Jungle

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thirdform

pass the sick bucket
there are ways to get around this, EG the Silver Blade/Soul Beat Runna break. but as I said to @dilbert1 ragga jungle was pretty much just-in-time cash in music. Not a value judgment, it's how it is. The artistic/studio rats won that ideological war, anyway.
 
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thirdform

pass the sick bucket
0bleak said:
I'm just not buying it, mate :)
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no you're right about the snares, I don't think vocals have much to do with it though. The amen is a mid/treble heavy break, which is why it suited ragga jungle so well, take a dancehall sample with already fuck tons of bass, and have a break that doesn't interfere with it too much.
 
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thirdform

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the soul beat runna break was constructed by Boymerang from the break up. It has some extremely edited miniscule amens in there in the mix amongst other microsampled breaks and edited drum machine hits, but they are nigh on unrecognisable because it was essentially synthesised as something new.

I remember a doa interview where he said it took him a week or so to create it.

This was completely not the ragga jungle ethos at all, where tracks would be finished in a day or two, if that.
 
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thirdform

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found it

Ha! Hi James - ta for the nice words. I'll try and help out. You'll have to throw your mind back to a time before computers were audio-manipulators, to when everything was hand-made in a hardware sampler, and the computer was merely a MIDI sequencer.
The gear at the time consisted of: -Atari ST running Cubase -Emu E4 - 16 outs -Roland JV1080 -Boss SE50 -Mackie SR24:4 -Sony Portable DAT
...and that was pretty much it!
Ok,
Step 1: got the original Amen Break, played at original speed, and hand-chopped it in the E4 up into every constituent hit, including tiny-tiny flams etc etc.
Step 2: sequenced all the fragments, moving the pieces by the tiniest of amounts, so they played identically time-wise to the original.
Step 3: Using the timing refs from step 2, replaced all the sounds (still at old skool original tempo). Only rule was no sound could come from a break that I'd heard already used. You can probably spot at least a JV ride in there.
Step 4: Kept engineering different layers of background noise etc etc, til it sounded "new but old", at least to me.
Step 5: Resampled the whole break to DAT, then dumped it back to the E4.
Step 6: Replay back at sped up DnB speed to check for tone and vibe etc. Usually this would then involve going back to Step 3.
Step 7: CHOP CHOP CHOP - one new break to use!
Hehe, it sounds like an easy operation written like that, but honestly, it was fucking time consuming. Probably took a week or two til I was happy. I was so happy when I started hearing others using it, starting with Dilinja's Silver Blade, as I'd left a couple of free bars of just the break in the track so it could grabbed.
Hope thats of some help chuck. G
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thirdform

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The bristol crews also did some pretty crazy break editing/reconstruction as well. you can see why this wasn't a very popular approach and come end of 99, bad company took over.


Ironically, there's a quote from Fresh in All Crews where he says something to the effect of we want to bring back the mania of hardcore, but in a more metal influenced bloc rocking context. Well, indeed, that's always the danger with trying to create something new out of a revivalist impulse, you can end up neither creating something necessarily revivalist nor all that new, you can become stuck between the two schools.
 
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thirdform

pass the sick bucket
thirdform said:
The bristol crews also did some pretty crazy break editing/reconstruction as well. you can see why this wasn't a very popular approach and come end of 99, bad company took over.


Ironically, there's a quote from Fresh in All Crews where he says something to the effect of we want to bring back the mania of hardcore, but in a more metal influenced bloc rocking context. Well, indeed, that's always the danger with trying to create something new out of a revivalist impulse, you can end up neither creating something necessarily revivalist nor all that new, you can become stuck between the two schools.
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A lesson to @dilbert1 - bin all indie records you have to become a tr00sk00l jungle revivalist.

Dan explains that they all had different musical influences: "I grew up around music. When I was eight my school did a musical IQ test. They sent a letter to my parents telling them I'd had the highest results in the test ever since it started! I used to be into Classical Music and had a mad interest in computers. When I first heard Hardcore I was hooked. My other influences before included The Cure, The Pixies, The Stone Roses and Jean Michelle Jarre... I was the Indie kid out of us." Fresh was also the computer bod. He's been getting to grips with software for as long as he can remember. Vegas and Maldini have also been around computers since the black & white days of that game Pong. They've all added talented ingredients to the Bad Company mix. Maldini describes their first studio: "That was a mad one. We were running an Atari ST and an Emu with shitty speakers and a really noisy desk. We got the Mackies with the first money we made but that was quite far in. Nitrous, off the Inside the Machine album, was done using an Atari ST." He laughs remembering their software: "It was Cubase Version nil, it was so slow. The thing took about half an hour to load up and crashed all the time."



Poor studio equipment wasn't a barrier. The essence of their music shone through. Fresh explains what BC UK wanted to achieve: "We wanted to get back the raw energy from the Hardcore days and add a bit of a metal influence. At the time the music was very empty. Although that emptiness made it special in a different way. Tunes like Ghost Faced Killa and Metropolis sent me nuts. But when we did The Code / The Nine we realised there was a road we could explore with more hardcore energetic tunes."
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0bleak

0bleak

Well-known member
well, you know me, I like all sorts of halftime stuff, too - but I can understand how someone sees it divorced from the lineage
 
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