[samples] Techno jungle (ZIP)

[Sam_Zen]

A first part of a collection of optimized samples. All at 22 kHz 16-bits mono.
Samples and loops
EDIT : the second sample sets are now uploaded too.

In addition a compo called TechYes - XM - 9:03 - 10 Ch - 15 lofi samps.
This time not the short one, but the extended version.

[apple-joe]

The opening notes provide for a nice mood. Then some mystical sounds follow - almost reminiscent of a laser gun.

I got to say your percussion style is something on its own. It sounds very wild at several places, which I consider a positive thing.

That said, it's not only the drumming that sounds extreme - there are, of course, many other strange sounds too, which emphasize the typical sound of your music.

A final question, however: do you consciously aim for a very raw and direct sound and song development, or does it happen without focusing too much on it?

[Sam_Zen]

I'v seen more remarks about the quite prominent percussions in my tracks. This is probably caused by the fact, that I don't consider rhythmic instruments on forehand as a kind of 'sub'layer serving the tonal things. To me, any instrument available can have a rhythmic role or a melodic role. And this can also change inside one compo. A matter of potential.

This is also often the case with the 'strange sounds' as you call them. Most of the time they are derived from existing samples within the compo, but using some 'odd' octave ranges for example.
Before adding another sample to the compo for something new, I always first check, if the same can be done with the existing material.

I indeed make a raw and direct sound. Maybe this is caused by the fact that I consider the tracking as the composing process, not as the production stage. Which to me are two different kinds of work.
So, while composing, I want the actual soundstructure presented as clear and raw as possible, during the process. Which most of the time means : making one new pattern after another one, or duplicate an existing one or group, maybe with some tiny variations.
Even if I want to add some reverb assigned to a certain sample, I will pre-integrate this in the loaded sample itself, as a 'sticky' property, rather than adding the reverb from tracker resources.

[apple-joe]

Well, ultimately I think I agree. Even if you have a sample with a dog barfing, you'd be able to either create a rhythmical pattern, or treat it in a way providing for a melodic sequence. I might be a little defensive when it comes to extreme usage of some samples myself.

Different octave ranges, yeah. That is an interesting way of exploiting the samples which are already there. It might be efficient. I experiment a bit myself, at least I have done recently. I could probably be even more experimental.

On the composing vs. production issue: I see what you mean, and that's fair enough, but there was one thought that struck me while reading. If you do it that way, don't you then miss ie. the experience of re-adjusting the sound of a sample/instrument during the composing process (trying different New Note Action modes, re-defining for instance volume envelopes etc.), and then potentially getting new ideas as a result of fresh/different impulses brought to you by the changed sound of the sample/instrument? The experimenting with sound during the compositional process may give you new ideas. Of course, those new ideas might turn out horrible as well, but I think it's worth the try.

Any comments?

[Sam_Zen]

If you do it that way, don't you then miss ie. the experience of re-adjusting the sound of a sample/instrument during the composing process

I didn't want to give the impression that it is a strict serial process of first composing, then production.
During composing I think ahead about the production by giving some intruments their own channel, others not. During production there is feedback with the tracker throughout, as you can see, because most trackers are something like version 4 or 5.