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Renoise Q&A : B Complex


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#1 Last & Least

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Posted 19 January 2010 - 02:17 AM

Matus, other wise known as B Complex has said he would answer a few questions.

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http://www.myspace.com/bcomplexdnb

B-complex aka Mato Lenicky is a producer hailing from Bratislava, Slovakia. His first musical attempts began in 1996, at the age of twelve. A passion and fascination of music led him through many genres. Beginning with Hardcore, Trance, Psytrance, progressing though to experimenting with down tempo and Hip-Hop. 2001 he discovered the album ‘Clockwork’ by ‘Stakka and Skynet.’ His journey with Drum and Bass music was born…
Mato has a unique style, not trying to follow anyone but rather prefers to walk his own path. His Love and aim within Drum and Bass music is it's pace and energy infused, whilst enjoying sophisticated melodies and harmonies. With potential growing - his sound becoming ever more definitive, he was discovered in November 2008. Tony Colman of ‘Hospital Records’, featured his soon to be debut hit ‘Beautiful Lies’ on the ‘London Electricity’ Podcast, later to be featured on the ‘Introducing’ BBC Radio1 show. After receiving a lot of attention from other producers, DJ’s and fans alike; ‘Beautiful Lies’ was released with great succession as an ‘A side’ on Hospital’s ‘Sick Music’ compilation album in June 2009, reaching the top 30 ‘iTunes UK Download Chart’ and making it into the top 5 ‘Beatport Drum and Bass Chart’. Soon after, his track ‘Three Dots’ also received play from Tony and High Contrast on Radio1. Forthcoming releases in line, a full DJ schedule, with his first UK show in September 2009 at London’s 'Hospitality @Matter', B-Complex certainly will be making a name for himself…

words by Andrew McKay
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#2 Guest_crytek_*

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Posted 19 January 2010 - 06:17 AM

Nice.

First off, how long have you been making music?

What gear are you using along with/ besides renoise?

Have you used trackers the whole time?

In your music journey, when did you feel that you were making quality (if I may) music? Was there a point where you said that this was right?


What are your favorite effects to use?


Just a few to get the ball a-rollin' :)

#3 Last & Least

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Posted 19 January 2010 - 12:03 PM

How long was it until you started sending demos to record labels?

What sort of music influenced you growing up?
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#4 B-complex

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Posted 19 January 2010 - 04:16 PM

@Crytek

First off, how long have you been making music?

I started with the fasttracker in 1996, so it's almost 13 years now, but I am not sure if what I was doing could be considered as music, I started with no knowledge and I didn't know anything about the program I was using, so it took me about 2 years to make something that was actually tuned and sounded like a song :)

What gear are you using along with/ besides renoise?

It's mostly renoise and plugins, I've got tapco s8 for monitors, yamaha cs1x as a midi controller and a behringer b2 mic for recording external stuff (surprisingly good mic for the brand) pluginwise I really dig voxengo stuff, gliss and marquis are among those I use most, most synths I use are made on cakewalk z3ta+ synth and I play a lot with samples as well, altough I never use them for whole sequences, I tend to approach them like a matter with which I can work further , and renoise's ability to resample and process sounds is one of it's biggest advantages imo

Have you used trackers the whole time?

I didn't, I've been using fasttracker until windows98 came, then it stopped working in that enviroment and I had to look for something else, I couldn't make my soundcart cooperate, so thanks to guys on #trax, I found out about madtracker - it was similar to fasttracker and it had FITLERS oh joy :).. then I got my hands on rebirth where I got my basics for using synths etc, used to make loops there that I was using in my tunes, then it was not such a big step to Reason which I was using for 4 years and which is my foundation for work with sound processors samplers and synths. Sometime around 2005 I got frustrated and stopped making music for almost a year, then I discovered renoise around 2006 and suddenly I felt like in the early fasttracker days and the whole fun of making music was back, but with a very important advance from the early days. With vst instruments and plugins and oldskool tracker techniques I think it's a very powerfull enviroment which beats most midi sequencers - at least when we speak about electronic music that is often working with samples.

In your music journey, when did you feel that you were making quality (if I may) music? Was there a point where you said that this was right?

In the begining I was making music the same way I played computer games, I was happy that the pc is making some sounds and I remember that I was proudly playing my incoherent amusical xms to all my friends with a huge smile on my face.. Most of my early projects were happy hardcore songs which are great to learn basics of rythm (how hard it is to make beat go Tutz tutz tutz tutz?) and melodies.. I was happy when I found out what notes I need to use on bass so it works with the piano - I discovered d minor key without knowing it.. I thought I finally understood musical theory back then, and I forbid all my friends who I tried to educate to use note B as it sounded horrible. I remember that I was pondering why the hell someone used A# on bass when the key changed from D-F-A to D-F-A# later I found out that it was actually A#-F-D just inversed etc..
I must admit that I was cocky about my music at times and I always fell down to reality after a while, but it's good when it happens because it helps you to move forward.. My aim always was to make new tune better than the previous one..


