Sorry, I know this has prob been asked to death but im looking for some good amen construction kits Venetian snares style, and thought this would be the place to ask.
Yeah, good luck finding it
On a serious note: Aaron’s using crazy time signatures such as 7/4, distorted and twisted breaks, mostly amens, glitched at ultra high speeds, some other samples, you got the point.
Breakcore is all about experimenting and discovering, so you don’t need some lame construction kits for noobs, just do it by yourself.
If you need some quality loops to glitch then visit rhythm-lab.com and download some. Awesome resource.
Thanks for your reply. I think you misunderstood my post:) Im not interested in preprogrammed drum loops or venetian snares programming tips, only the type of drum samples he uses, preferably 1 shot samples, but loops to cut up could also be of interest. I’ll take a look at rhythmlab thanks:D I also dont mind paying for a samplepack.
Oh, now I see. Well, Aaron once said in the interview that he edits his drum samples in some special way, adding subtle, barely audible changes. I don’t think you can download his samples somewhere though.
RhythmLab have some great free sample packs. I have a couple of sets of amens form them - highly recommended for other noises too
Well a good start are the classic drum breaks: Amen, Think, Funky Drummer
Just get the original songs and load them into renoise and chop them up into single shots.
Hey E.J. have you tried the free drumkits I’ve uploaded on dropbox? The links are in my sig
They’re called the WizzKits and are made 100% from scratch in renoise
I’ve made more but am not directly putting all on free download
You’re welcome to flattr or make a Paypal donation to the project.
7/4 ain’t that crayzy ,it’s just 3/4 +4/4 …or 5/4 +2/4 …;you gett the deal
I think V.N. mosty uses 10/8 11/8 .
There’s in nothing odd about these measures , jazz musicians do it all the time …they just split up the measures in 2 or even3 different tempi
It’s just doesn’t happen that much in edm
I would say he mostly uses 7/4 by quite a long way! But he has released stuff in all kinds of time signatures including some I just can’t work out now matter how much I try and count!!
Hmmm. They referred to “odd meter”, so there has to be something odd about them. In classical theory they are sometimes called complex meter, so about them has to be complex.
Seriously, I’m a jazz musician, studied four years at the conservatory, and all that jazz. I don’t “do it all the time”, in fact I play almost exclusively in 4/4 and 3/4. I have some friends that are really into odd meters, but I can tell you for sure, they really worked hard (hours a day for years) to become fluent in odd meters.
Absolutely , but there is a big difference in playing/performing in 'odd time ’ and programming in a tracker in odd time .
I love to use 7/8
…stereo lab ( a great british band ) also use a lot of odd meters .
I can play some piano , bass and guitar , though I don’t consider myself a seasoned musician .
You"r a jazz player …you know ’ charles loos ’ ?
That’s my uncle …he’s gooooooood ( no I am not kidding )
There’s more to making a good tune in 7/4 than setting your pattern length to a multiplum of 7, although it might help. That’s why playing, let alone improvising, in 7/4 is much more difficult than just crancking out a tune in 7/4. Making a good tune in 7/4, that really flows and that you eally heard, that’s another story, IMHO.
I truly believe that all good music commes from the musical you, not the knowledgable you. Some might call it inspiration others talent, soul, ear, spirit even god. Doesn’t really matter. What matters is that the the music has passed through this musical you, that you “heard it”. Once you’ve experienced it, I’m sure you know what I’m talking about.
I don’t know him, although I studied in The Hague…
Just curious, how do you actually “count” that stuff?
To my embarrassment I’ve never really understood the concept of time signatures.
Tap your foot to the tempo of the music. When you feel there’s a downbeat (a beat that is either stronger than the others or feels like the music music “starts over”) count along with you foot, starting with 1 on the downbeat. When you reach the next downbeat, start from 1 again. With VS tunes in 7/4 you should be counting from 1 to 7.
Note 1) this is quite hard to explain in writing and 2) the above method might not work in all cases. If you for instance end up counting from 1 to 16, it’s most likely a tune in 4/4 (the most common time signature for “popular” music), with you in fact counting 4 bars or 4 beats each…
How would you do that with for example this song https://www.youtube.com/watch?v=FaA-7I5BaEw ?
I count 7/8 as 1 2 3 4 (&) 5 6 7 - odd meters put an emphasis on a half beat, causing a natural syncopation. When you’re used to hearing it, it actually starts to lack complexity and variation instead of adding to it.
That’s one of the examples I mean where I personally find myself often failing when trying to count out of the measure. Not sure if Chunter was replying to you but I don’t believe this one is 7/4. Not 100% convinced it has a fixed measure and wouldn’t surprise me if VSnares has done a fair few pieces where the measure is constantly changed by using different length song patterns without a pattern to the cycle.
From the comments maybe 33/8…
A verry simple example wold be the song 'money by pink floyd;
You know how the bassline goes , if not check you tube …
Now start counting …you’ll notice thta you will count to seven before the bassline starts again ;
This means …7 quarter notes in a measure or bar ( same thing ) …so 7/4 …but this doesn’t mean that it has to be seven quarter notes , it could easily be 5 quarter notes a quarter note rest and 2 1/8 notes ( which equals one quarter note ) , if you count up al the notes and note rests (pauses ) you 'll must have 7 .
So the duration of the pauses are equally inmportant as the duration of the notes
I upoade an example ages will try to find it
A couple things:
As to Aaron’s breaks, I remember him saying something that he doesn’t like to use breaks and rather goes with mutated one-shot samples.
As to time signatures, I’ve always thought of odd time signatures as a combination of simple meter bars with beats missing. For example, when you count 7 you can count it like (1),2,3,4,(5),6,7,1,(2),3,4,5,(6),7,(1)… Or you can count it like (1),2,3,4,(5),6,7,(1),2,3,4,(5),6,7…
Breakcore in odd meters is more cohesive if you think of your rhythmic phrases in terms of more than one bar.
Counting in 5 is different, as it’s almost always either counted as 3&2 or 2&3, the latter being less common.
But something I’d like to point out though:
Wasn’t you the type to mimic what you saw on TV?
Wasn’t you the type to mimic what you heard on CD?
You never wanted to work you wanted everything easy,
You heard Venetian Snares and you said, “That’s me, easy!”
Those are lyrics from the VSnares tune “Gentleman”, a tune which also referenced the idea of people stealing ideas right out of his computer. There’s nothing wrong with taking ideas from artists, but if you do so, take them from many artists and not just one. There’s a lot of VSnares clones out there, so make sure you don’t go too overboard with the whole glitchbreakcore thing.