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This is work, which is probably my best
known tune. There's a few bits in it
that are particularly well known. Uh to
the point where it's often the first
thing anyone says to me or sings to me
if I meet them. So yeah. Yeah. Maybe
we'll we'll get into the sort of guts of
that and and what those things are. And
it's many drums. Many drums on this
one. to the
intro. C maybe a
cowbell. Maybe a cowbell with some
snares peppers and
another sort of um sort of like in five
like
a like a
Tritonyy smashing
sound just for a bit of impact on a down
beat. Um so with the intro, what have I
got there? sort of that's 32 bars of a
little snare
pattern interacting with this
cowbell and then bringing a second snare
pattern which just kind of increases the
intensity which is usually what you're
going for with a with an intro and a
dance record is you know you want a bit
of build up. So that's building
up
and continues more snares, more build
up. And then the
bit that I hear a
lot is a little hook that goes
into the
drop. I think that is really what the
track hinges on to be honest is those
two elements. I mean there's a lot of
drum chopping but the bits that stand
out I think are the the little hook and
the baseline.
The hook really was heavily influenced
by someone like WY or Jay Sweets or
Danny Weed who used a lot of like sort
of folk instruments in their beats. And
this is a is a pan pipe sample that has
been pitch modulated in a way that it
just gives a little little flicker. If I
turn that off, that's it straight. And
if you do a little pitch modulation on,
so it flicks up a fifth and then down a
little bit and then back
up and you hear that sound. Not that
exact sound, but that sort of pitch
modulated pan pipe. You hear that in
loads of loads of old wy beats. And
there's there's actually a doubling of
it as well. So it's tuned up a a
fifth instead of just one note playing
at a time. So if you play every anytime
I play a
note and that fifth is used a lot in
um Japanese music
um a lot of music from around the world
like folk music from around the world is
is pentatonic mean there's like five
notes in it so you get a lot of fifths
as opposed to like uh seven notes in a
in a western scale so you get that sort
that fifth just has a sort of quality of
music from that those regions really
which was clearly an interest to w at
that point in time and then through I
was interested what he was doing you
know just that the ideas feed through
and then we what we've got with that
is just a little three note
riff which
is I think that's like a frigen mode but
essentially you're in a minor scale
It's the the
first, second, and third note of the
scale. And then there's
a there's a little flattened note there
as well. And then that leads
into the baseline. And if you can hear,
if I start it from that section, you can
hear the baseline doesn't actually come
in on the first note. It comes in on the
second beat. And the first note is that
hey, it's the hangover of the uh the
little hook that comes in
beforehand. I think that was a practical
decision in this tune cuz the hook ended
on the the next bar so it had to it had
to run over. But you hear it a lot in
drum and bass, garage, grime. A lot of
time you'll hear a
drop and it comes in off the snare. And
I think that's something about just it
just catches you off guard a little bit
like if you expect you you know when the
first beat is coming and it's not there
and if there's something satisfying in
place of it which in this case is like
the resolution of the hook. It just
works. It just works. I don't know it
gets you it makes your brain dance
around a little bit. That's the sort of
focal moment of this tune. And then the
baseline
similarly it's very simple. It's three
three
notes. The notes I'm
playing, it's the first, third, and the
fifth. So like basically if you played
any basic chord on a piano, those are
the notes you'd play. But that's and
then that's what the baseline's made out
of. It goes like first,
third, really basic. But I find in a
baseline, the simpler the better.
Usually the more you compare it down,
the more impact it's going to
have. And the sound
itself is essentially basically just a
sine wave. Much like in um much like in
fives, this has been hard clipped a
little bit. You can see the edges have
come off of a sound. It just gives it a
little bit more edge. There's some extra
frequencies in there rather than just
the very bottom one.
And then most most of the rest of tune
is really the interaction
between that
hook and the baseline. And like in fives
there's a call and response thing going
in. When the baseline
stops the uh the hook comes in and fills
in. So there there's like a little
conversation going on.
And most of the development this
tune is is from the brakes. So the
brakes are a lot more chopped up than
fives and it's peppered with a lot of
little like vocal chops and that cowbell
that was used in the intro. So I try and
keep like elements to a tune quite
minimal but then just try and
reintroduce them where I
can just to give a bit of continuity
throughout the tune. So if something
appears in the intro I try and like
reinccorporate it back later into the
tune. And there's a lot of like
switching chopping. And how I'll usually
do that is, so this is a finished
project, but usually I'll have loads of
patterns as I'm
writing. And what I'll
do, you can see me doing this throughout
the video, but you can I can skip
between
patterns and I can sort of chop chop
things together.