What are your favorite effects to use?

Most likely renoise chorus atm, I use it for delay action, it's crazy what you can make with it, I can imagine some improvements there like syncing to beat etc, but I love it anyway.. I think I'll be trying to experiment with it and the new signal follower device and see what may come out of it

Edited by B-complex, 19 January 2010 - 04:16 PM.

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#5 B-complex

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Posted 19 January 2010 - 04:20 PM

@ Last & Least
How long was it until you started sending demos to record labels?

I think we sent first demo around 2002 with my mate L Plus, we burned about 50 cds and sent them to all kinds of labels, it's much easier now with the labels having aims and soundcloud pages etc


What sort of music influenced you growing up?

all kinds of music really, I am trying to have no prejudice when it comes to it, I can find good inspiration in folk, techno country or jazz.. You just need to have ears open. What inspired me to make electronic music in the
begining was certainly demo scene, I got several modules that I loved, and for few years it was my main gate to it, there were no mp3s back then and music that played on the radio and tv suck most of the time.
Bigups to the guys from Explizit, RBi, Destiny etc I doubt i'd be making music today if I didn't hear what they were doing

Edited by B-complex, 19 January 2010 - 04:20 PM.

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#6 speeeh

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Posted 19 January 2010 - 06:25 PM

Hello Matus, thanks for doing this Q&A, and first of all please forgive my poor english :(


I have some questions about the way you manage to get those sick basslines into Renoise :

- Is resampling involved in the process ?

- What about frequencies splitting for applying effects to a specific frequencies range ? Do you duplicate the same sound (synth or sample) on multiple tracks in Renoise with LP/BP/HP filters, or is it done with some kind of VST ? In a tune like Beautiful Lies, how many layers are used for the bassline ? (And if anyone on this board can do a XRNS tutorial about this, it'll be very helpful ;))


More general questions :

- The price of a good pair of monitors is really too high for my budget, do you think it's possible to be serious about music production (in particular for dnb) while producing with headphones (or semi-decent 2.1 speakers) ?

- Do you consider producing other styles of dnb in the future (like minimal which seems to be really popular these days), or even something else than dnb ?

- Favourite tune at the moment ? :walkman:

- Any plans on releasing "Ocean Deep" ? Such a beautiful tune :yeah:


That's all, thanks for reading me, and I wish you the best for your future releases :drummer:
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#7 B-complex

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Posted 19 January 2010 - 07:44 PM

@ speeh

Hello Matus, thanks for doing this Q&A, and first of all please forgive my poor english :(

Hello man,

I have some questions about the way you manage to get those sick basslines into Renoise :

- Is resampling involved in the process ?

Glad you like them, it depends on tune, sometimes I do it sometimes I don't, I usually want to create a complex patch in z3ta and just enter the notes. A little trick is to make patch, then clone it and alter the settings on the second instrument, then when I write some riff I can just change the instrument number in renoise and quickly switch to different envelope/lfo on the second instrument. Let's say one instrument has lfo set to 1/2 and second one is 1/4 then by simple change of number of instrument i can change the way instrument behaves. Maybe it seems like a ineffective method resource wise but computer can usually handle it well.

Resampling is great method if you want to have solid bass which doesn't change when you don't want it to. If you render down the sample it's way more solid than signal going out of the synth, but you loose the freedom of manipulation with the instrument parameters that way ofcourse. So it's up to you in the end, there is no good/bad it depends on what you are aiming for and both methods may work.


- What about frequencies splitting for applying effects to a specific frequencies range ? Do you duplicate the same sound (synth or sample) on multiple tracks in Renoise with LP/BP/HP filters, or is it done with some kind of VST ? In a tune like Beautiful Lies, how many layers are used for the bassline ? (And if anyone on this board can do a XRNS tutorial about this, it'll be very helpful ;))

I tend to split frequencies only when I do the bass and again it depends on the track. It's good to have your subbass as individual instrument, but sometimes I feel that the overall sound changes too much and prefer to keep it unsplitted. When I was making beautiful lies I didn't think much about the technical side of things, when I look back at the project it's pretty simple in the end. When it comes to effecting only certain frequencies you usually want to avoid phasing on low frequencies, for example if I want to use chorus I don't want it to affect bass only the mid/high range for the "phat" effect. The same way I usually treat reverb, I love the effect, but it can mess the whole mix if you have too much of it, I usually have an equaliser on send track and mix it. Basically you can consider all effects as another added track in the mixdown and treat it as such - meaning to equalise it's levels to fit overall track.



