theres a clarity and definition in the kicks and snares that you just cant get out of the standard amen rips Ive got with an eq or filter. Even if you start to low pass out the harsh high end theres still a sustained sheet of harsh noise through the whole spectrum, and you kill the snares and kicks before you can really remove it to that extent without some sort of trickery, or a different mixdown of the amen as we may well be looking at now.

The amen is great for its weight on the kick and snare but it really fills out the frequency range on its own, its a very crowded drum sound and when you are chopping between breaks often you have to find a way to fill out the other breaks with a layer of harsh hatty noise to keep the intensity beside the amen. Obviously sometimes you chop breaks to change the intensity in drastic ways and an eq to match the tones is enough, but not always.

[quote=Wu Lala;10646575theres still a sustained sheet of harsh noise through the whole spectrum[/QUOTE]


yeah, thats what makes the amen so fucking TIGHT :D

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blog >> trikome.com << tips for using Protools and FLStudio together, samples, mixes, links

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Yeah, some of us are getting on a bit now.

And at thekerstone, Wu Lala pretty much answered it for me there.

The Amen PFM used does have a unique sound to it in that it is a lot more dynamic and a lot less "wall of noise" and that's what I was trying to get to.

I had wondered if it was a layering of another break to make the clatter sit back in the break until I spoke it through with Equinox at the weekend.
lets face it, if anyone knows Amens, he does!

old school breaks didn't get a lot of layering.. it's usually not even anything complicated.. as in this case, it was just finding the right source and eqing it :D

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blog >> trikome.com << tips for using Protools and FLStudio together, samples, mixes, links

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really? sounds pretty far off to me, and lot like a typical "new school" amen. that is, too clean, too choppy (not cut properly ie cut too much), and over-worked (sounds like a death metal sort of EQ where the mids are all cut out...quite nasty imo). i'd just go with sampling these records for the time being since you can get everything but the second snare clean in that first track and tons of bars of clean break in "for all of us," right? i mean, i can't hear anything extra, it just sounds brighter and wider than in the jmj & richie one. i'd just run it through some bad converters to dull it down a bit.

Just to add a little bit too the debate. I love the sound of PFM breaks in general, they all seem to be a bit brighter and cleaner than the counterparts of other non GLR jungle. I'd love to know the processing that went on. Was it an Akai or Emu, and i swear ive read somewhere that things liek the Ultrafex were prominent ( I have one kicking around somewhere too)

I can imagine you could probably build a studio similar to one which PFM or other GLR members were using for well under a grand these days. For instance over the past few yearsI have purchased a MAckie VLZ1402, Ultrafex, a TLA5021 a new Focusrite Compunder, an aphex Aural exciter and an EMU Ultra 6400 for around £600 in total. Still haven't got it all running in tandeem but i'm getting there!

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ive got the cd single (remember them ) of this. let me know if you want a rip.

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http://lahj.biz :: free acid house / dub techno EP :: lahj soundcloud ::Twitter :: paradigm x soundcloud

its not unheard of though, esp among guys who used to get really punchy, controlled break sounds like Crystl, Boymerang etc. On the Benji B show Photek was talking about some mad amounts of time spent editing breaks, 14 weeks did he say? It was something awful like that, getting one beat sounding right, thats extreme. You can hear some phasing going on in some of his amens that could well be layering in action.

does anybody still have this dl? I missed it first time round :(

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Youtube Glitch OST: Waay better than it sounds. a mixture of stuff from alva noto to ligeti to undersea recordings

doa thread here