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The Sloweb: Taking a Second Look at the Notion of Internet Connectivity…

Posted by StrangeFlow on September 24, 2012
Posted in: Articles. Tagged: bridges, building bridges, chinese dubstep, connectivity, facebook pages, internet, internet lie, internet myth, lack of connections, paradigm, pockets of culture, second look, skweee, slow web, sloweb, web. 3 Comments

Some Things I Learned About the Nature of the Internet... There Is a Myth About the Web That Must Be Talked About...
Recently, I put out a sample pack designed for musicians producing electro swing songs and remixes, and, at first, it sold pretty decently. I was very new to the market of audio production resources, so I was still figuring out how best to promote my products… I was posting on Bassadelic, on music forums, everywhere I could find – as well as one other place – Facebook group pages.

I did a Facebook search for ‘Electro Swing,’ and found several groups, and joined a few. I thought it’d work, and, honestly, it did help me out. I joined a group that was dedicated to “Romanian Electroswing,” and about a week or so after I posted on there, I noticed a mild spike in sales! Now, I’m still starting out with my Bassadelic site, so I want to emphasize that I’m definitely not getting rich doing this, but there’s a much bigger point at hand: I started to contemplate the whole thing, and, slowly, I put the pieces together and figured out what had actually happened – and I had an epiphany about the internet, and it’s fundamental nature, culturally…

Could those Romanians have found out about my electro swing pack somewhere else? Sure! But they didn’t. (I don’t have the budget of a large corporation, but in reality, most people don’t. So I’m not totally alone on that, either.) I also posted on Youtube, and, as I said, a handful of other music forums as well, but that’s not where these particular Romanian
Electroswing fans found my sample pack. These folks found out about my samples on a page specifically set up for their local music scene THAT I POSTED ON.

Why is that relevant? Well, stop and think about it for a second: people on one side of the world are not necessarily inclined to look at websites published on other sides of the world quite as often as people living there… Now before anyone corrects me on that, keep in mind, I am aware that a statement like that isn’t true ALL the time… You might cite ounterexamples, and, well, of course you would be partially right… Yes, there is access to Google in Romania and elsewhere, and yes, they are obviously using Facebook, too… But there’s an important difference…

There are billions or trillions of super-mega-jillions of sites out there, and you’re not going to click on all of ’em. If you’re an American, there’s a decent chance you’re not going to land on TOO many Romanian sites out there. Sure, you might land on a couple, once in a great while, but primarily, I bet most of the sites you look at are from North America or Western Europe. There are tons of sites out there, in most countries on the planet – and you can bet that a lot of Greek sites dedicated to local Greek music are visited heavily by Greeks, and that a lot of German sites discussing a music scene from Berlin are frequented by a lot of Germans, etc…

It makes sense, doesn’t it? I mean, it might not be relevant for someone outside of a specific niche or field to venture there, most of the time – and, again, this isn’t always true, but people often don’t tend to stray too far from a handful on specific-culturally-based sites.

I mean, when’s the last time you knowingly clicked on a site based in Russia (not counting torrent sites)? A few times, maybe. And, although I sometimes make the joke that 90% of all websites are based in northern California, the truth is, they’re not.

So what the hell is my point? Well, I wanted to write the last few paragraphs out to preface my main point, because if I told you, in the first sentence, that, “actually, there are dozens of internets,” you’d think I was making a joke, but you wouldn’t laugh, because that joke has been made before (in reference to 4chan) and then you’d leave, and go eat some dinner. (Or, at least, that’s what I would do, because I’m quite hungry, and I think I still have some leftover Taco Bell waiting for me.)

Anyway, my point is, there are multiple hubs (I’m hesitant to use the phrase “multiple internets,” because, yes, they’re all based on one worldwide series of connections) and these culturally-based web spaces/hubs DO overlap (mostly around the edges, which helps consistently maintain this illusion that we’re all a bit more completely connected then we actually are) … and, in theory, we are all COMPLETELY connected. Or, at least, potentially, right?

