Dubstepforum.com

tripwire22 wrote:

dreadheaded wrote:just coming up on a year

same here yeah

wow amazing, ^^^ going places!!

dreadheaded wrote:

tripwire22 wrote:

dreadheaded wrote:just coming up on a year

same here yeah

wow amazing, ^^^ going places!!

bless mate that means alot to me

This is spooky. I'm exactly the same! apart from my set up in 99 was a yamaha 03d, Emu proteus, Roland 1088. akai 30000.

Bought most of it off cause for concern when they hit the big time. Then realised it was actually alot harder than i first thought. Liked raving more than studying!

Again dabbled with reason when it came out and then got to 30yrs and thought F*ck it i'll give it a proper shot this time and bought a mac pro with logic.

Bin about a year at it and getting better every day.

Never went to Greece tho

Safe!

That is weird man... I remember when C4C hit the big time, I think I have their first release on white... I used to get my records from Dance 2 in Brighton and apparently the C4C chaps hung out at the Guildford branch a lot and they had got hold of some plates... Heh, small world I guess!

tripwire22 wrote:im guessing your referring to me and yeah its been just about a year now and im glad i started this and i love the community. i did post the WIP of a song in the finished section i want you to check cuz ive gotten little to no feedback on it. its different from my other songs cuz i was playing final fantasy 7

Ah Crap. I must have missed that one bruv. I'll have a look back through and give it a listen.

Peace

about 7 - 8 moths ago i think feel like ive progressed alot since then

since 2005, but only very seriously since 2006/2007

DJing for a year now and producing for 3/4 months, it's a steep learning curve but I'm loving every minute of it

funny thing i got my 1st belt driven turntables in 98 then around 2000 got my technics

yep and in 2008 is when i started production some days i wish it was the other way around

but i've had some great gigs also playing the other genre's i use to play out am still loving spinning track's on table's and love making beats...

i got into to it from going to warehouse rave's in the 90's and out door bush festivals...and still loving electronic music

i think am pretty old myself and don't see giving it up yet.

this post repeated twice!

thierry_le_dj wrote:i got into to it from going to warehouse rave's in the 90's and out door bush festivals...and still loving electronic music

i think am pretty old myself and don't see giving it up yet.

cool to hear... this gives me hope. sometimes i think to myself.. what if i get over electronic music when i get older?? what if all i like about it is the novelty? because that's what some people tell me, despite my belief that it just sounds beautiful...
but if you're still loving it, i know that i will probably always love it... which is awesome..

i've been producing dubstep for about 4-5 months now.. maybe 6.. but i've been a musician/artist all my life. before this summer, i was playing a lot of pop/rock on bass and guitar, and before then, producing hip-hop (poorly).. and before i even had the urge to learn piano at the age of 9 or 10, i was always humming some little melody in my head, or tapping out some kind of rhythm. or just playing with words in my mind.

started fooling around with making simple hip hop beats when i started uni about 3 years ago, started getting more into it during 2nd year of uni and invested in midi keyboard and monitors and made the switch to producing sample based hip hop beats.

only really made the switch to dubstep during this summer just gone, all my dubstep productions are on my soundcloud and some hip hop beats on myspace, don't really use the myspace anymore, it hasn't been updated in ages

I am always confused on how to answer this because I have been making tunes and recording them since the mid 80s but I didn't get a commercial release till '04. IDK I have always been playing around with sound in one way or another and I am 35 so whatever. Defo no n00b. Old man crew rprznt.

Started producing just after I was 18 years old so for me I would hazard a guess of three or four months now.

abZ wrote:I am 35 so whatever. Defo no n00b. Old man crew rprznt.

Hahaha- word!


I am 33, been producing my own tracks for 10 years, was a classical producer 2 years before that, have been composing for 20 years... and I have been a cellist for 25 years.

Old man crew indeed!

Mad EP wrote:

abZ wrote:I am 35 so whatever. Defo no n00b. Old man crew rprznt.

Hahaha- word!


I am 33, been producing my own tracks for 10 years, was a classical producer 2 years before that, have been composing for 20 years... and I have been a cellist for 25 years.

