History of Drum-n-Bass/Jungle

History of DNB/Jungle

History of Drum-n-Bass/Jungle

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It has been suggested that this article or section be merged into Drum and Bass. (DiscussProposed since August 2012.
Main article: Drum and bass

Drum and bass (commonly abbreviated to DnBDrum n Bass and Drum & Bass) is a type of electronic dance music. This article deals with the history of this musical style.



[edit]Beginnings in the UK

See also: Oldschool jungle

Drum and bass began as a musical paradigm shift of the United Kingdom breakbeat hardcore and rave scene of the mid 1990s; and over the first decade and a half of its existence there have been many permutations in its style, incorporating elements from dancehallelectrofunkhip hophousejazzpop-created fusion of hardcore, house andtechno (with a strong accent of both the UK industrial and Belgian New Beat sounds), pioneered by Joey BeltramL.A. StyleCJ BollandRichie Hawtin and others. This scene existed briefly from approximately 1989-1993, a period of cross-pollination with the UK hardcore sound. This sound did survive in various forms in its mother countries – primarily Belgium, Holland and Germany – beyond 1992, but by then the general scenes in these countries had moved forwards to trance, industrial techno or gabba (with happy hardcore/hard house being the equivalent ‘Belgian Techno’ – derivative sounds in the UK). London and Bristol are the two cities which are most associated with Drum and Bass.

Returning to the UK, drum and bass (as jungle) has its direct origins in the breakbeat hardcore part of the UK acid house rave scene. Hardcore DJs typically played their records at fast tempos, and breakbeat hardcore emphasised breakbeats over the 4-to-the-floor beat structure common to house music. Breakbeat hardcore records such as The Prodigy‘s “Experience” (1992) Top Buzz ’Jungle Techno!’ (1991), A Guy Called Gerald‘s ‘Anything’ (1991), Shut Up and Dance‘s “£10 to get in” / “£20 to get in” (both 1989), theRagga Twins‘ “Spliffhead” (1990) & ’18 Inch Speaker’ (1991), Rebel MC‘s ‘Wickedest Sound’ (1990), Nightmares on Wax‘s ‘In Two Minds’ (1990), Genaside II‘s “Sirens of Acre Lane” (1990), DJ Dextrous‘ “Ruffneck Biznizz” (1992), Noise Factory‘s ‘Be Free’ (1992), Demon Boyz ’Jungle Dett’ (1992) and LTJ Bukem‘s “Demon’s Theme” (1992) are generally credited as being among the first to have a recognizable drum and bass sound.[1] The very first record would arguably be Meat Beat Manifesto‘s “Radio Babylon”, recorded in 1989, and is still recognisably ‘drum and bass’ in sound today.

The first officially released and distributed non-compilation Progressive Hardcore/Jungle/Drum and Bass album to be released anywhere in the world was the Apache ‘Delirious’album – written and produced by Alex Romane - (currently producing for Urban Sunrise) and Nathan Robinson during 1991/92 and released by BMP Records (Bristol) in 1992. Both continued to work underground and went on to work with other artists with Alex Romane writing and producing ‘War’ for Daddy Freddy (4 times world’s fastest rapper and creator of Raggamuffin Hip Hop) in 2002. ‘War’ was Daddy Freddy’s first ever Drum and Bass track and is even more relevant today because of its strong political pro-democracy anti-war vocal. Some hardcore tracks at the time were extremely light and upbeat; the most extreme example of this were the so-called “toy-town” tracks such asSmart E’s‘ “Sesame’s Treat” which features the children’s show “Sesame Street” theme song. This style of hardcore would many years later be known as happy hardcore.

In response to these lighter tracks, some producers started focusing on darker, more aggressive sounds; this style became known as darkside hardcore, or darkcore. Strange noises and effects, syncopated rhythms made from rearranged funk breaks and loud bass lines defined the genre. Examples of darkcore include Goldie‘s “Terminator” (1992), and Top Buzz‘s “Living In Darkness” (1992). These took their cue from the darker sounds of ‘Belgian Techno’, as found in tracks such as Beltram’s “Mentasm” and “Energy Flash” (1991), as well as the dark breaks of 4 Hero‘s “Mr Kirks Nightmare” (1990) among others. These tracks were not widely called jungle or drum and bass by the mainstream media at their time of creation (although the terms “jungle” and “jungle techno” were in common use in the rave scene by then, with “drum & bass” appearing here and there on particular mixes of several vinyl releases), but they can nevertheless be found on later jungle and drum and bass compilations. The first major round-up of these tracks which was to use the term ‘drum & bass’ was probably “The Dark Side – Hardcore Drum & Bass Style”: a compilation on React Records, released March 1993, which featured both “Here Comes The Drumz” and “Terminator”.[2][3][4][5][6][7][8]

This darker, more aggressive sound appealed to many in the dancehall and reggae communities. Both darkcore and dancehall shared an emphasis on rhythm and bass, and the tempos were well suited to be mixed together. Soon many elements of dancehall reggae were being incorporated into the hardcore sound. The Jamaican sound-system culture began to influence the emerging sound through the use of basslines and remixing techniques derived from dub and reggae music, alongside the fast breakbeats and samples derived from urban musics such as hip hop, funk, jazz, and r&b alongside many production techniques borrowed from early electronic music such as house, and techno.

As the yet unnamed genre evolved, the use of sampled funk breakbeats became increasingly complex. Most notable and widely spread is the Amen break taken from a b-side funk track “Amen, Brother” by the Winston Brothers (The Winstons).[9] During this time producers began cutting apart loops and using the component drum sounds to create new rhythms. To match the complex drum lines, basslines which had less in common with the patterns of house and techno music than with the phrasings of dub and hip hop began to be used. As the beat-per-minute range rose above 165, the emerging drum and bass sound became incompatible for straightforward DJ mixing with house and techno, which typically range dozens of beats-per-minute less (making it impossible to play the tracks at the same speed on club equipment). This sonic identity became highly distinctive for both the depth of its bass and the increasingly complex, rapid-fire breakbeat percussion. Vastly different rhythmic patterns were distinctively being used, as well as new types of sampling, synthesis and effects processing techniques, resulting in a greater focus on the intricacies of sampling/synthesis production and rhythm. This notably included early use of the time stretching effect which was often used on percussion or vocal samples. As the influences of reggae and dub became more prominent, the sound of drum and bass began to take on an urban sound which was heavily influenced by ragga and dancehall music as well as hip hop, often incorporating the distinctive vocal styles of these musical genres. This reggae/dancehall influenced sound is most commonly associated with the term jungle.

