The music grew out of breakbeat hardcore and its derivatives of darkcoreand hardcore jungle.
Creating Liquid Drum and Bass Grooves
A major influence was the original Jamaican dub and reggae sound. Another feature of the style is the complex syncopation of the drum tracks' breakbeat. Drum and bass subgenres include breakcoreragga junglehardstepdarksteptechstepneurofunkambient drum and bass, liquid funk aka liquid drum and bassjump up, drumfunk, funkstepsambassand drill 'n' bass.
From its roots in the UK, the style has established itself around the world.
Drum and bass
Drum and bass has influenced many other genres like hip hopbig beatdubstephousetrip hopambient musictechnojazzrock and pop. Drum and bass is dominated by a relatively small group of record labels.
In the late s and early s, a growing nightclub and overnight outdoor event culture gave birth to new genres in the rave scene including breakbeat hardcoredarkcoreand hardcore junglewhich combined sampled syncopated beats, or breakbeats, and other samples from a wide range of different musical genres and, occasionally, samples of music, dialogue and effects from films and television programmes.
From as early astracks were beginning to strip away some of the heavier sampling and "hardcore noises" and create more bassline and breakbeat led tracks. Some tracks increasingly took their influence from reggae and this style would become known as hardcore jungle later to become simply junglewhilst darkcore with producers such as GoldieDoc ScottJack Smooth, Foul Play, 4heroand 2 Bad Mice were experimenting with sounds and creating a blueprint for drum and bass, especially noticeable by late Byjungle had begun to gain mainstream popularity, and fans of the music often referred to as junglists became a more recognisable part of youth subculture.
The genre further developed, incorporating and fusing elements from a wide range of existing musical genres, including the raggamuffin sound, dancehallMC chants, dub basslines, and increasingly complex, heavily edited breakbeat percussion.
Despite the affiliation with the ecstasy -fuelled rave scene, jungle also inherited associations with violence and criminal activity, both from the gang culture that had affected the UK's hip-hop scene and as a consequence of jungle's often aggressive or menacing sound and themes of violence usually reflected in the choice of samples. However, this developed in tandem with the often positive reputation of the music as part of the wider rave scene and dancehall-based Jamaican music culture prevalent in London.
Bywhether as a reaction to, or independently of this cultural schism, some jungle producers began to move away from the ragga-influenced style and create what would become collectively labelled, for convenience, as drum and bass. As the genre became generally more polished and sophisticated technically, it began to expand its reach from pirate radio to commercial stations and gain widespread acceptance circa — It also began to split into recognisable subgenres such as jump-up and Hardstep.
As a lighter and often jazz-influenced style of drum and bass called "intelligent drum and bass" gained mainstream appeal, additional subgenres emerged including techstep circa —which drew greater influence from techno music and the soundscapes of science fiction and anime films. The popularity of drum and bass at its commercial peak ran parallel to several other genres native to the UK, including big beat and hard house.
Towards the turn of the millennium, however, its popularity was deemed to have dwindled, as the UK garage offshoot known as speed garage yielded several hit singles. Speed garage shared high tempos and heavy basslines with drum and bass, but otherwise followed the established conventions of "house music", with this and its freshness giving it an advantage commercially.
The beats and tempo that define house are entirely different. This did cause further confusion in the presence of new house music of the mids being played alongside what was now being called garage. Despite this, the emergence of further subgenres and related styles such as liquid funk brought a wave of new artists incorporating new ideas and techniques, supporting continual evolution of the genre.
Drum and bass incorporates a number of scenes and styles, from the highly electronic, industrial sounds of techstep to the use of conventional, acoustic instrumentation that characterise the more jazz-influenced end of the spectrum. Drum and bass could at one time be defined as a strictly electronic musical genre, with the only "live" element being the DJ's selection and mixing of records during a set. B King have also been cited by producers as inspirations. Even modern avant-garde composers such as Henryk Gorecki have received mention.
One of his more famous basslines Reese — "Just Want Another Chance", Incognito Records, was indeed sampled on Renegade's Terrorist and countless others since, being known simply as the 'Reese' bassline. He followed these up with equally influential and bassline-heavy tracks in the UK hardcore style as Tronik House in — Another Detroit artist who was important to the scene was Carl Craig. The sampled-up jazz break on Craig's Bug in the Bassbin was also influential on the newly emerging sound.
DJs at the Heaven nightclub on "Rage" nights used to play it as fast as their Technics record decks would go, pitching it up in the process. By the late s and early s, the tradition of breakbeat use in hip hop production had influenced the sound of breakbeat hardcorewhich in turn led to the emergence of jungle, drum and bass, and other genres that shared the same use of broken beats.