More general questions :

- The price of a good pair of monitors is really too high for my budget, do you think it's possible to be serious about music production (in particular for dnb) while producing with headphones (or semi-decent 2.1 speakers) ?

I recommend you to save up and buy some lowcost monitors. It may be expensive but it's definitely worth it. And it shouldn't take you more than few weeks of work, back in the days when someone wanted to play in the band he had to save up for guitar or equipment, let's not be cheap we don't have to have everything for free. If you want to do some mixdown work you can't rely on some speakers made for playing games or watching films. I started with some plastic speakers then I had 4.1 creative speakers , couple of cheap headphones... I struggled with mixdowns and it never sounded good enough even if I spent days and weeks mixing the track. First differnece was when I finally managed to buy akg 271 headphones, and tapco's later.. It was like cleaning up your ears, suddenly it was much easier to get the levels right.. But still it's very important to have experience and trained hearing to know what needs to be changed and also when it's "ok" this requires time and dedication, so even if someone gets the best equipment it doesn't mean it will make music for you.


- Do you consider producing other styles of dnb in the future (like minimal which seems to be really popular these days), or even something else than dnb ?

I am trying to vary my style, if you listen to tunes like beautiful lies, three dots, little oranges, acidtrip etc they are quite different altough naturally they have something in common but I don't want to fight that :) I used to produce hardcore trance and psytrance earlier and I still make some nondnb tracks nowadays - check Phoenix on my soundcloud page for example, or Julius on youtube.

I am not feeling the current minimal movement to be honest, I love the energy in the tracks and I just miss that in the tunes that I often consider empty.

- Favourite tune at the moment ? :walkman:

Possibly Noisia ft. Foreign Beggars - Contact, very simple but right at the point tune :) love the engineering there as well

- Any plans on releasing "Ocean Deep" ? Such a beautiful tune :yeah:

It was meant to be out on Vibez but nothing new happened, would like to release it but it's kinda dated now we'll see


That's all, thanks for reading me, and I wish you the best for your future releases :drummer:

No problem mate thank you :)
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#8 Guest_crytek_*

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Posted 19 January 2010 - 11:48 PM

How do you manage your time in the studio?

Have you ever had a track rejected from a lable? If so, what were the reaction from you because of it (disapointed, shrugged it off, etc)?

Do you prefer working solo or collaborating with a person on a track? If it's the latter, how do you go about it - especially with people who doesn't use renoise - ?.

Any tips on simple tricks (in the fx coulomb) that you've found useful?

Ever considered promoting, and selling your music yourself? Ever considering starting a label?

Do you work more on impulse, or is most of the writing process a bit calculated?

....

#9 gentleclockdivider

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Posted 20 January 2010 - 12:07 AM

Who are you ?
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THERE IS NO RELIGION SUPERIOR TO THE TRUTH


THERE IS NO TRUTH SUPERIOR TO THE ONE I CHOOSE

C'EST MIEUX D'ETRE BELLE ET REBELLE


QUE MOCHE ET REMOCHE



RUBIO RABIA


http://soundcloud.com/gentleclockdivider/eyes-are-pure
https://soundcloud.c...ivider/goated-2
http://soundcloud.com/gentleclockdivider/goated-2

#10 Last & Least

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Posted 20 January 2010 - 01:02 AM

matus has shown his forum skills on DOA! get ur pop corn....
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#11 B-complex

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Posted 21 January 2010 - 02:54 PM

@crytek

How do you manage your time in the studio?

I'm not really trying to manage it , altough it's more and more necessary with the number of project growing recently, I found out that I work best early in the morning or late at night, It all really depends on where your inspiration hits you, then everything else is secondary and I try to write the ideas down as quick as possible.


Have you ever had a track rejected from a lable? If so, what were the reaction from you because of it (disapointed, shrugged it off, etc)?

Yes of course, we all know the feeling when you send something out and labels don't even bother to respond. I think it's understandable with the amount of tracks they receive daily. I do my best when I make music, but it doesn't mean that every tune I make is a solid gold, then you have to decide wheter you want to flood the market with quantity or you focus on some quality control. Most of my tracks floating about are unsigned, if I have to choose I prefer a solid and well known label to some "just started" digital label that seem to be popping up everywhere nowadays. I mean no offense to any of these but as in everything else today, you have to dig quite deep to find something good in the ocean of avaragness. Back to your question, honestly, there is always some feeling of disappointment when your work is not received well, making some kind of expression is always attached to our egos, so often the criticism could be taken personally. As a profesional you need to try to avoid that, take the positives out of it and find a way how to include it in your work to grow. It can be frustrating at times, but in the end it's worth it.