30 second sample illustrating the combination of basslines, broken beats, rave melody and aesthetics.

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Particular tracks from the 1992 – 1993 period that demonstrated some of the beat and sampling progression within drum and bass include: A Guy Called Gerald‘s “28 Gun Bad Boy“, Bizzy B “Ecstacy is a Science” (1993) and Danny Breaks / Droppin Science “Droppin Science vol 1″ (1993). This was an ongoing process however and can be demonstrated as a gradual progression over dozens of tracks in this period.[10][11][12][13][14]

[edit]Early pioneers


Goldie, one of the pioneers of drum and bass music and perhaps its most widely recognized face

Pioneers such as Shy FXAndy CKrustDJ HypeDJ SSFabioGrooveriderGoldie,LTJ BukemJack SmoothOmni TrioRebel MCRob Playford and others quickly became stars of the genre. Most of the early producers and DJs still produce and play in today’s drum and bass scene, forming something of a jungle ‘old guard’.[15] Some important early artists such as A Guy Called Gerald with his seminal early jungle LP, “Black Secret Technology”) and 4hero (“Mr Kirk’s Nightmare”) later developed their own styles, leaving the drum and bass mainstream.[16][17][18]

These early pioneers heavily used Akai samplers and sequencers on the Atari ST to create their tracks.[19] Without these electronic instruments, the first wave of consumer priced but versatile electronic instruments, it is doubtful drum and bass (or many electronic music styles) could have appeared.

[edit]Jungle name

See also: Jungle

While the origin of the term ‘jungle’ music to refer to the developing electronic sound of the 1990s is debatable, the emergence of the term in musical circles can be roughly traced to Jamaican/Caribbean toasting (a pre-cursor to modern MCs), circa 1970. References to ‘jungle’, ‘junglists’ and ‘jungle music’ can be found throughout dub, reggae and dancehall genres from that era up until today. It has been suggested that the term ‘junglist’ was a reference to a person either from a section of KingstonTrenchtown also known as ‘the Concrete Jungle’ or from a different area, ‘the Gardens’, which was a leafy area colloquially referred to as ‘the Jungle’. The first documented use of the term in drum and bass is within a song featuring jungle producer and lyricist Rebel MC – “Rebel got this chant alla the junglists”.


Main article: Junglist

The appearance of jungle also resulted in the appearance of the junglist subculture, which, while not nearly as distinctive, alienated, ideological or obvious as other youth subcultures, and having many similarities with hip hop styles and behaviour, does function distinctively within the drum and bass listening community. Many drum and bass listeners would and do refer to themselves as junglists, regardless of their attitude on whether jungle differs from drum and bass (see below).[8]

[edit]Jungle to drum and bass

The phrase “drum and bass” had been used for years previously in the London soul and funk pirate radio scenes and was even a bit of a catchphrase for UK Radio 1 DJ Trevor Nelson in his pirate days, who used it to describe the deeper, rougher funk and “rare groove” sound that was popular in London at the time. A station ID jingle used on London pirate Kiss FM from the late 1980s would proclaim “drum and bass style on Kiss”.

Shortly after midnight on New Years Day, 1994, MC Conrad referred to the style of music LTJ Bukem was playing as both “hardcore” and “drum and bass”, but neglected to describe it as jungle.

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However, as the early nineties saw drum and bass break out from its underground roots and begin to win popularity with the general British public, many producers attempted to expand the influences of the music beyond the domination of ragga-based sounds. By 1995, a counter movement to the ragga style was emerging.

Since the term jungle was so closely related to the raggae influenced sound, DJs and producers who did not incorporate reggae elements began to adopt the term “drum and bass” to differentiate themselves and their musical styles. This reflected a change in the musical style which incorporated increased drum break editing. Sometimes this was referred to as “intelligence”, though this later came to refer to the more relaxing style of drum and bass associated with producers such as LTJ Bukem. Perhaps the first track to explicitly use the term “drum and bass” to refer to itself was released in 1993.[20] The producer The Invisible Man described it:

“A well edited Amen Break alongside an 808 sub kick and some simple atmospherics just sounded so amazing all on its own, thus the speech sample “strictly drum and bass”. A whole new world of possibilities was opening up for the drum programming… It wasn’t long before the amen break was being used by practically every producer within the scene, and as time progressed the Belgian style techno stabs and noises disappeared (thankfully!) and the edits and studio trickery got more and more complex. People were at last beginning to call the music Drum and Bass instead of hardcore. This Amen formula certainly helped cement the sound for many of the tracks I went on to produce for Gwange, Q-Project and Spinback on Legend Records. After a while, tracks using the Amen break virtually had a genre all of their own. Foul Play, Peshay, Bukem and DJ Crystal among others were all solid amen addicts back then too.” [21]

Towards late 1994 and especially in 1995 there was a definite distinction between the reggae and ragga sounding jungle and the tracks with heavily edited breaks, such as the artists Remarc and The Dream Team on Suburban Bass Records. Ironically, one compilation which brought the term to the wider awareness of those outside the scene, ‘Drum & Bass Selection vol 1′ (1994), featured a large amount of ragga influenced tracks, and the first big track to use the term in its title (Remarc’s ‘Drum & Bass Wize’, 1994) was also ragga-influenced.[22]

The Dream Team consisted of Bizzy B and Pugwash; Bizzy B did however have a history of complex breakbreat tracks released before any real notion of a change in genre name. This also coincided with an increase of the use of the Reese bassline (Reese Project, Kevin Saunderson), as first featured on “Just Want Another Chance” by Kevin Saunderson (also famous for the group Inner City) released in 1988. Mid-1995 saw the coincidentally named Alex Reece‘s “Pulp Fiction” which featured a distorted Reese bassline with a two-step break, slightly slower in tempo, which has been credited as an influence in the new tech-step style which would emerge from Emotif and No U-Turn Records.

