Dubstepforum.com

sub_lox wrote:

karmacazee wrote:The reason BPM's turn into genres is very simple: DJ's.

Exactly.

Try mixing the knife party remix of unison with, say, wolfgang gartner. one needs to be able to beatmatch as a DJ, and differing tempos just cause problems.

Some 100 BPM for y'all: Soundcloud

Warwolt wrote:Love how you're all implying you can't every make genre x outside bpm y. I could without doubt make 100bpm dubstep, or 150bpm moombahton.

moombahton sounds sick sped up...very housey

That's because in essence it is slowed down Dutch house... or am I just being dense?
Either way I don't understand the moombahton thing, it just feels so forced and fake.
/rant

Sinestepper wrote:That's because in essence it is slowed down Dutch house... or am I just being dense?
Either way I don't understand the moombahton thing, it just feels so forced and fake.
/rant

yeah i hear you on that like, i only listen to it when im mixing it at 140 into a dubstep set

I suppose its always good to mix it up in your sets .

Sinestepper wrote:I suppose its always good to mix it up in your sets .

yeah man, i take my inspiration from noisias essential mix, (constantly changing BPM and genre) but im no where near their level yet haha

Im pretty sure 100bpm is referred to as mid tempo as in MidTempo-breaks (see vent, breakbeat buddha, etc.)... I didnt see anyone mention that in this thread... Also some glitch hop goes all the way up to 100bpm... But in Bass music, who cares about tempo. I remember bassnectar referring to his sound as omni-tempo Maximalism, he would be all over the bpm with his bass tracks

DigitalDevil wrote:

drokkr wrote:Because everyone is shit sick of dubstep with bass made in Massive?

Haha then it's too late for me too begin producing such kind of dubstep.
What synth do you use to make basses? Battery 3 or something like that?

Is No one going to point out that Battery is a drum sampler?

Sinestepper wrote:I suppose its always good to mix it up in your sets .

I don't like to hear 140 for more than 30 minutes at a time unless the feel is different, like snares not on 3 or breakbeats being used. But even more than that, I really love to hear a dnb tune in contrast to dubstep. Tempo changes are rejuvenating and I really get a kick out those contrasts. Or if I was listening to a bunch of house or dnb and then it switches to halftime dubstep or hiphop. That contrast in tempo's has a really heavy feel to it. This is utilized in hardcore punk breakdowns too.

I made a super chill 100bpm tune yesterday
Just throwin' that out there.

I made a pretty heavy track at 100. For brostep, it seems alot heavier because of the gap between the beats.
I love it.

I dont see why a genre has to be limited to a bpm... I produce anywhere from 70-180 and I've been doing it all along, cant stick to one bpm thats just soft.. Some people are scared to produce conventional dubstep at 145 XD

joegrizzly wrote:I dont see why a genre has to be limited to a bpm... I produce anywhere from 70-180 and I've been doing it all along, cant stick to one bpm thats just soft.. Some people are scared to produce conventional dubstep at 145 XD

Most people don't limit themselves to genres, just EDM in general

I think about it this way:
Most producer's live performances consist of DJing with their music, as well as other similar music, so sticking to only a few different BPMs makes playing a set a lot easier. Writing all your songs in wildly different BPMs is the producer/dj equivalent of being in a four-piece band that has one song with guitar, bass, drums and keys, then another with flute, bongos, didgeridoo and acoustic guitar, then another with organ, drums, upright bass and saxophone, then another one... et cetera, et cetera. It takes too much time to pull off the instrument changes live. That's why most bands stick to a framework of, like, guitar, bass, and drums, and when they do change an instrument, they play all the songs that use it before they switch again.
Most good producers do change up BPMs all the time, but keep the ones that can be mixed together (the ones in the same genre) around the same BPM. It just makes life easier, for you and for other DJs.

IMO, the problem is that people get too carried away trying to make [genre]. This isn't just heavy wobblers and waveform warpers, but all spectrums of music, not just electronic. In that over-focus they lose sight of key aspects in making music, usually the actual music part. I don't reckon those groundbreaking pioneers of any genre were trying to actually make it, they were just rolling with what they wanted to do, taking influence from shit they were hearing.
That's the issue with naming shit, people become way too focused on things that don't even matter.

zerbaman wrote:IMO, the problem is that people get too carried away trying to make [genre]. This isn't just heavy wobblers and waveform warpers, but all spectrums of music, not just electronic. In that over-focus they lose sight of key aspects in making music, usually the actual music part. I don't reckon those groundbreaking pioneers of any genre were trying to actually make it, they were just rolling with what they wanted to do, taking influence from shit they were hearing.
That's the issue with naming shit, people become way too focused on things that don't even matter.

i agree completely, the only thing is genres happen because more than one person wants to go for that certain style, im sure most people would like to create something truely origional but its difficult to be at that level of creativity to stray away from everyone else. People arent ready to hear new genres just randomly appear, thats why we ease them in gradually with progression through other styles

I think most new genres come about through people attempt to make a sryle of music but end up doing it slightly wrong. The only style i can think of which was just arbitrarily decided as a new genre is skweee . Bpm scenes then emerge when the djs get involved,after all this is dance music, where it becomes the case that to get your tunes to thecbiggest djs it has to be at a certain bpm. Subbass and 140 were the only 'rules' for dubstep cos if you made a tune at 156 the djs couldn't play it and so you werent contributing to the scene.

Nowadays though, we're seemingly witnnessing the end of scenes, where bpm is becoming less relevant as a lot of djs mix through the bpms AND with the internet you can find djs somewhere to play your preffered tempo, its no longer dictated to you by what the local djs play.

I've gotten swept up this winter in Andy Stott's relatively glacial "knackered house" on Passed Me By and We Stay Together. Even before I really immersed myself in those, I was realizing that I prefer 4x4 at slow tempos, from maybe 85 up to 110 bpm. A kick every beat fills a lot of sonic space, so spreading them out further than usual provides better rhythmic balance, I think, than the normal 120-130 house/techno range. Relatedly, as every producer and DJ seems to have remarked at some point or other: the more space between primary beats, the more room for syncopation, swing and bounce. And, as others have noted, the 100bpm region is inherently very nice for dancing. All the 4x4 I've been making for a while has been 108 or slower, and all I really want to listen to these days is slow, blackened dub techno.

Side note on Passed Me By and We Stay Together: to me there's an intriguing timbral resemblance in places to Dabrye's Two/Three Instrumentals (one of those ear-expanding albums for me when I discovered it about 5 years ago, my first experience with the Dilla continuum), nowhere more so than "Intermittent."

I've quit producing 140 bpm entirely. I've had trouble finding a unique sound of mine own and through 140 bpm I always feel like everything I'm doing has been done before. 100bpm not only challenges myself but allows me to adapt a new style of my own since not that many people have touched 100 bpm serious with such aggressive basses. When people listen to my music, I want them to be amazed at how I made it and have a sound of my own. That's why I admire some producers who make some absolutely mad 100bpm tunes like Koan, Koven, Haywyre & Twist. Hopefully, I will find myself on that list of "awesome 100bpm producers".

You know 107 BPM is the next new sound???????