As long as its free

Of course :D.

I've made a small pack that im currently uploading, featuring 10 massive patches and 18 breaks. I'm currently not at my studio so i dont have access to the majority of my samples and such. Be warned, some of the breaks are very very badly mixed, and some of them are very bad in the first place.

Download:
http://www.mediafire.com/?1t2cgtl8bvxv5rh

back on topic, I might post an Ableton live project with my morphing bassline/synth thing, if its needed.

Sounds good mate, i'd be interested in taking a look at that

Lol at being a dnb head and never heard this tune before

And here's the project file

http://www.mediafire.com/?3k4sc0121uoyql1

Only Massive and inbuilt ableton stuff. made it all in like... 20 minutes?

and a soundcloud upload for those without ableton, improved on the last preview imensely.

http://soundcloud.com/tommerry11/moar-fadey-bass

I'm curious about what exactly the macro is doing in your example. I've been interested in Ableton for quite some time, but every time I demo it, it just infuriates me! It seems glitchy, and nothing is where I expect it to be. I haven't given up on it though, as I hear so many great things about it. If you don't mind, could you go further in depth about this part:

1. I created a Instrument rack, with 3 chains (a synth in each; a reese, a chord stab and another reese, with different processing)
2. set up the chain selector so the stab is on section 1, the first reese is on section 2-127 fading out, and the second reese from 2-127 fading in.
3. bind a macro to the chain selector (and any other macros you might want, filter cutoff and such)

The "Chain Selector".... is that like a crossfader of sorts? I'm just curious what you're actually doing in this example, and if Ableton is offering some unique way of working.

__________________

The chain selector is basicly a crossfader, with customizable amounts and sections (to some extent), In my example project, the Morph control is the chain selector (it fades between multiple sounds), the filter control is the two filters being used in the reese patches (both different filters for more variation and are using two filters parallel each), and the modulate control changes a macro in massive for both patches.

In the project i used 4 patches rather than 3, and i would also layer a sub in aswell (add another chain with a sine patch).

Apologies for grammar and spelling. I just woke up at 4am after nightmares about spiders.

A little off topic but at the same it isn't. Back in 2005 I took a friend who didn't know anything about electronic music let alone DnB to see Calyx when he played in San Francisco. All night he played boring neuro stuff like this and Nate left the club completely unimpressed with DnB. No one who isn't a DnB producer understands or cares about stuff like this. It has a lot to do with why DnB has become such a nerdy irrelevant genre. Over the last 15 years the emphasis on engineering has become grotesque.

Maybe so, but you're posting this on a forum dedicated to drum and bass (for the most part) and the engineering of these kind of sounds has been discussed since they were first made. As a dnb producer (if i could even call my self that), I have a huge interest in the making of complex sounds such as these.

If one of your friends doesn't give a fuck then good for them, neuro isn't all dnb, if you wanted them to appreciate it then you show them the stuff that they would. Should of brought your friend to a Dj fresh or pendulum concert, they are much more of a entry point to listening to dnb.

Excuse my grammar, but seriously.

Maybe nate just wanted some vengaboys that night?!