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 The Grid gives you the opportunity to question some of drum & bass production's most prominent figureheads. This Q&A will consist of a moderated open thread in which you can ask production related questions to the interrogated. For this third edition we happily invite Tim Exile!  Born in Cheltenham (UK), Brighton based Tim Shaw AKA Exile has cut an unconventional path through and outside D&B for the past 7 years. Culturally inspired as a kid, Tim is a classically trained violinist and singer. His venture into audio started at the age of 16 when he began experimenting with old synths, drum machines and analogue tape, to move on to the sampler after his parents bought him one for his 18th birthday. Later on, Tim formed a strong relationship with John B, which resulted in an array of Tim's tracks being released on John's label 'Beta' and the legendary 'Moving Shadow', not forgetting appearances for 'Renegade Hardware' and 'RAM' sub label 'Frequency'. Since then his weird and wonderful career has encompassed freelance commercial production, a Masters degree in electro-acoustic composition, A/V installation art for the 'Victoria & Albert' museum, appearances on techno label 'Mosquito' and coding new performance tools to enable a unique improvisational live show (with 'Native Instruments' hiring him as a result). With his debut album 'Pro Agonist', which dropped last month for Mike Paradinas' 'Planet Mu' imprint, and an exclusive audio-visual live mix for DOA, what better time to invite the man to face an inquisition from The Grid? Click here for the DOA interview, mixset and video. Click here for his official website. This Q&A is closed! Last edited by Croms; 12-22-2008 at 02:34 AM.. |
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Can you list your Liveset set-up, especially the methods with you appear to be typing the beats out on your laptop?
Thanks,
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The kits is: P4 2.4GHz, 1GB RAM, 40GB HD running Reaktor M-Audio Mobile Pre USB MIDIMAN MIDIsport 4x4 Doepfer Regelwerk Evolution UC 16 Edirol PC-160 keyboard Korg Kaoss Pad (controller mode only) The typing beats bit is a feature of the Reaktor patch which I programmed myself. If you own Reaktor 5 you'll shortly be able to download a demo ensemble taken directly from my live patch which allows you to mash up beats the same way. It's basically based on temporarily applying sync-point or offset 'masks' to a continuous loop |
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I saw you doing some live vocals when you played over here in Brussels. What kind of processing were you doing on that? How were you dealing with them?
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Hydra - phuturistic night vision Next vocal/MC date: 26/05 w/Storm @ Queens of the Jungle, ?? Asia Bass w/EZ Rollers  John B vs Hydra out now! http://www.myspace.com/lotus_hydra http://www.breakz.be |
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nice one for doing this man
 how do you go about writing/processing your drum tracks? what are your favorite breaks/drum synths to use  |
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big up for this
artistry vs engineering?
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www.theleastsignificantbit.co.uk |
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Wiegh it up, whats more important to you, tightness or feeling? How does this affect your music and how you perceive other artists work? Nice one man!  |
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Tim, first of all I want to express my maximal respect for what you do and especially on how you view music in general.
 One of my all time favorite tracks is Crise de funke, can you tell me something about the writing process if you still remember? Was that just a spontaneous thing or actually a deliberate one? ... I think it's perfect, the way you played with the sound is very firm and the structure is just amazing, how everything falls in place. Other than that, your current stuff is fucking complex man, do you think about returning to a more minimal, less "dense" production style in the future? More to come, best interview session ever  |
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sorry :blushes: The vocal processing is another part of my reaktor patch. It allows me to retrospectively sample anything I say through the mic, then loop it and essentially treat it the same way as I can treat breaks, basslines and any other loops I use in my live patch. I can manipulate the mic through various different FX algorithms I programmed as well, either before and after I've sampled it, and even after I've sampled it once. I can go on resampling through FX as many times as I want. All in realtime and locked to the beat... |
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I generally work on my drum tracks in audio. When I moved over to an all computer environment I pretty much gave up on samplers, mostly because the version of Pro Tools I was running didn't support software instruments. I used very old fashioned techniques actually. I've never used reacyled or any automatic beat chopping software... I'm so used to Sound Forge and Pro Tools now that I just do it all with those two... I guess it's like old engineers getting hooked on cutting up tape with razors. It seems crazy with todays tools but hey, it works for me! I tend to do very little in the way of severe processing when I'm starting out writing a track... although I do go to town with the compressors, and also editing and crossfading little bits of the beats etc... such as editing out background noise before an important hit eg a kick/snare so the compressor has a decent chance to get back to unity gain before the next smack. once I've got all the elements I think I'll need for the drum track I'll work out a series of patterns with alternating combinations of the elements, then bounce everything down to maybe 3 audio tracks max (partly cos Pro Tools only has 16 stereo audio tracks, partly to simplify stuff), so then when I'm editing the beats afterwards, which is all done by hand in audio, no randomisers or anything, just me, a mouse and the odd offline plugin. I don;t really knwo much about breaks or synths. I generally make my own synths, although I do often use the built in ones in Reaktor... the simplest ones are the best for macaroni cheese sounds... occasionally you want a caviar sound and I';ll use something like Photone, then go to town on tweaking it out. A lot of my synth lines are actually done in audio in Pro Tools though... pitching stuff up and down with the offline processing... then you can really tweak each not out and animate it. |
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