DreMos DefBeastie Boys and the Pharcyde are very often directly sampled, regardless of their general influence. Clearly, drum and bass has been influenced by other music genres, though influences from sources external to the electronic dance music scene perhaps lessened following the shifts from jungle to drum and bass, and through to so-called "intelligent drum and bass" and techstep.In no event shall Roland Corporation be liable to end-users for any damages whatsoever, including but not limited to financial damages for any loss of profits or information arising from the use of, or inability to use this updater.
The foregoing provision is effective even if Roland Corporation has been advised of the possibility of such damages. All rights that are not provided for herein are reserved by Roland. You shall not use the remaining form s of media on another computer. Roland makes no warranty, either expressed or implied, with respect to any of the software, including, without limitation, any implied warranties of merchantability or fitness for a particular purpose.
Roland can not reply to inquiries regarding this system software updater. In no event shall Roland be liable to end-users for any damages whatsoever, including but not limited to financial damages for any loss of profits or information arising from the use of, or inability to use this product. The foregoing provision is effective even if Roland has been advised of the possibility of such damages.
Roland reserves the right to terminate this License Agreement if you fail to comply with any of the terms of this License Agreement. All rights reserved. It will take some time to optimize. It can not be cancelled during the process.
Are you sure to proceed? TR-8S data will be backed up to a file. It will take some time to back up. Your TR-8S firmware will be updated. TR-8S does not have enough free space to save these contents. Please do the storage optimization or delete tone data.
Drum n' Bass Sample Drums. Roland Software License Agreement In no event shall Roland Corporation be liable to end-users for any damages whatsoever, including but not limited to financial damages for any loss of profits or information arising from the use of, or inability to use this updater. NO WARRANTY Roland makes no warranty, either expressed or implied, with respect to any of the software, including, without limitation, any implied warranties of merchantability or fitness for a particular purpose.
GENERAL a Any provision of this Agreement which is prohibited or unenforceable in any jurisdiction shall be ineffective to the extent of such prohibition or unenforceability without affecting, impairing or invalidating the remaining provisions hereof.Ken W. We already started the year with some of the most well balanced sample packs you'll find at the moment and made several generous offerings, which most of you took advantage of.
Now we got new material for the rhythm afficionados out there, an entire arsenal of special drums and basses, booming and clacking from the deep jungles within your prefrontal cortex. But what's in there exactly?
Well, probably more than you can handle at first glance. Besides that, we included beautifully clear female voice samples and some of the most alien FXs we could get our hands on: From vocoderized AI bursts, to drones and machine noises, from metallic clanging to insectoid hums, from bleeps and buzzes to ethereal shimmering, from the ominous to the very concrete — it's all in here, waiting to be used and abused by your imagination.
With well over 1 gigabyte, the size of this archive is considerable but not excessive, and of course the different folders are continuously key- and bpm-labeled so navigating through the whole thing won't be a problem. Yeah, you read that right, we have a 30 day moneyback guarantee for all our products. Our customers are always so satisfied with our sample packs, that we give everyone who is unsure the guarantee to refund every single penny. If You arent fully satisfied with this pack, just send us an email via our contact form.
All files are royalty freeso they can be used in commercial projects without any problems. Fresh quality cuts incoming. You Have Absolutely No Risk!
All included 24bit.As a massive thank you to every single person that clicks on this website, uses the links on here, shares us about. Don't know if producing is for you? Simply don't want to pay top prices for paid sample packs, wait no more! You've come to the right place!
Below are as many links I could find being dnb specific sample packs Lust Luxure Drum Kit. Apashe Drum Sample Pack. OP-1 Drum Sampler Patches. Metro Boomin Drum Kit. Ultimate Boom Bap Drum Kit. Bass City Sample Pack. Bass Essentials Sample Pack. Bass Pad Sample Pack.
Future Bass Drops Pack. Hotbox Freebie Pack. Cities Freebie Pack. Arpeggio Synth Sample Pack. Synthwave Samplepack. Vocal Hazard Sample Pack Volume 2. Euphoric Trance Vocals Pack. Festival Pre-Drop Vocals Pack. G-House Vocal Chops Pack.In this 4. Lean basic music theory that will allow you to write your own chord progressions.
Take the chord progression and make many more musical parts like leads and arps. Learn to create a musical structure for your Drum and Bass track that will keep listeners pulled in throughout. Gain advanced knowledge of using compression and EQ to get elements to sit right in the mix. Learn how to make drums that punch through the mix including layering, depth, EQ, crunch and more. Synthesise a rolling bass line with a top bass drone using Cubase Retrologue 2 and many more elements.
Learn how to mix your track to a very high standard and give it that professional polish. Total Course Length 4. After a short intro and look at the project settings, you will get right into making a beat using Groove Agent SE5, whilst learning the basic ways to navigate around Cubase.
We'll take a stock beat with many variations and learn how to use a drum map in Cubase. You will further modify the patterns to customize the beat and create a fatter and more unique drum section. In Module 3 we tackle what most people have trouble with - how to structure the different sections of your track! You will learn exactly how to create effective sections of your track. Covered extensively in this course is the creation of the right sort of sounds.