But are we really as connected as we think? I would say, ‘no, we’re not.’ Not yet. Are we getting there? Yes, I think so. I fully believe that in the next few decades, the internet will help fundamentally change so much about our society. It’s already been happening for the last couple decades, but we’re definitely still in the opening stages of it.
For right now, at least, there are different clusters or hubs of similarly (or SOMEWHAT similarly) minded web spaces…

There are the web spaces in North America, Western Europe (with a lot of cross-pollination) as well as Eastern Europe, and web spaces on the other side of the planet: a Pacific-Asian web space, an Indian web space, a Middle Eastern web space, and, well you get the idea. I could keep going. The point is, as I said, there are definitely different web spaces based on region and culture, and this point is not emphasized as much as it could be in the great media landscape of present.

Yes, again, there is overlap; but in a paradigm that stresses how interconnected we all are, I think we’d be quite surprised to find out we AREN’T quite as connected as we think. I’m not trying to say we should try to stay disconnected from other cultures; in fact, I think diversity can be a very good thing, for a lot of reasons. But if you really want get your ideas or your music or your brand (or whatever it is) here’s my advice: don’t set up a website and assume people will come to you.

Go to them. Build the connections that don’t yet exist between yourself and the billions of people out there in the world who have no idea who you are or what you’re about. If you’re a musician (which, again, I’m assuming you might be, seeing as you’ve clicked onto a site called Bassadelic) or a fisherman (which I also assume you probably are, seeing as you’ve clicked onto a site called Bassadelic) don’t be afraid to travel to web spaces you’ve never spent much time in. Google Translator exists, and could serve you well.

Here’s one more example of what I’m talking about… there are social networks all over the world, and facebook, by far, does NOT have a majority of the social networking market. Oh, sure, it’s huge, yes! But there are social networking sites specific to China, for example. How many people are going onto a Chinese version of Facebook, who won’t see some new invite or post you just put up on your Facebook page?

So, like I said, I’m not trying to trash the internet for not being connected enough; I’m saying there’s a huge gap between the idea of how interconnected we all are, and reality. But what needs to happen is a grand bridging of the gaps that exist. Only then will we be as connected as we potentially could be.

Why is this important?

There are pockets of culture all over the place that are waiting to be discovered. I never would have learned what ‘grime’ rap was if I never went onto British websites, or the relatively small number of websites or folks in America that bridged that gap as best they could, a decade ago (because let’s be honest, here – how many Americans even know what grime is?) and I never would’ve learned about the avant-garde Japanese experimental jazz music from the 1970s if I hadn’t gone out of my way to look for music in different parts of the world, out of pure curiosity (turns out there are some folks in the West that knew about that, but not many, so I must thank them for bridging THAT gap) But how many other gaps exist that we don’t even know about yet? There are probably lots of them, and I probably don’t have to even say how rewarding it is to find a new music trend from another part of the world that really inspires you. It’s validating to find out there are people somewhere in the world making music that you really like, even if it’s not being made two blocks from your house.

Skweee is another great example. It’s a very small genre, as far as the number of fans it could boast; but if you’re interested in wonky, experimental, retro and stripped-down synthetic funk music from Finland or Sweden, then you’d love to check out a new track by Motem. I also love the art style employed by a lot of skweee artists. It has a certain flair to it that you just don’t see over here in the States.

So, it’s good to bridge these connections because you can learn about new and incredible talent from the other side of the world, and people from the other side of the world can learn about your incredible talent, as well. Hey, maybe opening up international markets to one another would be a great way for artistic folks to better get their music and art to people who’d really appreciate it, and people could once again start making a living being creative (just like in that ‘golden age’ of music… the 1990s)…
Ok, I’m obviously being more than a little sarcastic when I call the 90s a ‘golden age,’ for music, or the music consumer… seeing as a CD cost $18.99 (and that’s $18.99 IN 90s MONEY!!) but if you charge fairly, you might be able to make it work. So there you have it – the “money-makin’ / capitalist” aspect of why it’s important, and also the “pure discovery of art” aspect. Eh?