“Pulp Fiction was (and still is) a seriously badass tune, it was highly original at the time, and of course it will remain in the classic oldskool bag for many years to come. It was also the track that spawned hundreds of imitators of its “2-Step” style which unfortunately also lasted for many years to come…. hmmm… oh, and because the 2-step groove generally sounds slower, DnB then began to speed up way beyond 160bpm… say no more.” [23]

This has also led to the confusion of equating the “tech-step” sub-genre with drum and bass, as distinct from jungle, but “drum and bass” as a style and as a name for the whole genre already existed in 1995 before the release of Dj Trace’s remix of T-Power‘s “Mutant Jazz” which appeared on S.O.U.R. Recordings in 1995 (co-produced by Ed Rush and Nico). Also note that Trace (artist)Ed Rush and Nico already had a history of producing jungle/drum & bass and hardcore in a variety of styles.[24] [25] [26]

The media may have also emphasised a difference in styles. This was especially the case in the sub-genre dubbed “intelligent” drum and bass by the music press, and its ambassador was LTJ Bukem and his Good Looking label alongside Moving Shadow artists such as Foul Play, Omni Trio and Cloud 9.[7][27]

Some say that the move to drum and bass was a conscious and concerted reaction by top DJs and producers against a culture that was becoming tinged with gangster types and violent elements, and stereotyped with the recognizable production techniques of ragga-influenced producers. The release of General Levy‘s “Incredible” record in 1994 is taken by many as being the key-point in the transformation. This ragga influenced track contains a statement by General Levy claiming to be the “original junglist” at a time in which he was proclaiming publicly that “I run jungle” which in turn angered the most powerful and influential drum and bass producers, resulting in a blacklisting of General Levy and possibly a conscious step away from the ragga sound.[7][28][29]

“The whole tag jungle took on a real sinister… It just got so smashed in the press. We were like: “If we’re going to carry on we’re gonna have to change the name here, cos we’re getting slaughtered here.” – Fabio.[7]

Intelligent drum and bass maintained the uptempo breakbeat percussion, but focused on more atmospheric sounds and warm, deep basslines over vocals or samples which often originated from soul and jazz music. However, alongside other key producers in the scene, LTJ Bukem, arguably the single most influential figure behind the style, is especially noted for disliking the term, owing to the implication that other forms of drum and bass are not intelligent. From this period on, drum and bass would maintain the unity of a relatively small musical culture, but one characterised by a competing group of stylistic influences. Although many DJs have specialised in distinctive sub-genres within jungle and drum and bass, the majority of artists within the genre were and remain connected via record labels, events and radio shows. It is extremely important to note that many producers make tracks in more than one sub-genre of drum and bass.

Around 1995-1996 there was a general splintering of the drum and bass scene. Sub-genres could be referred to by their names as opposed to either jungle or drum and bass, though all sub-genres were usually grouped by the new umbrella term drum and bass. This continues today.

30 second sample. Notice the subtle usage of drums and melodic elements, as contrasted to previous music samples. It still contains a fast broken beat but the beat is less audible.

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Roni SizeKrust and Dj Die might be considered the people that made Drum and Bass more mainstream.

Confusion is increased by the term jump-up which initially referred to tracks which had a change in style at the drop, encouraging people to dance. Initially these would usually be breakbeat-heavy drops in this new drum and bass style, but producers of around the same time were creating tracks with hip-hop style basslines at the drop. This would become a new sub-genre “jump-up”, though many of the early jump-up tracks included edited amens at the drop. Influential artists include DJ ZincDJ HypeDillinja and Aphrodite (artist) amongst many others. The Dream Team would also produce jump-up tracks, usually under the name Dynamic Duo on Joker Records, in a style with similarities and differences to theirSuburban Bass releases. Notice also the early use of the term “jump up jungle” rather than “jump up drum and bass”. The pigeon-holes for genres changed so quickly that jump-up was quickly also called drum and bass even as a sub-genre.

Around this time, drum and bass also sealed its popularity by winning a Friday night slot on Radio One, the BBC’s flagship radio station, the legendary “One in the jungle” show. Initially presented by a revolving groups of jungle luminaries, hosted by MC Navigator, the station eventually secured the presenting services of Fabio and Grooverider, two of the oldest and most-respected DJs in the scene. Many DJs made a suddent shift from pirate radio to legal radio at this time.

Up to this point, pirate radio was the only radio source of jungle music and in particular Kool FM, and Don FM‘s contribution to the development of this sound should not be overlooked or denied.[7] It is doubtful whether jungle would have gained popularity without pirate radio stations. The transition in name from “jungle” to “drum and bass” occurs at the same time as its legal appearance on airwaves.[30][31]

Another aspect to note in the evolution of drum and bass is that the advent of the Criminal Justice and Public Order Act 1994 specifically aimed at stopping illegal raves prompted the move of jungle (and other electronic music genres) into legal (mostly) nightclubs.

[edit]Jungle vs. drum and bass

Nowadays the difference between jungle (or oldschool jungle) and drum and bass is a common debate within the junglist community. There is no universally accepted semantic distinction between the terms “jungle” and “drum and bass”. Some associate “jungle” with older material from the first half of the 1990s (sometimes referred to as “jungle techno”), and see drum and bass as essentially succeeding jungle. (this is the main point of view in Germany) Others use jungle as a shorthand for ragga jungle, a specific sub-genre within the broader realm of drum and bass. Probably the widest held viewpoint within the scene in London is that the terms are simply synonymous and interchangeable: drum and bass is jungle, and jungle is drum and bass.[7].

“At the end of the day I am an ambassador for Drum and Bass the world over and have been playing for 16 years under the name Hype… To most of you out there Drum and Bass will be an important part of your lives, but for me Drum and Bass/Jungle is my life and always has been… We all have a part to play and believe me when I say I am no fucking bandwagon jumper, just a hard working Hackney man doing this thing called Drum and Bass/Jungle.” DJ Hype[32]

[edit]The birth of techstep and “drum and bass is dead”

As a lighter sound of drum and bass began to win over the musical mainstream, many producers continued to work on the other end of the spectrum, resulting in a series of releases which highlighted a dark, technical sound which drew more influence from techno music and the soundscapes of science fiction and general film. This style was championed by the labels Emotif and No U-Turn, and by artists like TraceEd RushOptical, and Dom & Roland. It is commonly referred to as techstep, which in turn gave birth to the neurofunk subgenre. Techstep focused intensely on studio production and applied new techniques of sound generation and processing to older Jungle approaches. Self-consciously underground, and lacking the accessible influences of much other drum and bass, techstep is deeply atmospheric, often characterized by sinister or science-fiction themes (including samples from cult films), cold and complex percussion, and dark, distorted basslines. The sound was a conscious move back towards the darker sounds of Belgian Techno and Darkside Hardcore (again the already mentioned darkcore), albeit with a greater electro / techno emphasis than darkcore.[33]

The sound also marked a period when drum and bass became more insular and began to draw inspiration from itself rather than other musical genres. The sampler at this time became less important with home computer equipment and generated beats and sounds becoming capable of creating an entire drum and bass track from scratch.