Anyone can pick a bunch of nice sounds and throw them at a track. This usually ends up in things being very messy. Here you'll learn about picking and creating the right sounds with the right texture and dynamics so they all work together from the start. You will use sounds from a variety of different sources like the powerful 'sampler track', Halion Sonic SE and then making sounds in Retrologue learning synthesis to make a lush pad, bassline with top drone, pluck sounds and even white noise risers to create energy in the mix.
In this next section we teach you how to take a raw vocal performance and process it so it becomes a truly great performance. There are a slew of vocal enhancement tools in Cubase and we will use them to tweak many aspects of the vocal performance. You will learn to use Vari Audio 3 that comes with Cubase 10, the super easy to use and powerful timewarp functions and of course we will add effects to the vocal.
When it comes to vocal mixing you will learn why and how much compression you should be using, how to make the vocal brighter and bring out the best of the performance and even add saturation to add extra shine. We'll cover the basics of what you are trying to acheive and how mixing is an ongoing process that starts with picking the right sounds. We'll look at using Mixer snap shots in Cubase 10 along with videos on treating all the different aspects of the mix with all the tools at your disposal.
You will be able to make the drums sound fuller and punchier using compression, increase the prominance of desirable frequencies and give each element it's own space. FREE lessons from the course.
Watch Lesson 1. Here your tutor Jon shows you the basics of finding and manipulating beats in Groove Agent SE5 whilst learning to navigate the Cubase interface. Watch Lesson 2. Here you will start to edit the drum beat from Groove Agent, using drum maps and customizing the beat to make it unique.
Watch Lesson 3. Music Theory - Basics:. Here we will cover the basics of music theory, starting with the most basic rule, picking the scale.Words by: Felicity Martin.
It has caught the moment more than any other track, it works at the end of the night, at most nights I play at it always works. As soon as everyone hears the intro it goes off. This is a great tune, he has caught the moment right.
Liquid DnB Freebie
It was released at a time when liquid was at its peak, and this one of the best liquid tracks of all time. I really had to hold back from doing that. I think he sampled Miles Davis on this track and the groove is just so steezy, this track just reminds me of a smoky jazz club. This came when out when Swerve was really on fire and this was a track that played every week until Swerve closed.
Then it came out and killed it on the drum and bass scene. When it was released on vinyl it sold out in minutes. It is Bukem at his finest. They have made some great tracks.
If you are going to use a sample then use it like this — it is a great tune. It is a haunting track, it has got a lovely haunting melody to it. Alix is a very underestimated producer actually, he is a great producer — when he gets on the groove, like he does on this track, he is one of the best out there.
This is another tune. The bassline on this is what gets everyone. The bass drop is just insane. Yeah man, good tune. Every time I play this tune, it just gets such a great response.
I really had to hold back from doing that". Grooverider — Charade. Most Popular.Create an instance of Battery for your kick drum. When browsing for a sample to use, look for something punchy — not much sub. The bass will occupy the sub frequencies. You may need to tune it down a little bit. Kick drums in this style typically have fundamentals around 50 Hz. Add a tambourine or a shaker sample to this instance. You may need to shorten it a bit. Punch in this rhythm for your kick. Create a new instance of Battery for your snares.
For the main snare on 2 and 4layer 2 similar snares. Filter them so that one occupies the lower frequencies and the other occupies the higher frequencies. Make the cutoff exact — no overlapping content. Now, copy the higher frequency snare into two empty cells and turn those down quite a bit. Use the volume envelope to shorten the decay of them. Bring up the reverb send for all of these a bit.
Consider slightly panning and pitch shifting them. Also, use some sort of humanizing or randomizing feature to make them sound more organic. Create a third instance of Battery for your ride cymbals. Pick a sample or two that is metallic and tight but not quite at the bell of the ride.
Copy it and paste it twice into two available cells. On the copies, adjust the volume envelope, levels, and pitches slightly so that it sounds like the same ride being hit it but not the same sample. Punch in an eighth note rhythm. Then, add some variation by moving and dropping out some notes.
On the insert chain, drop a stereo widening plugin and spread the output as wide as you can. Drop an EQ on the insert chain and sweep a few resonant filters around. Listen for the harmonics of the kick and the snare and boost these a little. Bring down a band around 4 kHz to reduce harshness. I usually bring up the high shelf a little to emphasize the cymbals too at around 10 kHz. Then, drop a compressor after the EQ. This will essentially act as a soft limiter low threshold, ratio of about 2.
Sub bass is fundamental in drum and bass music. I created mine in FM8 from its initial patch. The design is relatively simple. It consists of 2 sine wave oscillators and one short tristate operator modulating one of them. The depth is pretty low, but modulated by an LFO subtly. This operator is not as hot in the mix as the other simple sine. I kept the ratio at 1, but detuned the carriers slightly to induce some beating.Liquid Drum and Bass Mix #99