up, and ends up really being big. I find that very interesting. Yeah, because for me, like when I heard something like James Blake, I thought that was pretty different.
He had this epiphany with electronic music. I mean, he was into it before, but this was when it really started informing what he was making. I think that there are definitely outsiders, which is a very interesting area that could be looked at.
I think in a way that club music has been very professionalized and the whole process is very rigid, like all the things that you need to make it, and get your music out there, and getting into charts, and getting on labels. I mean, there are so many forums for reaching out that I think with this progression thing it might be about that mystical thing of that creator, who innovates and is this kind of genius and not so much about just listening to music and hanging out with friends.
This element of surprise. They have ten different press shots from every angle, that cover every single pore of their face, and cover every minute detail in an interview about the street which they grew up in. Going back to Mala, who I seem to be constantly referencing, he had this tune for about a year. But it was actually these guys from New Zealand called Truth, and he played this record at the end of every set, and it would completely destroy it.
Yeah, I guess that kind of works. Any more questions? Maybe you could line up a tune to send us to lunch with. Something to finish on. But thank you very much for the discussion, that was a very interesting debate. I think some people might be in touch with him, but he made some of my favorite tunes.
Academy: Madrid Benji B How are you feeling, David? Pearson Sound Pretty good — well rested. The melodic elements are bright and whipsmart. The synthesized horn sound that buoys "Headless" sounds like it's being played by a sad emoji. Perhaps unsurprisingly coming from an artist who mostly bangs on cans, the nine tracks on Pearson Sound don't represent any kind of narrative or linear progression.
Even for a dance album—a notoriously tricky medium—it can feel disassociated, so just as you'll never doubt you're listening to Pearson Sound, you may forget you're listening to Pearson Sound. Another quibble: The harsher, craggier sound palette used here—the product of analog gear, reading the press junket tea leaves —strips these tracks, subtly, of the graceful hypnosis of Kennedy's finest works "Clutch" and "Lola", in addition to "REM" and "Untitled".
Still, Pearson Sound tracks are lessons in how to push boundaries without sacrificing dance music's primeval instincts, and Pearson Sound contains nine such lessons. Bang some things together in celebration. Skip to content Search query All Results. Pitchfork is the most trusted voice in music. Share on Facebook Share on Twitter Open share drawer.
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