As the 1990s drew to a close, drum and bass withdrew from mainstream popularity and concentrated on the new more ominous sounds which were popular in clubs, rather than on mainstream radio. Techstep came to dominate the drum and bass genre, with artists like Konflict and Bad Company amongst the most visible. As time went on, techstep became more minimal, and increasingly dark in tone, and the funky, commercial appeal represented by Roni Size back in 1997 waned. A characteristic of this was the increasing disproportion of male to female club goers and a generally more aggressive and dark atmosphere at clubs.[34][35]

The withdrawal of drum and bass from the mainstream was not only a result of its growing fascination with its own (progressively darker) sound, but also resulted from the explosive birth and growing popularity of UK garage (2 step and 4×4 garage, aka speed garage), a musical genre heavily influenced by jungle, with similar beats, vocal and basslines but slower speeds and more friendly (or at least radio-friendly) beats.[36][37] Drum and bass suddenly found itself losing popularity and established drum and bass producers expressed shock at its sudden alienation and abandonment by the general public.[38] This turn fuelled the harder sound of techstep.[7]

“And then garage came along: the death knell for drum and Bass. It was the new drum and bass. It was the biggest kick in the teeth for us ever…Yeah! They had all the girls, it was where all the girls from the jungle scene had gone. drum and bass was at its worst.” – Fabio.[7]

Perhaps ironically despite media declarations that “drum and bass/jungle is dead” and killed by garage, drum and bass has survived after a difficult period with the turn of the millennium seeing an increasing movement to “bring the fun back into drum and bass”, heralded by the chart success enjoyed by singles from Andy C and Shimon (“Bodyrock”) and Shy FX and T Power (“Shake UR Body”).[27][39][40] In the clubs there was a new revival of rave-oriented sounds, as well as remixes of classic jungle tracks that capitalised on nostalgia and an interest in the origins of the music. Many felt that drum and bass music had weathered the ignorance, then support, and then hostility, of the mainstream media (which had declared that “drum and bass is dead” in the late 90s), and that the revival of chart success indicated that the style was more than a passing fashion.[41]

In turn, UK garage, after a brief period of extreme popularity, has found itself pushed to the underground and mostly superseded by grime. Drum and bass’ survival reflects the tenacity of its original producers and artists who continued and continue to produce drum and bass, as well as the vitality of the new generation of producers, such as London Elektricity and Step 13.[42]

[edit]Since 2000

Since the revival in popularity of the genre in circa 2000, the drum and bass scene has become very diverse, despite its relatively small size, to the point where it is difficult to point to any one subgenre as the dominant style though techstep appears to be losing its previous dominance, with a “return to old skool” movement apparent in tracks & clubs.[43]

In 1998, Fabio began championing a form he called “liquid funk“.[44] In 2000 he released a compilation release of the same name on his Creative Source label. This was characterised by influences from disco and house, and widespread use of vocals. Although slow to catch on at first, the style grew massively in popularity around 2002-2004, and by 2004 it was established as one of the biggest-selling subgenres in drum and bass, with labels like Hospital Records, State of the Art Recordings and Soul: R and artists including High ContrastCalibreSolid StateNu:ToneLondon Elektricity and Logistics among its main proponents. Alex Reece and LTJ Bukem were amongst the first producers to experiment fully with deep smooth drum and bass, and as such could be considered the forerunners of liquid funk.

30 second sample. A modern jump-up track with simple beats, a Lauryn Hill sample and vocal throwbacks to the ragga era of jungle

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The decade also saw the revival of jump-up. Referred to as “nu jump up”, or pejoratively as clownstep, this kept the sense of fun and the simplistic, bouncing basslines from the first generation of jump up, but with tougher and more edgey production values, including increased sound compression. Notable artists are DJ Hazard, DJ Clipz and Taxman.

This modern period has also seen the development of the style known as “dubwise”, which returns drum and bass to its reggae-influenced roots and combines them with modern production techniques which had advanced immeasurably since the early days of jungle. Although the dub-influenced sound was not new, having long been championed by artists like Digital and Spirit, 2003-2004 saw a significant increase in its popularity and visibility.

Similarly, whilst there had long been a niche dedicated almost entirely to detailed drum programming and manipulation, championed by the likes of Paradox, the first half of this decade saw a revival and expansion in the subgenre known variously as drumfunk, “edits”, or “choppage”. Major labels include Inperspective and Synaptic Plastic and the new wave of artists in this style include ASC, Fanu, Breakage, Fracture and Nepture, 0=0 and Equinox.


Ravers & Goldie.

The new millennium also saw a fresh wave of live drum and bass bands. The likes of Reprazent and Red Snapper had performed live drum and bass during the 1990s, but the re-creation of London Elektricity as a live band focussed renewed interest on the idea, with acts like The Bays, Keiretsu, Southampton based Gojira, Step 13, Deadsilence Syndicate, and U.V Ray (feat. Yuval Gabay) as well as Birmingham’s PCM, pursuing this avenue. In addition the popular Breakbeat Kaos label has begun to focus more and more on bringing a live sound into drum and bass, both in the records they release and in the live band (music played on live acoustic instruments, including guitar) night the previously signed groupPendulum have hosted in London (e.g. October 2006 at the Fabric club).

In 2003, Metalheadz signees Dylan and Robyn Chaos (aka Faith In Chaos) pushed the harder sound of drum and bass by founding the Freak Recordings label and sublabels Obscene and Tech Freak, together with artists like Technical Itch, LimewaxCounterstrike, SPL, Current Value, and many others, leading to the creation of the Therapy Sessions drum and bass festivals in London. The Therapy Sessions franchise quickly expanded worldwide with greater repercussion on Eastern Europe with an attendance of more than 10.000 fans in cities like St. Petesburg.[45]

Since around 2008, Drum & Bass developed yet more sub-genres. The first notable genre being “Autonomic”[citation needed] (Popularised by the group of artists under the same name of “Club Autonomic”, consisted of Instra:mental and dBridge, among others, who ‘joined’ the club at a later date). This sub-genre is identified primarily by its use of very wide, open sounds, deep complex basslines and it’s play on the popular and predictable drum patterns of ‘regular’ Drum & Bass. Notable artists include ASC, Consequence, Distance, dBridge, Instra:mental, Skream, Stray and Vaccine (among many others), With popular labels that promote the sound being Exit Records (Owned by dBridge himself), Nonplus+ Records (Also Co-owned between dBridge and Instra:mental), Auxiliary Records (Owned by ASC) as well as the self-titled record label Autonomic. Arguably the first tracks to quintessentially define Autonomic as a soundscape (and also the first release on the Nonplus+ label) were Instra:mental’s track ‘No Future’ in 2009, or in 2008, ASC’s release titled “Sci-Files Vol.1″ containing the tracks “The Rain” and “Auxiliary”.