So if I have loads of different patterns
with a different ideas in, I can on the
fly chop between one another and just
experiment and see what happens when I
smashing different patterns together.
And usually that's how I'll find the
structure to a song is just to chop chop
here, chop there, find elements that
work well
together, and then when I hear one that
works or I like, I'll then copy that
across and then write that into the
tune. Um, and that's that's process used
a lot in this track cuz there's a lot of
lot of little chops and like just
bringing in little slices of
elements. And there's not a full-on
breakdown in this tune, but I've just
gone for like a drum switch. So, there's
a different different drum break beat
brought in here.
the baseline switches
up and
and again more more more pitching of the
drums.
So this is one thing a tracker is good
for. So obviously with with the grid
everything is one line at a time. So you
can go in and each of these lines is uh
a 30 second beat. So it's they play
fast. So that almost becomes a tone in
itself. And that's something I like
playing with quite a lot. Like a
pattern can become a tonal
element. And I've used that quite a bit
in this tune.
So this
section there's like a deviation in the
time the time signature. So I go into
like
triplets. So most, you know, most most
drum based jungle music is in in
44 and the vast majority of my music is.
But these
fills stretched out the notes. So they
we're playing
triplets. And then again here.
which again it's just another way of
like introducing different rhythms and
like different like texture into the
rhythm because again this this track
most most of the movements happen is is
just in the way the breaks have been
chopped and that's just another way of
doing it. I mean you could go mad with
it and go into all kinds of mad type of
signatures if you want to go Venetian
snares with it but the triplets are
about as far as I've gone.
Um, so I'll just try to work out how
many how many breaks we've got there. So
I think
mainly we've got this one
which again quite chopped roughly
chopped and they're looped and they're
looped in a like a ping pong loop which
means they loop back and they don't just
loop forward all the way through. They
loop backwards and forwards. So it gives
it a sort of if I was going to do it
more
smoothly. You can kind of create a tonal
tail, but I've done it quite
rough cuz that
works. But what that does is it lets you
um it just gives you a little bit.
Obviously that slice of audio is a
certain length and if I want to make it
sound longer than it is, it doubles the
length of time you've got to play with.
So you can just like it's one way of
stretching out the tails on the sound a
little
bit but I think it's yeah it's just a
chopped and looped. There's no other
real processing going on there. But then
there's alternation is going on. This is
the nice thing about trackers as well.
You can have more than one instrument on
one
channel. So we've also got this this
break which is just a
snare actually. Uh, it's an A and
snare with Yeah, there's a there's a
reverb tail that I've added into the
sample and a flanger and that I'm using
just to
like pepper
in some different
tones. And a lot of what's going on here
as well, you see these yellow numbers?
These are like your um your volume
levels basically. So each hit as a as a
volume level and you can
create rolls like a drummer hitting the
the drum at different volumes or on
Ableton. It would be your velocity, you
know, a little fader for it and you draw
that in. But uh that's a lot of a lot of
texturing that sort of jungle drum bass
from, you know, mid '90s. That was one
of the main devices you would use.
Yeah. So, most of that section is just
the the alternation between those two
two different snares. But, I mean,
there's enough there to work with. Like,
I could probably make the tune 8 minutes
long if I wanted to,
but four four and a half's enough. It's
enough. Um, and
again, again, a lot of the um the focal
points are around transitions. So like
things often lead like build to a sort
of crescendo and then there's a release
with like the end of the phrase leading
into next
section and then I think there's a third
break. Yeah, the break that I use in the
breakdown I've reintroduced in this this
part.
Again, that's just the snare. And what
I've done, I've done the same process
here where I've put reverb on the tail
of it just to give it more
tone. Uh, and a bit of echo just to fill
the space
out. So, I do this quite a lot. This is
uh that is comb filter
uh which like I was saying earlier it
could you can you can do it with a delay
or you can do it with a flanger as well
but this is presented as a comb filter
here and I've got it set to randomize.
So every time I hit this
key oh no I haven't got it I've got it
set to key track. So if I play this drum
up the
keyboard, the comb filter follows
it. So like the the drum sample itself
is playing at the same
pitch, but there's like a second tone
behind it. There's the comb filter sort
of resonating over it. And again, that
I've
used just to add more movement with the
same snare sample. It's just another way
you can introduce a tonal quality to a
percussive sound to then play around
with. Basically,
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