I would finally like to point out that there are definitely some folks that sincerely have a real curiosity towards life and culture, and it’s specifically those among us who are most likely going to be the ones to help build these bridges. Some folks honestly don’t give a fuck. I guess that’s fine… some people are content with what they’ve got. But if you’re so inclined as to be one of the bridge-builders, then kudos, hats off to ya’, and 13-pez-themed smileys for you! (A little nerdy GHF humor there) You are going to be the ones that help shape and determine how the internet will look in the next ten, twenty, and thirty years. Cheers!

…Are you STILL unconvinced? Consider this: a TON of folks in Asia are JUST NOW discovering what dubstep is. It’s been all over Facebook and Youtube and Google for years, and yet, only now are most people catching onto it over there. Again, it’s probably not their fault. They’re in a different web space, as we are, from them. But, I’ve already stated all this in the article, so I’ll drop it and wait for some negative comments, now :)

(footnote: very sorry to end an article with a note about dubstep… um…. here, I’ll make it up to you… here’s an awesome photo of a cat…)

Laptopcat

didn’t mean to end the post on a note about dubstep… so to make up for it, here’s this awesome photo i found on google image search.

Nuclear Bass Militia Shirts Are Finally Available!!!

Posted by StrangeFlow on September 23, 2012
Posted in: Review. Leave a comment

Nuclear Bass Militia Clothing! Fuck yes! Celebrate the Best in Bass with these wonderful shirts, designed by Justin from the NBM duo!

CLICK HERE!! FOR THE AWESOME NEW SHIRT DESIGN!!!!!

So, by now, a lot of you have likely heard some of the mean sounds of Nuclear Bass Militia!

It’s a music duo specializing in bass-heavy floor crushing tunes, comprised of me (StrangeFlow) and angryrancor.

Well, our first EP did pretty decently, and we’re working on a new one. I don’t want to give too many details, but I Will say I’m extremely excited about it.

Recently, angryrancor created some shirt designs for NBM, and they’re really fucking fun! They feature the skeleton from the cover of our first EP, and you can order your very own Nuclear Bass Militia shirts now!

Go here or here or here, now.

Protected: A Wonky Gift for GHF !

Posted by StrangeFlow on September 23, 2012
Posted in: Samples. Tagged: 100 beats, beats, Free, free samples, ghf, gift, gift for glitch hop forum, grime in the u.s. beat, i hope ghf likes this gift but i'll just have to wait and see i guess, samples, strangeflow, sup dewey, wonky, wonky beats.

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Flosstradamus Mixtape!

Posted by StrangeFlow on September 21, 2012
Posted in: mixtape, New Music, Review. Tagged: banned, banned mixtape, dj, flosstradamus, new trap, riot, roll up, session, trap, trap duo, trap mixtape, trap set, trap tune. 1 Comment

Flosstradamus is offering the world a brand new trap mixtape for free! W00t!!!

There is a story floating around the interwebz that Flosstradamus played a show and a riot broke out. It reminded me of when a 50s rock n roll musician played a show in Berlin, and also started a riot. Perhaps Flosstradamus’ story is a harbinger of the excitement people are having (and going to continue having) for this kind of music for the coming years? Or, perhaps I’ reading far into things?

it’s a mixtape from trap duo, Flosstradamus. They’re one of my favorite trap acts right now, and have some really great tunes and remixes.. Check it out!

 

And, I decided to post my favorite Flosstradamus track… Roll Up!

So head to your dispensary (or if you’re here in Washington, head to the ‘wellness garden’ or whatever) and get yourself your favorite sativa and some papers, and roll up!

 

I decided to post their tune, ‘Roll up,’ because it’s simply an incredible track. With the simplistic vocal repetition throughout the song, and the heavy 808 bass and drum rhythms, it’s a prime example of the new strain of trap music that’s seemed to have emerged in the last few years. I’ve been enjoying it quite a bit, and I hope you do, too. It’s one of those tunes that’s a little shorter in duration, but since it’s so powerful, you find yourself scrolling to the beginning, over and over, enjoying the bass’d-out madness and electricity of this song. It reminds me of punk rock, in a way. No filler, just the juice, and for only a minute or two, and then the song’s done…and then you press ‘play’ again.

Every drop beckons for your head bopping, and your hands waving in the air. Even if you’re at home, you’ll find yourself wanting to sway violently to the breakdown every fucking time.

