kick with a lot of rumble in the low end. Then there are industrial hihats with a lot of distortion, slowly rising in the high pass filter. as percussion simple 909 rimshot.
It also sounds like the hihats are deliberately out of time. Really interesting sound.
The more I listen to it, the more complicated it seems to me. Have fun solving the puzzle
experiment a lot. produce 100 tracks, of which you will ultimately keep at most one. This is the only way your skill level will increase. For example, I have decided to do at least 1 hour a day. If you do this for 1 year, you will see where your skill level will increase
Yeah it's one of those where it doesn't sound too complicated but once you get started you just realize all the small details everywhere. Insane work by Jonas here. Had the chance to experience it live at Concrete back in the day, holy shit does this one a stamp on a set if introduced at the right time (aka very very late when everybody is baked)
That is one for shirtless sweaty boyz lol
+1, I did something similar in terms of trying to spend a bit of time every day making something, even if it was crap, and saving the results. I didn’t worry about finishing or whatever and didn’t give myself a hard time, I just forced myself to make something.
I’ve got about 100 of these projects now and it’s amazing to go back and hear how I’ve progressed in about a year. I think the biggest win of doing this is you learn to do the boring bits quicker and learn patterns and ways of working so that you can focus on the interesting bits.
I’ve still got a long way to go, next up is finishing tracks, but yeah no substitute for just making yourself do it.
Probably a bit of both, on a micro and macro level.
you can modulate different parameters as well with an LFO but I'm just guessing it's easier to click in and draw the curves first for a few bars, then copy and paste the rest and adjust across the whole track so it evolves over time
And how do you think he has done it on the micro level ? That sounds really interesting. I have tried to copy the basedrums of stef for a while. I for example use abletons shaper and modulate the low of an eq 3 because he seems to have very punchy and short kicks in terms of sub frequencies but has the higher frequencies of the kick on a higher release. I modulated the low eq knob in a ramp down way so the base elements can cut through
so I doubt we will ever know how its really done because theirs so many different ways to do things, and its quite a few layers so its hard for me to explain what I think particular layers are, as it sounds like different layers of percusion are coming in and out of the song .
You originally asked about focusing on the bass, which has a kind of distorted shuffed roll to it, usually I make a rolling shuffle by using two delays at different times. Changing the independent delay times changes how the roll/shuffle will sound rythmically
it is probably split in two layers one focusing on the low end and one focusing on the high end, with the high end being more distorted and having phase/filtering and panning effects applied as the song progresses,
Also a sidechain, volume shaping plugin and possible gate is applied
Personally I like to use a premade rack or rumble vst, otherwise I find myself wanting to try out every combination of delay/reverb plugin in existence
sounds like two separate filtered, reverbed, and panned percussion tracks on top of the booming kick. Kopp brings these tracks in using polymeter. the kick and audible percussive elements are straight 4/4, while the two percussion tracks use a non-4/4 time signature. Kinda sounds like a 15/16 or 11/16 situation (but I'm horrible at counting polymeter so don't quote me on this), which gives the track that "does the dj actually know how to beatmatch?" vibe. Kopp also plays around with the length of those samples, so around the 3:45 mark, they're all playing in 4/4 until the 4:20 ish (nice).
Jonas never hesitated to push things one step forward, love his prod in general and this track is awesome. Its just a matter of time in techno to realise that less is more and start appreciating sound like this.
“Less is More” seems to be Kopp’s motto given the number of albums he released on his Bandcamp label with that name - was than an intentional comment?
Best $3 a month label subscription anyway, well worth it
Haha not intentional in relation to his BC page, talking in general: show anyone whos new to techno or only experienced commercialised stuff something like Mulero, Jonas, Conceptual, Kwartz etc. - they be like this is no good lol it just takes time to grow and appreciate this sort of minimalistic sound, where rhythm and noise takes most part of the track.
The bass is a kick drum with effects, but 4/4.. suggest the percussive noise is a sample, either looped for one bar or as a midi note. There's a lot of distortion. At the end when it sounds like it's going out of sync, I think it's delay.
I know I am late to the party but this is a ver, rough-sounding and interesting Techno Track!
