Interface – Break

As part of the Adapt subscriber program, the processed and original drum breaks for each track will be shared and distributed. Producers in our environment may find these files useful for their own production, or as a reference point in reflection to mine, or other artists on Adapt in the future.

The processing of drum breaks has been a staple of Drum & Bass production since the 90’s, taking it’s lead from hip-hop and Detroit sampling and synthesis. As years progressed, the forward thinking and progressive nature of Drum & Bass lead to a deep exploration of processing and manipulation of such sounds.

For the engineer or producer amongst us, the drum process for ‘Interface’ was to cut each individual hit out of the break, apply a volume envelope and sample start / end manipulation to make it more minimal and remove background noise from the sample.

Then several stages of EQ, removing harsh or muddy sounds from each hit, until a level of clarity is reached. A balance between kick drum, sub and snare is achieved and tonal balanced is gauged around those parts. The relationship between kick and bassline often provides it’s own rhythmical underpin of it’s own and deserves focus. Once the EQ is at a stage where it is acceptable, a stage of saturation is introduced to help control the peak and add harmonics and density to the sample. Compression follows, allowing the initial transient to pass through, before a limiter on the drum bus clamps down the final sub mix, where careful attention is placed not to ruin the carefully worked transient parts, but also to provide enough density to carry weight beyond low end EQ.

Nick Modern – Sentry – The Sentry Files

sen·try.

[ˈsentrē]

NOUN

1.a soldier stationed to keep guard or to control access to a place.

Nick Modern presents ‘The Sentry Files’, a collection of dystopic audio files for your consumption. ‘Sentry’ takes the lead, it’s main line reminiscent of early warehouse classics, it’s low-end held down by the thudding sub bass. Razor-edged percussion provides clean tops, cutting through code with military grade efficiency. Cybernetic cries and screams provide stark contrast, drawing the listener deeper into the bleak streets and cyberspace of London, 2055.

Buy ‘Sentry’ : http://bit.ly/1iFcgU1

Sentry : Break

As part of the Adapt subscriber program, the processed and original drum breaks for each track will be shared and distributed. Producers in our environment may find these files useful for their own production, or as a reference point in reflection to mine, or other artists on Adapt in the future.

The processing of drum breaks has been a staple of Drum & Bass production since the 90’s, taking it’s lead from hip-hop and Detroit sampling and synthesis. As years progressed, the forward thinking and progressive nature of Drum & Bass lead to a deep exploration of processing and manipulation of such sounds.

For the engineer or producer amongst us, the drum process for ‘Sentry’ was to cut each individual hit out of the break, apply a volume envelope and sample start / end manipulation to make it more minimal and remove background noise from the sample.

Then several stages of EQ, removing harsh or muddy sounds from each hit, until a level of clarity is reached. A balance between kick drum, sub and snare is achieved and tonal balance is gauged around those parts. The relationship between kick and bassline often provides it’s own rhythmical underpin of it’s own and deserves focus. Once the EQ is at a stage where it is acceptable, a stage of saturation is introduced to help control the peak and add harmonics and density to the sample. Compression follows, allowing the initial transient to pass through, before a limiter on the drum bus clamps down the final sub mix, where careful attention is placed not to ruin the carefully worked transient parts, but also to provide enough density to carry weight beyond low end EQ.