And those lush waves of color that bring everything together; the melody, adding soul to the whole thing, contrasting the vocal loop… The specific combination of sounds reminds me of Prodigy. What was the name of that ol’ tune, from way back? ‘Send it to Outta Space,’ or something? Hmm.. Now I need to go look up old Prodigy tracks! :) Well, all in all, I am certainly glad that this specific style of music is becoming as popular as it is. Something had to take the place of dubstep in EDM… dubstep brought everyone to the show, but now what? Dubstep is peaking, and people want something different now…. OK, well, let me back up… because, there are some of us who would be into all of this, even if dubstep never existed; and also, trap music has been around for about a decade, technically.

I guess the point I’m trying to make is this… I remember going to 1015 last year in San Francisco – it’s a club out in San Francisco, and two of my favorite artists (Samiyam and Teebs) were playing. Outside the club, I had a conversation with a guy and his dad (who were probably, besides me, the only Michigan folk in that San Francisco club) and when the topic of dubstep came up, the guy said, “Oh, dubstep’s just the beginning, it’s a whole new wave of dance music people are getting into.” Looking back on it, I would agree. Of course, there has been electronic music before (for decades and decades) but as far as this generation, and this new era we’re in, is concerned, dubstep IS the big disco of our time, in terms of popularity, with many more incarnations, mutations and offshoots and revolutions to follow (again, in terms of popularity and excitement, hype) … “trap + edm” being one of them. And now that we’re (..finally) starting to (..possibly) (..hopefully) (..ideally) get through this dubstep wave (..eventually?) you can be certain there is a whole lot of good music and good talent to follow.

Hell, at very least, the 2010’s can’t be much worse than the 2000s, can they? ;)

-Will

Getting Your Samples Organized

Posted by StrangeFlow on September 18, 2012
Posted in: Articles, How-to / Tutorial. Tagged: 101, cleaning up sample folders, drums, EDM, folders, guide, how to, IDM, instruments, making bass music, making sense of samples, management, organization, organize, Organizing samples, sample folders, sounds, subfolders, tutorial. 3 Comments

StrangeFlow's Comprehensive Guide to Organizing Your Samples
I got an idea for an article today, and – wait, no, backup. That’s a lie – I got an outright suggestion for an article today, from Pluse! He gave me the idea of writing about how best to manage sample folders.

(I told y’all I read comments :-D )

It can be tricky sometimes (especially for the new producer) so I thought I’d offer up a few suggestions.

So, there’s different ways of going about this. Obviously, it isn’t always an exact science, so feel free to use this information any way you see fit. As long as you get things set up the best way possible for your needs, you’re golden. I’ve personally had to reorganize my files over and over, throughout the years, for various reasons…

Sometimes I get a new laptop, and decide to start over and re-initialize some sort of management plan for sounds I’m going to use… and other times, I’ll realize I have so many samples all over the place that I need to go over my organization -or just start over, altogether. It happens. I remember having a very clean system, at first; after months went by, however, I realized I had bulky clumps of out-of-place samples that I kept clicking on, and they weren’t really put in their proper place from the get-go.

But whatever the reasons you might have, it is ALWAYS good to plan out where you’re going to put things (have an organization system) and to try to stick with your system. As long as you stay logical about the whole thing, you can really cut down on clutter.

So, here are the basic rules to remember: StrangeFlow’s I.D.M. system of sample organization. And, seeing as the acronym I.D.M. isn’t being used for anything of relevance, I propose to use it for my basic sample-management rules…

(Seriously, who throws the word ‘intelligent’ into their genre name? I mean, come on, is it really ‘smarter’ to make an un-catchy track that you can never play on the dance floor? Why? Ok, enough digressing…)

Ok, now let met just mark this in a bigger font, so that people who are only skimming this article will notice this as a main point… Hold on one moment…

StrangeFlow’s I.D.M. Sample Management System!

Alright, there we go. Now, here’s the system:

1.) Initiation: Create a system to organize your current samples.