Old man crew indeed!

I keep FSTZ around so I am not the oldest fucker on here

What do you mean you produced classical? You were actually in the studio with orchestras? I would imagine you could stack papers doing that. I would guess that would be the hardest thing of all to produce?

Few months. Only just started getting serious though. Be on the lookout for when I finally post a tune.

abZ wrote:What do you mean you produced classical? You were actually in the studio with orchestras? I would imagine you could stack papers doing that. I would guess that would be the hardest thing of all to produce?

I produced the Chicago Symphony's radio broadcasts... which basically meant that I was in the recording booth for 2 of every 3 or 4 performances of a program... and I marked the score, in real-time, of what I thought we should edit for the "live" broadcast..(which was, as I found out, an edited conglomoration - several months later, of live performances edited together, and that it is pretty much the norm these days). So for instance, if the 2nd flute slightly missed a note in their duet with the 1st clarinet in the 2nd movement of a Mahler symphony... I would notate it so that it could be edited out with the other recorded performance (and I unfortunately found out that such blunders are MUCH more common in the world's top orchestra's than I previously thought....). Then, the recording engineer & I would go down and would discuss the two recordings with the conductor (Daniel Barenboim, Zubin Mehta, Christoph Eschenbach, etc) and the guest artists (Yo-Yo Ma, Peter Serkin, Gil Shaham, etc) and give our reasons for wanting to edit a concert a certain way... and then we would go with it.

I'm not gonna lie.. I thought I knew most of the standard repertoire well (ie- the Brahms symphonies, the Bruckner symphonies, the Mozart symphonies, etc etc etc)... but not only was I sorely mistaken in my comfortability with the 'standard' stuff... but what was really hard was hearing world premieres, and having to instantly internalize the score and be able to edit it in real-time (with music that is both atonal and never-heard before).... That is truly hard.

Gotta say... more than anything else... those 2 years whipped my ears into shape more than anything.

Mad EP! Big up the 24 breaks dude, I didnt know you were on DSF.

Mad EP wrote:

abZ wrote:What do you mean you produced classical? You were actually in the studio with orchestras? I would imagine you could stack papers doing that. I would guess that would be the hardest thing of all to produce?

I produced the Chicago Symphony's radio broadcasts... which basically meant that I was in the recording booth for 2 of every 3 or 4 performances of a program... and I marked the score, in real-time, of what I thought we should edit for the "live" broadcast..(which was, as I found out, an edited conglomoration - several months later, of live performances edited together, and that it is pretty much the norm these days). So for instance, if the 2nd flute slightly missed a note in their duet with the 1st clarinet in the 2nd movement of a Mahler symphony... I would notate it so that it could be edited out with the other recorded performance (and I unfortunately found out that such blunders are MUCH more common in the world's top orchestra's than I previously thought....). Then, the recording engineer & I would go down and would discuss the two recordings with the conductor (Daniel Barenboim, Zubin Mehta, Christoph Eschenbach, etc) and the guest artists (Yo-Yo Ma, Peter Serkin, Gil Shaham, etc) and give our reasons for wanting to edit a concert a certain way... and then we would go with it.

I'm not gonna lie.. I thought I knew most of the standard repertoire well (ie- the Brahms symphonies, the Bruckner symphonies, the Mozart symphonies, etc etc etc)... but not only was I sorely mistaken in my comfortability with the 'standard' stuff... but what was really hard was hearing world premieres, and having to instantly internalize the score and be able to edit it in real-time (with music that is both atonal and never-heard before).... That is truly hard.

Gotta say... more than anything else... those 2 years whipped my ears into shape more than anything.

I meant to ask in the last post, purely out of curiosity... how does one go from classical to EDM? Seems kind of like a step down in a way. I had a friend that played French Horn in orchestras and went to college for it and then he got into Prog House and Downtempo. Just seems kind of weird to me. I mean I love jazz if I could play like those guys do I don't think I would be messing around with dubstep but jazz is over my head whereas I can do dubstep.

Basic A wrote:Mad EP! Big up the 24 breaks dude, I didnt know you were on DSF.

Agree Big up for the 24 breaks