Do you prefer working solo or collaborating with a person on a track? If it's the latter, how do you go about it - especially with people who doesn't use renoise - ?.

Mostly I work solo, but collaboration has definitely lots of advantages, most real collabs I did were with vocalists or instrumentalists. Had some collab projects started earlier but I didn't find someone with whom it would work so well on a longer basis (production wise). It's ofcourse connected with the enviroment as well, renoise is not so widespread yet, but I'd be definitely happy if it changed. Collaboration is great for having perspective, teammate can pull you forward or tell you when to stop. Technically with rewire I don't think there should be any problem working on projects now even if someone uses different system.

Any tips on simple tricks (in the fx coulomb) that you've found useful?

Do you mean tracker commands ? If so, I tend to use 1xx 2xx 5xx and naturally 9xx a lot, nothing surprising I guess. What I would love to have in renoise though would be some "automation" metadevice to which you could add parameters and control them via fx column. Something like hydra, but not with preset number of "outs" but it would start with only one and you could add more if needed - I often feel that automation chain gets too crowded with parameters i will never use, if I had one device to which i could set every parameter I wish to control in the chain then I would only automate this device and everything would be much easier to see.. thinking of it, I think it would be great if you could have more automation curves in one window different in colors, that way you could see filter frequency and resonance curves together for example and switch them on or off if needed.. just brainstorming here but i think it would be cool - also maybe it would be cool if every channel had hidden automation fx which you could show if needed and change parameters from tracker instead of automation window - but the change would be represented in the visual as well .. maybe renoise 3 ? :)

Ever considered promoting, and selling your music yourself? Ever considering starting a label?

Yes of course, You always need to do some kind self promotion anyway. I would like to start a label when I'll feel I grow enough to it. I would definitely want to go beyond simple digital label.

Do you work more on impulse, or is most of the writing process a bit calculated?

Best things I did were made on impulse, but it doesn't struck you daily, often it's combination of both, you get an idea work on it impulsively and when it wears off more rational approach comes to it and you
need to filter out what is good and what isn't. Beautiful lies for example were written completely on impulse I made it in a day basically. Sometimes you've got tracks on which you work for weeks or months but you can
never get it to sound right.. often it just means that the idea is just not strong enough and best you can do is to try something fresh

Edited by B-complex, 21 January 2010 - 02:54 PM.

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#12 B-complex

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Posted 21 January 2010 - 02:56 PM

Who are you ?


I am Mato, hi!
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#13 kasmo

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Posted 21 January 2010 - 03:02 PM

:P

and thanks mato, this was interesting!

Edited by kasmo, 21 January 2010 - 03:10 PM.

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#14 kazakore

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Posted 21 January 2010 - 04:33 PM

I often feel that automation chain gets too crowded with parameters i will never use, if I had one device to which i could set every parameter I wish to control in the chain then I would only automate this device and everything would be much easier to see..


Come up a few times recently and one of two Meta Devices I would personally love to see in the next release.

thinking of it, I think it would be great if you could have more automation curves in one window different in colors, that way you could see filter frequency and resonance curves together for example and switch them on or off if needed.


Come up a few times and definitely wanted. As well as a way to see it alongside the pattern data better, better curve control and ability to have two points per position to make instant ramps.


Nice answers and thanks for your time. Sorry no questions at the moment personally.
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#15 Last & Least

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Posted 09 February 2010 - 09:13 AM

Bumpage and another question,

I love your remix of Julia, makes me feel really happy :)

When you do a remix, do you have an intention of trying to keep the track similar but with a B-Complex twist? Or do you go all out sampling attitude and do what you want? whats your mindset going into doing the remix?

p.s Rolling With The Punches.... BIIIIIG TUNE !

Edited by Last & Least, 09 February 2010 - 09:16 AM.

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#16 B-complex

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Posted 10 February 2010 - 01:09 PM

Bumpage and another question,

I love your remix of Julia, makes me feel really happy :)

When you do a remix, do you have an intention of trying to keep the track similar but with a B-Complex twist? Or do you go all out sampling attitude and do what you want? whats your mindset going into doing the remix?

p.s Rolling With The Punches.... BIIIIIG TUNE !