2.) Durability: within your system, allow yourself the ability to add more samples to your current organization as time goes on. (because wouldn’t it be a shame if your system was too uptight and rigid to allow for space for that new Ultra Violent Moombah Beats sample pack you just downloaded from Bassadelic? ;) You get the idea)

3.) Maintain: periodically clean your sample folders every so often.

Now, I.D.M. is pretty basic. But let’s get to the specifics…

I think one good thing to do is to differentiate between drum one-shots, drum loops – and then instrument one-shots and instrument loops. One-shots being your basic 808 bass kicks, your snares, your claps, you get the idea.. And loops being any fully-sequenced samples. Beats are loops. I know it seems overly basic of me to state all this, but some folks I’ve talked to honestly don’t know some of this, so there ya go.

Here’s how I would organize a folder of drum one-shots…

DRUM ONE SHOTS

……..BASS
……..KICKS
……..SNARES
……..HATS
……..CYMBALS
……..FX
……..OTHER

I like to include an ‘other,’ or a ‘miscellaneous’ category, just in case. Also, I didn’t mention where to put claps or snaps or things like that. Personally, I’m not against sticking them in the ‘SNARES’ category, and possibly changing the name of that folder to something like ‘SNARES, CLAPS, ETC,’ or something like that.

What about bongo drum samples? Good point – and for me, I use a lot of bongo hits and stabs as if they were hi-hats, dancing around the bass kick and the snare. But if you want to, you can do something else. You might consider having a ‘percussion’ folder, or ‘hats/percussion.’ Basically, I consider hi hats as an afterthought. Yes, they can be important, but I think it’s mostly about the kick and the snare, when setting up the base of your rhythm, and adding hats or other percussion or bongos later. That’s just me, though.

Within each of these categories (BASS, KICKS, SNARES, HATS, etc) are going to be folders for differenet types of one-shots. As in, if you have an 808 drum kit, put the basses into the 808 BASS folder in your BASS category, 808 KICKS into your KICKS folder, etc…

What is ‘FX’ supposed to be? FX could refer to anything outside the realms of the bass, kick, snare, hat, cymbal/crash setup… (though you might just group ‘FX’ with ‘OTHER,’ and call it a day) risers could be FX, weird lazer beeps could be FX, etc. Though, like I said, you might just group it them into the ‘OTHER/FX,’ and have it work out just as well.

BTW… as an alternative method, if you want to keep all the 808 samples and all the 606 samples and all your… Cheetah MD16 drum boxes separate, do it. You don’t have to organize by kick, snare, hat, and clap. I recommend it, though – especially once you get a lot of sounds into your arsenal.

Alright, moving on…

Here’s a few more things to consider… One thing I tried out once (which, for me, became unmanageable after about a year and had to be dismantled) was having everything organized by genre. It became unmanageable because I kept adding genres. At first, there was a ‘HOUSE, TECHNO, TRANCE,’ folder, a ‘BREAKS’ folder (which consisted of ‘DnB’ and ‘HIP HOP’) and also some a ‘GABBER/HARDCORE’ category, and then some kind of ‘OTHER’ category. This served me well for awhile, but then I decided I wanted to try my hand at dubstep, which was, at the time, still quite a new genre. Well, I wasn’t exactly sure where to put dubstep samples, and I think, at first, I tried putting them into the BREAKS folder. Then, I just decided to make a DUBSTEP folder, all it’s own. That worked out, at first, until, after awhile I realized I had made about ten genre folders in a little over a year, and it was getting confusing. I always wanted a few samples from the BREAKS folder, but then I would have to go back into the TECHNO folder for kick drums I liked, and it became clear that keeping my 808 samples in the TECHNO folder was a little obtuse… (because, really, what makes a drum machine more techno than hip hop? Nothing! Especially concerning the 808! Techno and hip hop both had their go at it! It’s a vicious love triangle that’s been going on since the 80s!)

