Botb is kickass… he’s right up there imo 
… I wish I had the patience to do intricate breakwork all the time 
thanks for sharing Botb, this is inspiring! keep it up!!
Botb you kick ass!!! Please share other tracks!!!
800 bpm with speed 3? Wow.
I have been examining your .xrns file for quite some time and I must say that I am sure that you must have put a lot of work into it. How long have you been working on it? I have a few questions:-
- Why do you keep switching of the drum notes before the next hit (in the amen track)? I have removed the ‘off’ notes, and haven’t found anything different.
- How did you go about making the track? Did you work on a few drum patterns first and then add the lead (virus track), or did you add the lead first and build a rhythm on top of it.
- Do you copy the drum pattern from the previous pattern and edit it while making a new pattern, or do you make it from scratch (only the drums)?
I like the way you make a lead (virus track) melody using the volume commands and filter automation, to make it sound almost entirely different from the original sample. It sounds really good. Keep the excellent work!
the only way I can avoid having a epileptic seizure from the patters scrolling down so fast for BPMs greater than 400 at speed 3, is to lock the patterns so they don’t scroll.
then, and only then fellow dudes, the editing gets a whole to easier.
Before I put it online, I worked on this track for about six hours. Right now it has doubled,
but I’m not sure if I’ll ever finish this track, though…
-
The offnotes have a serious effect actually… removing them makes the sound muddy and muffled,
if you don’t hear the difference, I guess there’s no use in going above 200bpm in Renoise actually…
I used to work between 400 and 500bpm and switched to 800 when I thought that sounded too muddy.
I need more space, the more the merrier… I hope Renoise will support 2000+ bpm in a next version. -
I just start out with a track, I dunno… it’s like… hey, let’s do some tracking… load up a drumloop, cut it
up, make some breaks until I have a rythm a like and then it’s time for the manipulation… Other times,
there’s a melody stuck in my head, which often ends up being mangled and put on a break. Tracks happen
to me, I don’t plan them out, they write themselves as I go along. -
Every drumpattern is different, I make them from scratch. But sometimes halfway a track, I feel like
a certain pattern could/should come back, because I dig its groove. But that’s just the pattern, usually
there are other filters at work at such a moment.
Thanks for the kind words, guys! It may look all a bit extreme and epileptic, but it’s just a zoom-in,
more space for stuff to happen in. It works better for some genres than others, but up to now I’ve done
stuff from jazz to dub to jungle and orchestral with it, so… Tracking is an approach to making music,
if you bend the rules, everything is possible!
Besides, I’m barely scratching the surface of possibilities. I can’t even imagine how far you can go.
And I think thats just what I was shooting for. I know it can be gothic, jungle, etc, but what I’m looking for is the “core” part of making tracks that have that fast, glitchy, breakcore/IDM whatever feel and then adding my own twist of flavor. The track botb posted was exactly the kind of thing I was looking for. I still haven’t really sat down to pick it apart, but I know there is a whole lot I will learn from it.
I sent an email botb asking you a few questions, but hadn’t heard back, but one thing I’m very interested to know is when slicing your breaks do you:
A. Cut the break at it’s original pitch, like an amen played at the records natural tempo, but pitch it so it loops perfectly at the tempo of the track, and then cut and sequence the hits.
B. Take say the amen break, bring it up to drum and bass tempo so it loops perfectly at for tempo of the track, and then slice and sequence the pieces.
Also, do you start with a whole bunch of patterns with just trk 1, get that sounding good, then come back and fill those patterns with trk two and then repeat the process, or just completely work one pattern at a time working with all instruments as you feel they should come in to the track?
Also, how do you deal with the same type of decisions with the other sounds, for instance the bass or acapella. Did you give any consideration when you were sampling it at what pitch you would sample it (the bass), or is it just a found sample played at the pitch you thought sounded good. Same with the acapella, did you slice it into 1 measure parts and experiment to find the pitch that would play it in time?
Cool shit, thanks for sharing, you are very talented. Don’t let anyone tell you otherwise.
well, im not botb, and i can speak only for myself, but i would suggest you step one: create your own breaks! take an amen or whatever break, chop it up to single hits (or almost single hits), arrange/rearrange them (put kicks to one track, snares to other, hihats to third etc so you can process them separately), process then with EQ, fiters, distortion, layer them with some other sounds etc etc, be creative!! and when you are done and satisfied with your break then bounce it to wav.
For example you can take a weekand off, buy yourself a coca or good tee or orange juice or whatever gets you going 
and then just do your breaks for that weekand.