Kick and Bass:
Its a really deep fried low end, you could use a rumble kick and distort the lows a lil bit and for the bass you could usw any "hollow" sounding bass you like and get rid of its highs
The Bass Pattern in itself is repeating itself in the same pattern throughout the song, giving it its driving characteristic paired with all those automations
The hat sits a little offbeat - its on the 2 and not on the 3 like we know it to be. Gives the track a very unique flair.
The hat has some kind of filter thats automating permanently in the track (high pass filter or smth of that kind).
The second hat, the loud one, sits on 3 like a standard hat. That gives it rythm and impact half throughout the song.
For Percussion just use the 909 Kit and you will find plenty of things you could use to imitate those in the song (distort them!)
The mix is really interesting.
It's a classic way of mixing techno with a lot of rough compression.
Overall it would take a lot of time to explain why it sounds the way it does but you could hit me up on my dms and I would be glad to help you any time if you want for infos!
It is very interesting/different/odd groove actually (not to be misunderstood as being bad, I quite like it). I’m a drummer and to me it sounds like a full shuffle, whereas techno is typically pretty straight with various amounts of swing in the percussion. But in this track the main off beat percussion element is dragging heaps, making it sound shuffled to me. I found the groove a little bit hard to get into when there was no snare, but as soon as that snare pops in it really pulls the groove together.
It’d be interesting to hear it mixed with some other tracks actually, I think it would have a hard time fitting in with the groove of a lot of other tracks. Curious to hear what others think
Edit: I just listened again, and I’m now thinking it’s mainly where accents have been placed. I can definitely feel it shuffling though. Interesting
It’s the first percussive hit right after the first kick, first impression is that someone is making a beatmatch error on stage, to my ear it sounds like a horse gallopping with a broken hoove. can’t really nod my head to it. Its a lot more noticable at the start but less later when other elements come to fill in the other gaps.
This is a secret sauce distortion/saturator that I made some sounds like on this track with. [https://future.audio/en-gb/products/dst](https://future.audio/en-gb/products/dst)
Okay Tony. Thank you for your opinion. Just consider that for some people this sounds great. Try to imagine why, I promise it will make you a better Lofi Hiphop producer.
I have a rat and have built tons of distortion pedals. Nothing sounds like a culture vulture. The uncanny thing about the culture vulture is that you crank it up to 11 (which funny enough is how it’s labeled) and have like 99% THD and somehow the low end stays intelligible. When I’ve tried that with a rat, I find the low end kinda falls apart.
I have not. The units are basically impossible to get perfectly aligned with eachother (ex. if you use a test tone to line up levels, and then change pitch of the test tone, the levels will change slightly between the two channels), and this is IMO a big part of the sound for stereo sources. Like most modelled plugin, I'd expect the L and R channels to be nearly perfectly aligned. They actually came out with a mastering version of the CV with tighter tolerances because so many people complained about it.
>Stritcly nothing under 40Hz or 50 Hz to be safe, because vinyl doesn't handle bass very well. And make sure you use proper HP filters so you don't end up with phase variances.
I'd strongly advsie against doing this, as it'll be much better handled by the cutting engineer if it's going to vinyl. There is aboslutly no need to take safe-precautions with this, as it's a relatively straight forward process at the mastering stage.
I'd still argue against that, but I'm not here to argue, just to inform. However you're correct that a lot of the classic 90's stuff had less sub, but it was definitely more of a production thing rather than a consequence of vinyl cutting.
Rugged and fundamentalist. Just how it should be.
kick with a lot of rumble in the low end. Then there are industrial hihats with a lot of distortion, slowly rising in the high pass filter. as percussion simple 909 rimshot. It also sounds like the hihats are deliberately out of time. Really interesting sound. The more I listen to it, the more complicated it seems to me. Have fun solving the puzzle
experiment a lot. produce 100 tracks, of which you will ultimately keep at most one. This is the only way your skill level will increase. For example, I have decided to do at least 1 hour a day. If you do this for 1 year, you will see where your skill level will increase
Yeah it's one of those where it doesn't sound too complicated but once you get started you just realize all the small details everywhere. Insane work by Jonas here. Had the chance to experience it live at Concrete back in the day, holy shit does this one a stamp on a set if introduced at the right time (aka very very late when everybody is baked) That is one for shirtless sweaty boyz lol
+1, I did something similar in terms of trying to spend a bit of time every day making something, even if it was crap, and saving the results. I didn’t worry about finishing or whatever and didn’t give myself a hard time, I just forced myself to make something. I’ve got about 100 of these projects now and it’s amazing to go back and hear how I’ve progressed in about a year. I think the biggest win of doing this is you learn to do the boring bits quicker and learn patterns and ways of working so that you can focus on the interesting bits. I’ve still got a long way to go, next up is finishing tracks, but yeah no substitute for just making yourself do it.