Anyway, I eventually scrapped this system, and decided that I shouldn’t try to keep each genre quite as separate, as far as being main sample folders… What works way better than the ten-genre-folders organization is this: having genre-based loops WITHIN the DRUM LOOPS folder. Sounds similar to what I just preached against, I know, but actually, it’s the opposite of what I was just talking about. If you do it this way, you can certainly incorporate loops from some new sample pack you download! I would recommend not even naming folder after entire genres, though, at least until you have enough drum loops that it actually matters. If you only have three folders of loops from different genres, you’re not going to get them too confused, most likely. Now, if you get to the point where you have hundreds of sample packs (or, whenever you find it hard to get what you’re looking for) then sure, changed things up, and add genres if you want.

So, here’s what I mean, in organizing my ‘DRUM LOOPS’ folder… And, remember, this is just ONE EXAMPLE. It really depends on what samples you have. I’m still setting mine up again, as I just got a new laptop the other day…

DRUM LOOPS

……..STRANGEFLOW’S ULTRA VIOLENT MOOMBAH BEATS
……..DUBSTEP BEATS/LOOPS
……..HIP HOP BEATS/LOOPS
……..HOUSE/TECHNO BEATS
……..OTHER

Also, it might help to further sub-categorize with ‘ORIGINAL,’ ‘ROYALTY-FREE,’ and then, ‘SAMPLED,’ for everything (including one shots) if that’s relevant to you.

Also, if you don’t make dubstep, you’re obviously not going to have a dubstep-themed folder. And maybe you don’t (for some reason??!!) have those StrangeFlow beats… I’m just giving an example, because, as I stated earlier, until you have a ton of beats, you might not need to worry about it. What you could do, however, is stick those moombah beats into your ‘HOUSE’ category. A better category name for ‘HOUSE’ may be ‘4/4,’ as it gives you a better idea. Or, better still, ‘4 on the Floor,’ to borrow an older rave phrase (because almost all of this shit’s going to be 4/4 in time signature, anyway) – so, here’s a revised version, if you’re interested…

DRUM LOOPS (alternative categorization)

Organize it by the ‘feel’ of the loops…

……..HARD
……..MELLOW

or even by BPM, if you so desire… (again, it’s all up to you and your preferences) so here’s that example:

DRUM LOOPS (2nd alternative)

……..UNDER 110 BPM
……..110 BPM – 130 BPM
……..OVER 130 BPM
……..OTHER

with ‘OTHER’ being optional… (you know, speedcore, and whatnot… I mean, yes, 210 BPM is clearly ‘OVER 120 BPM,’ technically, but it might better to keep that shit separated from the pack, since it’s fundamentally so extreme. Or, you could just say, ‘fuck it,’ and stick all your speedcore samples in the ‘OVER 130 BPM,’ and call it good. I know it’s extremely important that we all come to a consensus on that right away, as speedcore is clearly the most popular genre in EDM right now, and will likely stay that way, so…

(Once again, let me stress that this has to work for YOU… As in, if you’re creating a music studio to make Dilla-style breaks and you know for a fact that you’re never ((or almost never)) going beyond the 110 BPM mark, fit that into your classification! Instead of differentiating between 110 & 130, make a distinction between 75 & 90 & 100 & ‘OTHER’, for example…)

Alright, so have I confused you, good and proper? Alright then, time to add instruments!

INSTRUMENTS

Ok, after you set up an ‘INSTRUMENTS’ folder, you can then divide things further, and add subfolders as follows…

……..ONE SHOTS
……..LOOPS

By now, you should get the idea of what I mean by setting up loops and one-shots. Individual instrument samples go into these two categories above. Conversely, what you could also do is have instrument types (which I’ll talk about in a second) and then for each specific instrument have a ‘ONE SHOT’ and a ‘LOOPS’ folder. I would prefer it the way above, however.