After that load that sample you created into your main tune. then you can keep that break in one sample slot and copy paste its fragments or single hits to other sample slots so you have more freedom to mess around with them even further.
the reason i suggest to create your break at first in separate file or project is because then you can focus only on that break and use your all cpu power on that. If you will try to load dry original breakes and make all in one project then it will get very messy and you will run out of CPU pretty quickly.
here is one amen break i made recently to share with others, its done just the way i described and it used almost 60% of my athlon 64 3500+ (im not saying that its very good though, i did it within an hour or so, but still…) you can use it in your tune of course, should you find it useful 
just my 2 cents
Dude, I never got your email…? botbee@gmail.com, just in case.
Would hate to be considered rude, so well… now you know…
trackit is right, you should focus on one thing at a time. Like for this track, I first did the
beat… and because I was aiming for ‘that jungle sound’, I simply took the amenbreak.
But the first two hours was just making the drums work from start to finish, then add some
more variations using filters (you can pick up a whole different groove with some good
timed filtering and build something new from there, possibilites are endless!!!) and THEN
I went looking for a bass.
As for the pitch, you’ve got two ears telling you whether you like the current sound or you
don’t. If you don’t, tweak it until you are. This tweaking can be a filter, a pitch, ditching the
amen and get a different drumsound… whatever!! Just DO it. Don’t worry about looping points
and right pitching and whatnot: if you dig the groove, it’s a-okay. Personally, I like my beats
pitched up because I get more contrast between low and high and the hits are shorter,
which makes the whole sound more tight.
The same goes for everything. I love that Juno bass, but like anything else, it needs spice
to bring out the right flavours. So after I got something resembling a melody, I went apeshit
with filtering and pitchshifting to get that wobble, which sounds nothing like a melody, but
does. Notice the bass is the track’s red line. The only thing I set to the tempo was the
acapella, because the original wasn’t recorded on 200 bpm, so unless I wanted it to sound
off, or I was going to do some massive cutting (OR there’s this trick with the 900 to 9FF to
keep the original pitch). Though I cut that acapella months and months ago, I can’t tell you
why I did it the way I did… I saved it as an xrni back then and loaded it up NOW because
I was getting all junglist all of a sudden.
In the end, there is no good or bad way to make music. Just do it and don’t worry one little
fooking bit about how other people do it. You make YOUR music, not somebody else’s, right?
We’re all barely scraping the surface of what’s possible in Renoise, so we’re all still on our
journey to understand it and squeeze every last bit of potential from the program. It’s insane,
so goddamn insane and it sometimes scares the hell out of me. But then remember it should
be YOU holding the firm grip on the sound and NEVER LET GO. Perfectionism is tough, sure…
but it’s damn worth it.
and DBlue’s Glitch with a bitcrusher and/or distortion in the master effect
evil
Da Randomizah 
How are you going about creating the really fast breaks in your Clockwork Samurai track (At 2 minutes in)? Maybe I’m using the wrong samples or something but a really small example of something like that would be a huge help to me at least.
I think maybe im putting too much snare in instead of filling the break out with high hats if you get me
im at work and cant listen to that but i think gating is what you need…
Alright, i have a re edit of the first track i posted Jubba. I did some more drum editing, extended the track and added an acapella. I know a lot of people don’t believe in “genre” tutorials, but I have learned so much from botb’s track. For one thing, I have just been using a 1 measure drum loop and cutting up the hits, but after looking closely at the cutting in botb’s piece, I realized he just didn’t chop a 1 bar amen into it’s individual hits, he took the important parts of a few variations of the amen and sequenced those.
This is critical because I have just been relying on the slices within a 1 bar loop instead of looking further for cleaner hits. An example would be the hihat in the chicka chicka’s at the end of the amen break. If you just try and cut those out, the slices end up very small and almost like half a one shot, but instead I realized the hit was actually a hi hat and found a more complete, stronger hi hat further in the three bar amen break section. I think I have been trying to sequence slices that aren’t defined enough.
Also, I learned that I need to take things one thing at a time. I normally get a section of drums done, a loop if you will, loop it, and then start layering other sounds until I have a good sounding loop and then try and develop that into something. This never really yielded very interesting results. I had more luck, especially with this track, when I finished the drums of the track all the way through, and then went back to look for other elements to put over them. This has completely changed the way I write tracks.
Thanks to all those who have been willing to help me, especially botb.
You can hear the track on my myspace at:
The track is titled Jubba.
Take a listen and let me know what you think. I feel as though it is about 95% done and that it just needs some tweaking and mixing.
Brett (ordrokhaotic)
iow
i like.
BOTB says:
The only thing I set to the tempo was the
acapella, because the original wasn’t recorded on 200 bpm, so unless I wanted it to sound
off, or I was going to do some massive cutting (OR there’s this trick with the 900 to 9FF to
keep the original pitch).
Can’t understand this trick anyone can explain to me???
Thanx in advance yyyyyyyeeeeeeeeeeeeehhhhhhhhhaaaaaaaaaaaaaaaa 
Cool topic, thanks for the examples 
just check the Tutorial6 - Sample Offset.rns in your renoise song folder.