Thanks mate, it depends on the track, but proper remix should always have some new perspective to the original idea imo. The original of Julia was very simple and I tried to build on the afro vibe, the feeling you got is what I was aiming for, not every track must be "underground" it's a silly tune but I think it works. I think it should be readable what the original track is when you remix it but make it sounding new and different, just sampling out the track doing something totally different feels like using sample cd to me
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#17 circuit_damage

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Posted 13 February 2010 - 04:47 PM

Hey mate, I'm currently loving Girl With Flower, but a friend and I were having an argument about a sound in it:

If you don't mind (I certainly understand if you do...), what is the sound that comes in around 1:50? Synthesizer, effected sample, radiological mutation? I must know. :blink:

Thanks for your great music and this interesting Q+A. :)

Edited by circuit_damage, 13 February 2010 - 04:47 PM.

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#18 Guest_kaneel_*

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Posted 13 February 2010 - 08:33 PM

Oh yeah, "Girls with flower"... I wanted to thank you mistah B for sending it to me before it gets released... I'm still playing it someday :)

#19 marcusg

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Posted 15 February 2010 - 08:33 PM

Hello matus

I really like your style. That track you made called "Sandworms" is one of my favorite. I am curious, where did you get the vocal samples from and the middle eastern instrumentals from? Matter of fact where do you get your good drums samples?

How often do you spend your time making music now, do you have another part time job on the side or is this a full time gig?

Do the chicks dig the hair?
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#20 B-complex

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Posted 16 February 2010 - 12:41 AM

Hey mate, I'm currently loving Girl With Flower, but a friend and I were having an argument about a sound in it:

If you don't mind (I certainly understand if you do...), what is the sound that comes in around 1:50? Synthesizer, effected sample, radiological mutation? I must know. :blink:

Thanks for your great music and this interesting Q+A. :)


hehe it's effected muted guitar actually :) out of the vsti
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#21 B-complex

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Posted 16 February 2010 - 12:47 AM

Hello matus

I really like your style. That track you made called "Sandworms" is one of my favorite. I am curious, where did you get the vocal samples from and the middle eastern instrumentals from? Matter of fact where do you get your good drums samples?

How often do you spend your time making music now, do you have another part time job on the side or is this a full time gig?

Do the chicks dig the hair?


thank you :) , vocals in Sandworm are sampled off the awesome Finnish trio (i believe) Varttina - hope I spelled it right. The question of drums is a bit harder to answer, it's not just using some samples, it's usually a bit more complex process of treating breakbeats, layering them and processing it all together.. if you really want to have "good drum samples" for style like drum&bass you need to get a bit more into processing samples I didn't see any really usefull samplebank so far tbh when it comes to this
the middle eastern instruments are off Children of dune soundtrack if I remember correctly (hence the name :)

lol @ hair question :) I would say that if some girl likes me despite of my hair it's a true love :))
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#22 coopr

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Posted 16 April 2010 - 04:11 PM

Nice, only recently discovered this thread. Would be good to see other renoise producers doing this in the future.

'lo Matus,

You mentioned you sent your first demo out around 2002, how long was it before you received positive responses or did you get interest straight away? - have you got any tunes from around then that we can listen to?

What's the best tip you could give to new producers? or is there anything you know now, that you wish you'd known earlier on?

How long do you usually spend on tunes?

Favorite breaks? or do you not use them that much?

What kind of processing/effects do you typically use on your vocals, or at least in beautiful lies?

Strangest sample you've ever used? :P

Thanks

Edited by coopr, 15 June 2010 - 03:43 PM.

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#23 evermind

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Posted 28 August 2010 - 11:14 AM

Hey I was wondering:
what plugin did you use to make the bass in Beautiful lies? Its beautiful yet so dark!
By the way, I especially love the part of Beautiful lies where the speed slows down :)
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#24 Sylo

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Posted 01 September 2010 - 03:25 AM

Heya, I too was wondering about how you treat your drums. Could you give any more detailed insights in how you approach it with the techniques you just mentioned, if you have things that you find yourself doing a lot?

Also, I was wondering what the best approach would be to get anywhere with a label? I'm fairly new to any online self-promoting ways (but not totally clueless on the subject either) and not even sure if putting your stuff out there for everyone to hear would be the best approach either..?

Thanks!

Edited by Sylo, 01 September 2010 - 03:25 AM.

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Yeah I got one too now -> www.twitter.com/goranbackman

#25 fladd

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Posted 20 September 2010 - 01:18 AM

Does anyone know where the vocal sample in Beautiful lies comes from? And what language it is :)? Just curious.

This track is absolutely amazing btw.! I love it! When I first heard it it did something that doesn't happen that often anymore with today's music: It totally blew me away! :)

fladd

Edited by fladd, 20 September 2010 - 01:22 AM.

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