Now, as far as setting up specific instrument folders, you can easily do it the way Ableton Live sets it up, according to instrument type… As in, ‘WIND,’ ‘STRINGS,’ ‘PERCUSSION,’ ‘SYNTHETIC,’ (meaning synthesizers and all ‘non-real’ instruments) etc. I’m assuming most people have Ableton, or something close to it, and you can easily copy the arrangement they have… the ‘GUITAR’ folder going into the ‘STRINGS’ folder, and then, possibly, setting up ‘ACOUSTIC,’ ‘ELECTRIC,’ or however you see fit. If you don’t know what category an instrument is, look it up. Or, another method might be organizing by what culture it came from… I know, it seems weird doing that, and that’s not the first thing I’d recommend, but let me put it this way: I remember, years ago, getting a sample pack with a ton of Chinese instrument samples. I didn’t know what half of them were, and I knew I wasn’t going to use them very often, so I just left the folder intact, and putting it into the ‘INSTRUMENT LOOPS,’ which is a little wonky, but again, I knew I would almost never use them, so I didn’t feel the need to look up each instrument in that folder and figure out where it might go. You might do otherwise. Again, it’s all up to you and what direction you potentially see yourself going in your music.

So, I guess that’s about it. I hope I haven’t confused you. Again, this is not the ONLY way to do things. I just found that it’s always best to initiate some sort of system for organizing all your shit, because, the more and more samples you add to your professional beat-killing-studio-setup, the harder and harder it can be to troll through them, if they’re laying around all willy-nilly and out of place.

Again, remember the third tenant of the I.D.M. system! Make sure to go through and clean things. You might find random samples in random places, from time to time. Organize everything well and maintain it, and you will have far fewer problems!

Say now, here’s an interesting question – what do you do if you create new samples for specific tracks? As in, if you make a loop that’s very specific to a new track you’re doing, and it’s comprised, mainly, of lazer sounds, and it’s a 12 second loop? Well, if it’s something you think you might EVER use again, for something else, why not stick it in your ‘LAZER’ folder (if you’re routinely glitch-hopping-out and you actually have a ‘LAZER’ folder, that is) which should be inside your ‘SYNTHETIC’ folder, which is located in your ‘INSTRUMENT LOOPS’ folder. Or, you could put it into your ‘OTHER’ folder, if it looks like it doesn’t fit anywhere else. This leads me to another point…

I sometimes create a ‘FUCKAROUND’ folder, which is where I sometimes stick bizarre and longer sequences I might create when experimenting or improvising live with a bunch of drum samples and loops in Ableton. I used that folder a lot when I would make breakcore, and sometimes when I’m making glitch hop. It’s a folder of miscellaneous bullshit that I can sometimes use and sample a couple of good sounds from, here and there, if needed. You can stick that in the ‘OTHER’ or ‘MISC’ category, alongside your ‘DRUMS’ and ‘INSTRUMENTS’ folders, if you so desire.

On that topic, if you know for a fact that you’re only going to be working within one genre, and one genre only, it might not be a bad idea to organize your files WITH that genre in mind… What I mean is this: if you’re gearing up to make, for example, a really crazy breakcore or drum’n’bass album, and you’re going to need lots and lots of break samples, then you might over-organize your ‘BEATS’ folder, to differentiate, not only different genres, but different styles WITHIN the realm of breakbeats. You could always have a ‘CLEAN’ and ‘DUSTY’ folder organization, if you’re creating your own polished sounds but also sampling vinyl, and feel the need to immediately classify between the two. That’s just one example, but I hope you get the idea.

ONE LAST THING…. Backup!

So, let me add one more thing to this article: the issue of backing all your files up on an external hard drive (vs.) leaving it on the hard drive. Ok, let’s consider this for a moment.

Over the last few weeks, I’ve posted over and over on this site about how I had to get a new laptop, and how I lost all my samples. It sucks, but aside from people saying, “oh, that sucks, Will,” nothing’s going to change; I still have to build up my sample arsenal, mostly from scratch. What’s the message? The moral? Back up your files! Sympathy will not get you your samples back, it’ll just give you a good excuse to complain a little bit! :)

Have your samples in two different places! Have them on your hard drive, and also back them up on an external hard drive. You will be glad you did it. Hell, after a new project, back all your projects up in your projects folder, on your external. They’re getting so much cheaper… I just got a 3 terabyte hard drive for $130. A couple years ago you couldn’t get half that amount for the price. But whatever you do get, it’s important to consider backup. Or, if you haven’t got any money, and can’t spring for that external 3 TB drive, you could always get a 10 or 20 gig drive – the kind that fits in your pocket. They’re pretty cheap, and, the best part is, they’re portable.