“The Autonomic Podcast” released for free by those in Club Autonomic, is an essential apitomisation of the Autonomic sound. The Autonomic podcast often comes in 3 sections; Opening with a number of tracks that influenced the artists in their early years of both life, and production, filled in the middle with a one hour or so long mix of Autonomic-style tracks, followed by another section of ‘influences’ (named as such on the podcasts themselves). The podcasts became a source for all the latest Autonomic sounds, many of which remain unreleased. Due to this, it became so incredibly (and unpredictably) popular due to fans proclaiming it as the next step in the evolution of Drum & Bass, that their server suffered a large-scale crash due to high demand for downloads of the mixes.

A second sub-genre is Minimal Drum & Bass, also known as “Microfunk”[citation needed]. This sub-genre is categorised by its extremely barebones approach to the Drum & Bass sound, drum patterns usually comprise only a few short, often computer-distorted beats, snares and rolling hats, although the complexity in the way these simple sounds are ordered can be huge, often requiring a number of drum machines and drum tracks to achieve what the artist seeks. Alternatively, much of Minimal can use sampled native instruments, with distortion such as reverb placed on them afterwards, so as to give a more ‘natural’ feel to the track. Other attributes of the sub-genre include sweeping synth chords, harmonisation and deep basslines. Notable artists include Bulb (A.K.A. Fill), Bop, Oak (A.K.A. Karelia), Mike-L, Furi Anga, Ultracode, Despot, Diagram, Jason oS, Nuage, Beastie Respond, Flatliners, Anile and June Miller.

The Minimal Drum & Bass sound can be heard in a large number of places, but is well demonstrated in Mike-L’s “DeepMelodies”, Elusive Elements’ “Elements” and Bulb (A.K.A. Fill)’s “Into the Deep” series of mixes.

[edit]Drum ‘n’ bass and jazz fusion

American Grammy Award-winning record producer, jazz fusion pioneer, and bassist Bill Laswell touched on drum and bass in the ‘90s with his Oscillations releases and the compilation Submerged: Tetragramaton. Laswell stepped up his work in drum ‘n’ bass starting with Brutal Calling (2004), an eight-track hard drum ‘n’ bass album with Ohm Resistance label owner Submerged (DJ)/producer Kurt Gluck followed by a series of releases and live dates. Laswell’s newest project in this vein is Method of Defiance. The first release focused on the core of Laswell and Submerged once again, with contributions from Toshinori Kondo and Guy Licata.

The second release under the Method of Defiance moniker was a compilation style project focusing on drum ‘n’ bass. Inamorata stretched the concept out, pairing Laswell’s bass with a different combination of respected jazz and world musicians and drum ‘n’ bass producers on each track. Artists including Herbie HancockJohn ZornPharoah Sanders,Nils Petter MolvaerToshinori Kondo and Buckethead were paired with drum ‘n’ bass producers including AmitParadoxSubmergedEvol Intent, Fanu and Corrupt Souls. He also released a full-on collaboration with Finnish drum ‘n’ bass maestro Fanu on Ohm Resistance (US) and Karl Records (Europe), entitled Lodge, which includes contributions from Molvaer and Bernie Worrell amongst others. The concept of the group has once again morphed into a full band concept. In 2009, Rare Noise Records released ‘Live in Nihon’, which showcased this new direction/grouping. The group now consisted of Laswell, Guy Licata, Dr. Israel, Toshinori Kondo and Bernie Worrell.

[edit]North America beginnings and scene

The rave scenes in the US (New York) and in Canada (Toronto) embraced the transition of hardcore to jungle around 1994. America’s longest running party, Konkrete Jungle also born in NYC, discovered the first US drum and bass MC’s Blaise (Naughty Ride), Panic and Johnny Z. Outside of NYC. Dieselboy in Pittsburgh, Karl K & Kaos with MC Dub2 in Philadelphia and DJ Slant & DJ Stress from the 2Tuff Crew in D.C. along with Krazy Josifer and MDF1 from the Life of Leisure Crew in Washington DC. This small handful of US East Coast pioneers spent years in the underground playing “back rooms” before the sound caught on throughout America.

Perhaps most responsible for the extensive introduction of drum and bass to the U.S.in the 1990s was Bassrush, headed by Raymond Frances, whose innovation was to present House, Techno, and Drum & Bass in separate rooms—making Drum & Bass, for the first time, a major feature at U.S. rave parties. The Bassrush DJ Agency also introduced many major UK DJs to the American scene, including Shy FX, Kenny Ken, and DJ Randall.

While New York and Toronto thrived in this culture in the early ’90s, new scenes were rapidly gaining recognition in the mid ’90s to late ’90s in: Chicago, Pittsburgh, Philadelphia, Los Angeles, Orlando, Denver, Seattle, Minneapolis, San Francisco, and Washington, DC. Producers and DJs such as AK1200 (ORL), DJ Dara (NY), Danny the Wildchild (CHI), Krazy Josifer (DC), and in particular Dieselboy (PIT) who helped push the genre further and darker, by producing, promoting, releasing compilations available for the public, and performing at raves. He is also one of the first US producers and DJs to break out on the international scene. Evol IntentGridlok, Ewun and SPL have followed suit.

These artists have had a profound effect on the surrounding areas movements, causing drum and bass to spread in the majority of the United States. Clubs such as Buzz (DC), Breakdown (DEN), Seminar (CHI), Firestone (ORL), Platinum (PHI), Eklektic (SF), Science (LA), Masquerade (ATL) and Baltic Room (SEA) helped generate a scene outside of the then prosperous rave scene.