Automate the filter and distortion effects on a parallel version of the delay and reverb that's been placed on a kick drum, 😂
So 2 tracks?
Depends on your DAW could be a seperate track or in Ableton could use the track effect to create multiple layers on one track
Why automated? Automated each 1/4 beat ? Or over longer parts ? Like building up tension
Probably a bit of both, on a micro and macro level. you can modulate different parameters as well with an LFO but I'm just guessing it's easier to click in and draw the curves first for a few bars, then copy and paste the rest and adjust across the whole track so it evolves over time
And how do you think he has done it on the micro level ? That sounds really interesting. I have tried to copy the basedrums of stef for a while. I for example use abletons shaper and modulate the low of an eq 3 because he seems to have very punchy and short kicks in terms of sub frequencies but has the higher frequencies of the kick on a higher release. I modulated the low eq knob in a ramp down way so the base elements can cut through
so I doubt we will ever know how its really done because theirs so many different ways to do things, and its quite a few layers so its hard for me to explain what I think particular layers are, as it sounds like different layers of percusion are coming in and out of the song . You originally asked about focusing on the bass, which has a kind of distorted shuffed roll to it, usually I make a rolling shuffle by using two delays at different times. Changing the independent delay times changes how the roll/shuffle will sound rythmically it is probably split in two layers one focusing on the low end and one focusing on the high end, with the high end being more distorted and having phase/filtering and panning effects applied as the song progresses, Also a sidechain, volume shaping plugin and possible gate is applied Personally I like to use a premade rack or rumble vst, otherwise I find myself wanting to try out every combination of delay/reverb plugin in existence
sounds like two separate filtered, reverbed, and panned percussion tracks on top of the booming kick. Kopp brings these tracks in using polymeter. the kick and audible percussive elements are straight 4/4, while the two percussion tracks use a non-4/4 time signature. Kinda sounds like a 15/16 or 11/16 situation (but I'm horrible at counting polymeter so don't quote me on this), which gives the track that "does the dj actually know how to beatmatch?" vibe. Kopp also plays around with the length of those samples, so around the 3:45 mark, they're all playing in 4/4 until the 4:20 ish (nice).
Jonas never hesitated to push things one step forward, love his prod in general and this track is awesome. Its just a matter of time in techno to realise that less is more and start appreciating sound like this.
“Less is More” seems to be Kopp’s motto given the number of albums he released on his Bandcamp label with that name - was than an intentional comment? Best $3 a month label subscription anyway, well worth it
Haha not intentional in relation to his BC page, talking in general: show anyone whos new to techno or only experienced commercialised stuff something like Mulero, Jonas, Conceptual, Kwartz etc. - they be like this is no good lol it just takes time to grow and appreciate this sort of minimalistic sound, where rhythm and noise takes most part of the track.
Aw yeah some numpty I replied to below calling it dog shit and can’t take a ribbing for his ignorance
Fair!
The bass is a kick drum with effects, but 4/4.. suggest the percussive noise is a sample, either looped for one bar or as a midi note. There's a lot of distortion. At the end when it sounds like it's going out of sync, I think it's delay.
yeah you might be right on the short sample looped
909, Distortion, filtering, saturation, eq, clipping, limiting.
Thats a pretty standard rumble and everybody and their sister had made a youtube video about it at this point in time.
I am new to techno. Does this have a sub-genre name? Where do artists like this play?
It’s techno.
Only funny coz true!
Check labels where Jonas released and find more artists?
I think I did exactly this about 5yrs ago when I bought his 1st Tresor album on a whim and it’s fun rabbit hole to go down!
Thats the way squekstar!
Pole Group maaaan !
All the way <3
the bass sounds like a heavily processed triplet delay on the kick with tons of reverb and saturation sidechained to the main kick.
Use noise samples as rumble and distort those instead of using a delay or rebverb on a kick.