Rembember to save your project files, but like I stated earlier, keep them in a different folder then your samples. That being said, having multiple backups of your project files and releases is always a plus. ALWAYS a plus – as in, have a copy of your discography and project files in a cloud server somewhere in the sky, and have a copy on an external hard drive. It’s OK to be a little paranoid about a piece of plastic, if it’s a piece of plastic containing months (or years) of work, eh? So, in addition to the cloud and the external hard drive, how about having it all backed up on DVD, and putting those DVDs into a chest, and burying the chest in another state! Is that excessive? Extreme? Yes, it is, and there’s no downside to it, whatsoever. None. But even if you don’t go all psycho and bury them underground (which I still recommend) you should at least have one (preferably more than one) backup of project files.

Does this mean that, buried, somewhere in this country, there are some long / lost StrangeFlow discs? Is there still magic in this world?

Answers to those questions in another article, reader.

Well, Well, Well…

Welly, Welly Well, I hope this was helpful to some folks out there! I know I packed a lot of information into this, as it turned out to be a lot more comprehensive then I originally intended. If you have any questions, feel free to hit me up. I recommend leaving comments :) I’m trying to fill this place up with comments, to build a sense of community on this site. Either way, I hope you garnered some ideas for organizing your samples. Even if you don’t do EXACTLY what I suggested, but go off on your own specific tangent (which I also recommend) I think you will find that it’s far easier and far more constructive to have a sense of where everything is, when you’re mixing and designing new beats and bumps for the world!

And trust me, once you get enough samples in your studio, you’ll be extremely happy to have them all organized. I can attest to that from personal experience, as can almost every musician who has been making music for more than a little while!

Happy mixing!

-Will (StrangeFlow)

150 Original, Hardcore Moombah Beats!

Posted by StrangeFlow on September 17, 2012
Posted in: Samples. Tagged: 110 bpm, 130 bpm, 150 beats, audio production, audio samples, fall promotion, gabber, hardcore, juke, moombah, moombah samples, moombahcore, moombahton, new, on sale, sample pack, samples, strangeflow, ultra violent, violent.

Hardcore Moombah! 150 hi-quality beats to get your newest jams properly bangin!

click for Hardcore Moombah Samples

They’re here. Hardcore moombah beats – one hundred and fifty of them, and they’re ready to be used in any DAW that accepts .WAV format audio samples! Yesss!!!!

    Only for $6 USD !

This package is 25% off the regular price of 20 bucks, because it’s new and I’m doing a promotional offer of just $14.99 :)

you can get it here!

I probably won’t make as much money as some of the bigger name sample stores charging that little for as many samples as there are in this pack, but that’s alright. I say fifteen dollars is a decent price.

This sample pack contains:

-> 75 beats @ 110 bpm
-> 75 beats @ 130 bpm

Moombah has been killing the dancefloors lately, and can be heard in musical styles ranging from hip hop to dubstep, and beyond.

With this new and original sample pack, you are given the chance to explore these sounds further, as these beats help any producer looking to make moombah or moombahcore tunes. Some of the beats in this package have the strength and intensity of hard techno and gabber, while some of them have the agility and quick-pacing of juke or hip hop – and some of them just maintain the classic
moombah and moombahcore style, with that pounding pulse that has been taking the world by storm for the last couple of years!

These instrumental beats are sure to help you with your future edm productions. They are organized into two categories: 110 bpm, and 130 bpm. This is to give you a range of possibilities for making moombah and moombahcore-based tracks. This package was designed to do one thing, and one thing only: to give musicians and producers access to 150 high-quality beats, immediately.

These beats can help with drumming up musical inspiration (yes, a drum pun. sorry) or, you can sample these directly into your beats. Whatever you want!

I really hope you enjoy these beats! I had a lot of fun making them. Moombah and moombahcore beats are extremely fun to work with!

These beats are in WAV format, and so they’re compatible with most music programs, such Propellerhead Reason, Ableton Live, Acid Pro, etc…

-StrangeFlow

click for Hardcore Moombah Samples

600 Chicago Juke Samples (including 150 beats) from StrangeFlow @ Bassadelic! What whaaat!


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