In 2000 Dieselboy joined forces with AK1200 and DJ Dara to create an annual tour, the Planet of the Drums. Since 2001 Messinian (James Fiorella, Philadelphia, PA) has been the MC. At ten consecutive years (2009), it is the longest-running annual tour in electronic dance music history.

In 2009, Dieselboy created The Monsters of Jungle, a tour concept featuring artists on his label, Human Imprint. The aesthetic is ’80s metal meets drum and bass. It launched at the 11th Annual Starscape Festival in Baltimore, Maryland, in June 2009 as a multi-media stage production including custom visuals, and new music and spoken word audio prepared especially for the show. The first Monsters of Jungle tour featured Dieselboy, the Upbeats (New Zealand), Evol Intent, Ewun, Demo, Infiltrata, Joe Way, Mayhem, SPKTRM, MC Messinian, and MC Dino.

[edit]South America

Brazil’s fusion of Drum & Bass and Bossa Nova or Samba gave birth to the term Sambass which was pushed by DJ Marky together with DJ PatifeXRS and Drumagick, and shortly after the sound conquered the UK scene due to the global popularity that Marky achieved, supported by a residency at The End club and his work for BBC Radio 1. In Venezuela, DJ Alex (Venezuela’s first Drum & Bass DJ and founder of the Simpl3 crew), also known as Modovisual for his graphic design, has created several designs for international events and also merchandising for Dogsonacid.com.[46] Venezuelan producer and DJ Zardonic has been leading the harder sound of Drum & Bass by headlining the first Therapy Sessions events taking place in Ecuador and Argentina, as well as pushing the country even further on the map due to his signing to Dieselboy’s Human Imprintlabel.[47]



As a musical genre that has recently emerged, drum and bass has not been the subject of much academic or printed study. As such, reference materials are generally primary (particularly interviews), and online.

  1. ^ “”Top Buzz – Jungle Techno!”. listing on Discogs””. Retrieved April 5, 2010.
  2. ^ “Discogs information – Euphoreal – The Jungle Tekno EP”. Retrieved May 2, 2007.
  3. ^ “Discogs information – Noise Factory – Loving You / Jungle Techno”. Retrieved May 3, 2007.
  4. ^ “Discogs information – Manix – Hardcore Junglism”. Retrieved May 3, 2007.
  5. ^ “Discogs information – Various – Jungle Tekno Volume One”. Retrieved May 2, 2007.
  6. ^ “Discogs information The Prodigy – Charly (trip into drum & bass version)”. Retrieved May 7, 2007.
  7. a b c d e f g h “Red Bull Academy Interview Fabio – The Root To The Shoot”. Retrieved September 4, 2007.
  8. ^ “Video explanation of the Amen Break on youtube”Archived from the original on 2007-07-20. Retrieved September 6, 2006.
  9. ^ “Anything by A Guy Called Gerald on bbc.co.uk”. Retrieved September 6, 2006.
  10. ^ “Drum & Bass History on uploud.com”. Retrieved September 6, 2006.
  11. ^ “Junlge History on techno.de”. Retrieved September 6, 2006.
  12. ^ “DJ Hype feature on knowledgemag.co.uk”. Retrieved September 6, 2006.
  13. ^ “History of drum & bass on London News”. Retrieved January 18, 2007.
  14. ^ “Is D&B Locked Down? on knowledgemag.co.uk”. Retrieved September 6, 2006.
  15. ^ “Red Bull Academy Interview Fabio – The Root To The Shoot”. Retrieved September 4, 2007.
  16. ^ “A Guy Called Gerald profile on samurai.fm”. Retrieved September 6, 2006.
  17. ^ “A Guy Called Gerald feature on knowledgemag.co.uk”. Retrieved September 6, 2006.
  18. ^ “Forever And Ever Amen article on knowledgemag.co.uk”. Retrieved September 6, 2006.
  19. ^ “The Invisible Man Discography”. Retrieved August 2, 2010.
  20. ^ “The Invisible Man – Top Ten Selection”. Retrieved August 2, 2010.
  21. ^ “Various – Drum & Bass Selection 1″. Retrieved Aug 2, 2010.
  22. ^ “The Invisible Man – Top Ten Selection”. Retrieved June 29, 2007.
  23. ^ “Trace Discography”. Retrieved August 3, 2010.
  24. ^ “Ed Rush Discography”. Retrieved August 3, 2010.
  25. ^ “Nico Discography”. Retrieved August 3, 2010.
  26. a b “The History of Rock Music: 1990-1999 Drum’n’bass”. Archived from the original on January 6, 2007. Retrieved January 18, 2007.
  27. ^ “Garage wars article at guardian.co.uk”The Guardian (London). Retrieved September 6, 2006.
  28. ^ “Is D&B Locked Down? article at knowledgemag.co.uk”. Retrieved September 6, 2006.
  29. ^ “Red Bull Academy Interview Zinc – Hardware Bingo”. Retrieved September 4, 2007.
  30. ^ “KOOL FM feature on radiox.de”. Retrieved September 6, 2006.
  31. ^ “DJ Hype statement on realplayaz.co.uk forum”. Archived from the original on 2007-07-20. Retrieved September 6, 2006.
  32. ^ “Being Everything But The Girl article, Salon Magazine, September 28, 1998″. Retrieved January 26, 2007.
  33. ^ “Point of View: Drum & Bass About Face by Martin Turenne at exclaim.ca”. Retrieved September 6, 2006.
  34. ^ “Web link reference”. Archived from the original on October 16, 2006. Retrieved September 6, 2006.
  35. ^ “Adult Hardcore written by Simon Reynolds (originally published in The Wire) on garagemusic.co.uk”. Retrieved September 6, 2006.
  36. ^ 2-Steps closer to America, a new dance mausic crosses the Atlantic to the beat of MJ Cole, Artful Dodge and others article, Boston Globe, July 6, 2001
  37. ^ “Liquid Funk feature on techno.de”. Retrieved September 6, 2006.
  38. ^ New Dawn – City Clubs Take Back The Night article, Village Voice, February 27, 2001
  39. ^ “Tony Colman & London Elektricity interview on soundonsound.com”. Retrieved September 6, 2006.
  40. ^ The Good Life, No Such Thing As Society article, The Independent, July 23, 2003
  41. ^ In the label notes for his 2001 album “Goldie.co.uk”, Goldie writes “Drum & bass is dead ? How many times have I heard that over the past few years ? Too many to mention right ? But did you take note of who was saying it ? …. It can’t die .. it can only evolve !”
  42. ^ “”Knowledge Magazine featured article “Return To The Jungle” at knowledgemag.co.uk”. Retrieved September 6, 2006.
  43. ^ “Liquid Funk feature on techno.de”. Retrieved September 6, 2006.
  44. ^ Data Transmission : EXTREME SUB-GENRE TOP 10
  46. ^ ZARDONIC – South Of Human EP Available Now HUMAN / subHUMAN
  47. ^ knowledgemag.co.uk

54. * Four Men, One Mission: The Planet of the Drums, Jive Magazine, June 13, 2005

55. * Dogs on Acid Feature Dogsonacid.com Feature: Monsters of Jungle, by Khal, June 10, 2009

[edit]External links

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Mastering tutorial for dance music Tip-1 “If it sounds like shit it probably is shit!!!”

