Dubstepforum.com

Lucifa wrote:uhhh i dont really get your point here, so are you arguing it's not a hype track or it is but it just doesnt do anything for you?

My general point was theres been little if anything in the last few years thats successfully re-captured the 'vibe'/atmosphere like in that vid you just posted.

exactly.

and percy doesnt make me feel the same way those tracks/sets/etc made/make me feel.

agreed percy is all hype

travis baker wrote:agreed percy is all hype

missing the point

Lucifa wrote:yes, but Grime especially. Only Kahn (and Zomby too an extent) have managed to capture the vibe of older Grime in the last few years.

Pfffft
Easy lad.

I don't think it so much the production/instruments being used but as with any music genre its follow the money. I think eventually there will be a solid mix of both ol skool feel and the new "melt you face off" style of dubstep.

Massive is proof that technology has an influence on music, just look at the amount of tunes that use it.

Soundcloud
ive been told this sounds a bit old skool.
nothing is lost!

zerbaman wrote:

Lucifa wrote:yes, but Grime especially. Only Kahn (and Zomby too an extent) have managed to capture the vibe of older Grime in the last few years.

Pfffft
Easy lad.

inb4 detuned squarewaves and sampled eski clicks.

Even if processing power increased since the early days (but technology hasn't so much, not in a way to really impact the sound much), how many producers are pushing it? The vibe has changed cuz the times have changed. I can recall tunes from 10 years ago that have the same production value modern tunes have. Not necessarily dubstep, but the tech was there.

People making dubstep now aren't the same people who made it 10 years ago and they're from a different places in a different time period with different influences writing tunes for a different audience. Back in 2004, no one thought about writing the next big festival banger, now every festival banger is a dubstep tune. That will influence the overal sound and vibes.

grime today is just an entirely different sound man, no way you can compare it with the older stuff. And this does have a lot to do with advancements in tech imo, no more simple fl sample eskibeats or violin instrument bits like Creeper

all this being said, Silo Pass is a banger, and I do like some of the new stuff from Miyake, Royal-T etc, Take Off is a tuuune

Dubstep has always changed. Skream once said "thinking outside the box," and that to me just proves that even if you go the filthy route instead of the grimey route. it's still gonna be the same 140 kick, snare, wub. People are hatin' on all these so called fakes, when all in reality their just changing the game a little bit. So what if it has to much growls, so what if it has rap in it. Their just creating a style so that everyone can enjoy.

I mean come on... Where I live I tell people all the time about Goth-Trad, Plastician, Hatcha, and their all like "what the fuck? this is boring as fuck I could fall asleep." Then I play stuff like Zomboy, nuff said.

With all these new VST's commin' out and new ways for peeps to get ahold of some nasty synths is at an all time high, when I bought FL I was able to get a shit tone of VST's that rarely used because I was still using Sytrus

Then After comming to be and realizing Massive, WOW, FM8. Shit got real, and LIKE MANY people we're able to use these programs to little or no effort. I think it's a good thing, it's good because it allows people to expand and branch out (not mention have more fun) at what their doing, because it's easier.

Genevieve wrote:Back in 2004, no one thought about writing the next big festival banger, now every festival banger is a dubstep tune. That will influence the overal sound and vibes.

I think this probably plays the largest role. How many kids in the 90's or early 2000's were diving into production because they had seen stadiums packed with 30,000 rabid kids chanting their name? Hell going to my first festival was what got me into DJing regardless of the fact that my entire life my dad had technics and hundreds of records around the house. I think the 'old skool' vibes have been lost because it isn't whats popular, not because of the technology we've got.

There's a tautology there. You're saying "it's not popular because it's not popular."

The software, like Massive, may have been influenced by the style of music, which fed back.

Presets.

I don't think the vibe of the genre has been lost on anyone who's actually dived in headfirst to explore it from the roots up. From Mala to Burial (and even before that) there has been this organic sound within an electronic means of production. But I think just the face that it's gone from 'Anti-War Dub' in 2004 to American Dubstep just a few short years later proves the music was never going to stay the same. Now there are so many off shoots from the original Dubstep sound, you can pick and choose subjectively what has the sound and what dosen't have the sound.

wub wrote:

£10 Bag wrote:The vibe of the old shit has been lost because people have been drawing their influence from a now-established genre. In 2001, the genre didn't exist so people had to look elsewhere for influence hence the garagey/metaley/funky/dubby dubstep. These days the overwhelming majority is dubsteppy dubstep.

Musical inbreeding.

Yeah, I generally agree with the idea that it's about scene dynamics rather than technology, if only because the technology really hasn't changed that fundamentally since the mid 2000s.

I'm not 100% on the "musical inbreeding" thing - it's a snappy phrase but I'm not sure it stands up to close inspection, especially when you consider how many new dubstep producers came from other scenes.

I'd say it's more just to do with how scenes grow, and basically the fact that people who dive head-first into a new part-formed scene that's still musically a bit all over the place will tend to be the sort of people who are going to like weird, unpredictable music, whereas people who take a bit longer to find out about it and get used to it will tend to be the sort of people who want more straightforward boshy big-room tunes. And from there it kind of snowballs as people who get into the scene through Cockney Thug make Eastern Jam massive and people who get into the scene through Eastern Jam make Nice Sprites massive and so on...

slothrop wrote:I'm not 100% on the "musical inbreeding" thing - it's a snappy phrase but I'm not sure it stands up to close inspection, especially when you consider how many new dubstep producers came from other scenes.

Not saying it's all producers within a scene, but as I've said before;

wub wrote:if you were spending your time listening to Kryptic Minds tracks and watching the Kryptic Minds tutorial and reading Kryptic Minds interviews all the while trying to make music that sounds like Kryptic Minds, you might need to stop and take a look at yourself

(To make good Dubstep... - http://www.dubstepforum.com/viewtopic.php?f=8&t=258573)

it's all the fault of electro house