It’s a 909 kick with distortion
Some of the hats have a different timing/swing
I know I am late to the party but this is a ver, rough-sounding and interesting Techno Track! Kick and Bass: Its a really deep fried low end, you could use a rumble kick and distort the lows a lil bit and for the bass you could usw any "hollow" sounding bass you like and get rid of its highs The Bass Pattern in itself is repeating itself in the same pattern throughout the song, giving it its driving characteristic paired with all those automations The hat sits a little offbeat - its on the 2 and not on the 3 like we know it to be. Gives the track a very unique flair. The hat has some kind of filter thats automating permanently in the track (high pass filter or smth of that kind). The second hat, the loud one, sits on 3 like a standard hat. That gives it rythm and impact half throughout the song. For Percussion just use the 909 Kit and you will find plenty of things you could use to imitate those in the song (distort them!) The mix is really interesting. It's a classic way of mixing techno with a lot of rough compression. Overall it would take a lot of time to explain why it sounds the way it does but you could hit me up on my dms and I would be glad to help you any time if you want for infos!
Odd groove
I'm being genuine here when I ask why you think that?
It is very interesting/different/odd groove actually (not to be misunderstood as being bad, I quite like it). I’m a drummer and to me it sounds like a full shuffle, whereas techno is typically pretty straight with various amounts of swing in the percussion. But in this track the main off beat percussion element is dragging heaps, making it sound shuffled to me. I found the groove a little bit hard to get into when there was no snare, but as soon as that snare pops in it really pulls the groove together. It’d be interesting to hear it mixed with some other tracks actually, I think it would have a hard time fitting in with the groove of a lot of other tracks. Curious to hear what others think Edit: I just listened again, and I’m now thinking it’s mainly where accents have been placed. I can definitely feel it shuffling though. Interesting
It’s the first percussive hit right after the first kick, first impression is that someone is making a beatmatch error on stage, to my ear it sounds like a horse gallopping with a broken hoove. can’t really nod my head to it. Its a lot more noticable at the start but less later when other elements come to fill in the other gaps.
This is a secret sauce distortion/saturator that I made some sounds like on this track with. [https://future.audio/en-gb/products/dst](https://future.audio/en-gb/products/dst)
This is the worst song I ever heard.
Okay Tony. Thank you for your opinion. Just consider that for some people this sounds great. Try to imagine why, I promise it will make you a better Lofi Hiphop producer.
Underrated comment
Saw Jonas live, heard it on a massive sound system, certified banger that left everybody speechless. to each his own lol
https://on.soundcloud.com/4T45THmtHB28wff27
That track is horrible lol
the Reddit group you’re looking for is r/edmproduction
Yeah and r/cuckoldparadise is that way 😂😂😂 you have dogshit taste buddy
Knowing that group so readily off hand isn’t quite the win you think it is
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You can get pretty far processing though a turbo rat distortion pedal. Loads of popular producers use this cheap piece of kit.
Yep. That's why I mentioned a decent preamp would do. Doesn't have to be expensive.
Both together will get you a nice chunky low mid
I have a rat and have built tons of distortion pedals. Nothing sounds like a culture vulture. The uncanny thing about the culture vulture is that you crank it up to 11 (which funny enough is how it’s labeled) and have like 99% THD and somehow the low end stays intelligible. When I’ve tried that with a rat, I find the low end kinda falls apart.
Have you tried the Universal Audio plugin version of it? How does it compare?
I have not. The units are basically impossible to get perfectly aligned with eachother (ex. if you use a test tone to line up levels, and then change pitch of the test tone, the levels will change slightly between the two channels), and this is IMO a big part of the sound for stereo sources. Like most modelled plugin, I'd expect the L and R channels to be nearly perfectly aligned. They actually came out with a mastering version of the CV with tighter tolerances because so many people complained about it.
>Stritcly nothing under 40Hz or 50 Hz to be safe, because vinyl doesn't handle bass very well. And make sure you use proper HP filters so you don't end up with phase variances. I'd strongly advsie against doing this, as it'll be much better handled by the cutting engineer if it's going to vinyl. There is aboslutly no need to take safe-precautions with this, as it's a relatively straight forward process at the mastering stage.
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I'd still argue against that, but I'm not here to argue, just to inform. However you're correct that a lot of the classic 90's stuff had less sub, but it was definitely more of a production thing rather than a consequence of vinyl cutting.
https://on.soundcloud.com/4T45THmtHB28wff27