Mastering tutorial for dance music

Tip-1 “If it sounds like shit it probably is shit!!!”


Mastering tutorial Cubase Download and listen:SIMON V – Supernatural II – MASTER
Mastering tutorial Reason Download and listen:SIMON V – Supernatural II – MIXDOWN



Every mastering engineer has got his own style. My focus is to increase the intensity, especially when it comes to Drum’n’Bass. I want the music to sound loud and alive with special attention to the bass. That’s difficult to achieve and it took me about 10 years to figure out the best way to do it. My method works great for Vinyl and Digital file formats, since what’s good for Vinyl is good for the ear: No clipped square waves, stereo-phase problems, super-high frequencies and rumble below 20hz.

Mixdown preparation

Make sure the mixdown has enough headroom and isn’t clipping, because what is lost, can’t be restored. A good gain-structure for using a digital mixer is to start with all faders at -12db. When you’re done mixing, the final master bus should peak around -6db , that way most digital mixers sound fine. Generally, a great master starts with a good mixdown.

Mastering approach

Clean up  >  Equalize  >  Stereo  >  Color  >  Saturate  >  Limit  >  Inspect

There is no mastering template. I listen to the tune and decide which of the above steps are necessary. Since most dance music is produced in-the-box these days, I prefer to use digital mastering. Also, if a client wants corrections, the whole project is recalled with one click.

I’m using Steinberg Cubase as mastering software. The audio plugins mentioned below are my favourites for each task, just translate the method to your own VST plugin choices.


Cubase VST plugins To demonstrate my method I chose a recent track of mine called “Supernatural II”.
On the left you can see the plugin chain used to master this tune.For demonstration purposes I made a loop from the track
and switched on each plugin during every cycle. 


Listen to the plugin chain


Clean up

UAD Harrison 32C Channel EQ - Highpass Filter

I like to cut all frequencies below 20hz, as there’s usually Vinyl rumble (from sampling), DC offset problems (crazy vst plugins) and synthesizer wobble (LFO modulations for instance). I try cutting as much as I can without losing any important fundamentals of the sub-bass. For this track I highpassed at around 30hz.


I use 3 equalizers in a row for tonal shaping. That might sound like a lot of equalizing – I just use the advantages and special touches each EQ has.

UAD Harrison 32C Channel EQ

Adding a little bass around the kickdrum, pushing the lower midrange at around 1.6k and using the high-end boost at 12khz. I often leave the cut-Filters engaged, as they add a tiny little phase-shift that makes the signal come alive. The high-end boost is also one of the best in the plugin world, as the whole EQ upsamples internally to achieve it’s smooth response along with the gentle curves.
UAD Harrison 32C Channel EQ

UAD Neve 88RS Channel Strip

I only use the mid-range EQ controls to bring out the signal broadly at 1khz to enhance the vocal.
The UAD Neve 88RS is a “Formant Spectrum EQ” (UAD manual) that is just the right tool for midrange vocal adjustments.
There also were some resonant peaks around 5khz that I’ve reduced for clarity.


UAD Neve 88RS Channel Strip Special processingThis channel strip adds a signal below -30db to -70db (input-dependent) which warms up anything you pass it through. 

The file below is created with a normal and phase-inverted signal to highlight the 88RS processing.

Neve 88RS added signal only

Note: The file has very low volume,
as it’s only the added signal.



UAD Pultec EQP-1A

As the last tonal-shaping step, I boost the super-low (20hz and above) and high frequencies (12khz) with a broad bandwith setting. Since this plugins also upsamples internally to 192khz, the high-end boost just sounds right. Switching in this plugin can be deceiving, since it boosts the volume +1.2db like the original hardware.

UAD Pultec EQP-1A


For this tune I widened about 130% to bring out the vocal reverb and stereo room of the drums. I’m pretty careful with stereo plugins as they can cause phase-problems, but sometimes a broader image is enhancing the music.
Cubase Stereo VST plugin


In-the-box mixes can sound sterile. This cute little Voxengo Warmifier plugin emulates several tubes and their characteristic behaviour. For mastering I use my favourite 12AX7A tube as it adds the right harmonics for bass and smoothes out hard attacks. Make sure the plugin is switched to “High-Quality” and Linear-phase mode, so the phase changes are minimal. Please note, this plugin is veeery subtle.
Voxengo Warmifier


The following is a Simon V special: To approach the final volume of the mastered track, I use a combination of bass equalizing and saturation. My method is octave-based and makes the low range solid and strong. I figure out the key of the tune and exactly locate the bass, kick and snare fundamental.
In this instance I used a narrow boost at 50hz (Subbass), 100hz (Kick) and 200hz (Snare) alongside a steep highpass at 20hz. This all feeds into the soft saturation of the EQ and I’m adjusting each octave to taste. If you overdo it, the saturation becomes audible, but I’m usually very surprised how much level you can get away with.
RME Digicheck


Voxengo Elephant is my favourite Limiter, it respects the transients, doesn’t muddy up the bass and prevents square-waves as they’re not cuttable on Vinyl. I use it here to prevent digital clipping and as final +1db volume boost.

Voxengo Elephant


There’s a freeware plugin called s(M)exoscope I can really recommend. I usually export the WAV and look at the audio in Soundforge, but with this little tool I can see what each plugin does to the signal live. It also helps to see if I’ve overdone the volume or how much headroom is left.



There’s a lot of music from all kinds of genres in my reference directory which I’m comparing the final master against. One challenge is usually the hardest: Checking if I’ve fooled myself during the mastering process. It happens to me sometimes, that’s why I came up with this idea:

Take the original mixdown and try matching the volume level of the final master. If the original mixdown sounds better at the same volume than the master, then it’s time to take a break and start fresh. If the final master sounds better than the mixdown level-matched, I’ve done a great job and it’s time to party! I also try to reserve an extra day for most mastering jobs, so I can listen with fresh ears the day after.


Mixdown level-matched to compare with the Master


Concerning the loudness war - As a mastering engineer I know how hard it is to stay out of the red-light district. Let’s hope for the better and that in 25 years time the loudness wars will be forgotten and we’ll have a common volume standard like in the movie industry.

Mastering with Simon V

Listen to before/after audio examples on my mastering services page.

Tips on getting your Track Loud and Weighty

Tips on getting your Track Loud and Weighty

Thursday, November 8th, 2012 at 2:18 pm

Howdy Peeps,

Just a quick post here on getting your tracks loud, punchy and have loads of weight (RMS)

If you’ve been watching any DnB Production videos of late then you would have noticed what most people have on their Master Buss these days.

1. Izotope Ozone 4 or Ozone 5

now… Ozone’s Maximiser is fantastic and sounds absolutely brilliant but DO NOT over cook it. Just use it to catch the peaks and keeps things under 0db.

Now, if you are like me and  abused Ozone to get the RMS or Loudness required then you would have realised you were WRONG.

Which brings me to….

2. Layering. In order to get the sufficient RMS and Loudness needed you to layer and layer and layer everything.

I’ve watched loads of videos on Mixdowns and Mastering etc. Not much applies to Drum and Bass.

Essentially with DnB you layer the crap out of everything and smash it into the best Limiting Plugin you get find. (Ozone)

You want somewhere between -7 to -5 rms… Now this is loud. Believe me. Plenty loud.


Some Tips on layering….

1. Dont just layer for the sake of layering. e.g.

A Snare might consist of:

a) 200 punchy layer

b) Tone layer

c) Clap

d) Release

e) White Noise

So figure out what your Snare/Sound needs and add the appropriate layers. Group and Compress them so they sound like one.

Once you do this your Tracks will sound bigger/phatty/chunkier and have the right amount of RMS.

Now, i’ve run over the major ideas really quickly here. So if you have any questions don’t be afraid to ask.

See you on the dancefloor.


Loxy and Resound – Drum And Bass Vol. 8 Review

Thursday, August 9th, 2012 at 11:25 am


Loxy and Resound Sample PackSo i did something a bit different with this  Loxy and Resound Drum and Bass Vol.8 review.

I placed all the samples into Ableton Session view and sorted them by type- Pads/atmos/kicks/snares… you get the picture. I even loaded up Kontakt  5 so I could play some various patches. Then I just jammed! and jammed some… and some more… and some more. Instant VIBES!

I’ve never done that before. Usually I’ll go through each sample one by one or I’ll build a rough mini track from all the parts. What a pleasant surprise! Instead of obsessing over each individual hit I wanted to hear how the parts worked as a whole and WORK THEY DO!

Click Here for FREE Loxy and Resound  Samples

Lets have a close look at the Sample Pack


You get 18 really awesome pads/atmos sounds. Generally on the darker/tribal vibe. (its what they make). You should have no problem getting a nice vibe going with this folder of sounds.

95 is a really healthy amount of loops is a sample pack. However most of them are broken down into component parts. So you get foul pride conga, full, main, ring, snare etc. This is a really good way to mix it up and do what you want with the break. Extremely flexible and i wish more sample packs gave you these options. The vibe once again is darker/tribal breaks. However, there is quite a number of Breaks on offer so the folder covers a lot of ground/styles.


I like construction kits. They allow young punters to hear what sounds make up a track and then disasemble the track to hear the individual parts. Great if you just want to study the bass line groove on a tune etc.I think what you’ll find out is that when it comes to music sometimes its not about individual sounds but all the parts combined. Which is why these construction kits are so awesome because they cover so much ground sonically and highlight this fact so easily. You get 16 Dark steppers/tribal/driving/funky/jungle construction kits.  So make sure you check them out thoroughly!

I think this easily the best part of this sample Pack.


At first I was a bit disappointed with the Bass Hits folder. 15 hits was definitely NOT enough for me. Especially when the 15 you DO GET have so much character and vibe. However, you do get the Bass Loops from the Construction kits and the Bass Loops folder so all its not lost. Plus you get to study the samples in isolation which is the real bonus. AB them pronto. They are full of win!

This is a really good collection of Drum Hits, especially thSnares. You get 30 really well chosen snares that range from light and snappy to the more rimshot variety prevalent in DnB right now. The Kicks are big and PHAT and the Hi Hats have got the right amount of flavour.


The Loxy and Resound Drum and Bass Vol.8 Sample Pack is pretty special. It brings the current Minimal/Tribal sound of DnB to your studio and it does it with ease. Nothing was held back here. You get the full force of these two top producers samples to use in your own tunes. Don’t waste this opportunity.

This sample pack is easily worth the purchase price. Check it out here.


K-Tee Shougun Audio Drum & Bass Vol2 Review

Thursday, August 9th, 2012 at 1:15 am

K-Tee Sample Pack I was actually very pleasantly surprised by the announcement of the Loopmasters K-Tee Shogun Audio Drum and Bass Sample Pack. K-Tee is a well known Producer in Drum and Bass and produced loads of big big tunes!

Some of my favourite tunes were written by him! (So Confused – K-Tee, Stakka, Skynet)

Click Here For Free K-Tee Samples!

So I was very keen to get stuck in and see what goodies he was willing to share to us mere Mortals!

Lets dive straight in!


A mixed bag of breaks here. Very modern sounding breaks but to be honest I found them to be a little harsh, especially on the snares  so the trouble area was around 1/2/3k. Nothing a little EQ couldn’t fix and definitely not a deal breaker because most of the breaks are REALLY REALLY GOOD! Punchy, full sounding breaks and with plenty of variety to keep you all happy no matter what style of DnB you get down with. I have to warn you though. There is a bit of “Verb” on the breaks. It helps glue the breaks together but If looking for Dry Upfront Drum Breaks this is not the pack for you. The Reverb is however “gorgeous” sounding and most people should not be disappointed!


All the Perc Loops sound great. The selection is indeed varied so you get rides/congos/shakers/tambs and toms. The loops have been EQ’d and compressed properly so all you have to do is drop them into your tunes! Too easy!


Synth hits and Synth Multi’s Folder- a bit  hit and miss here. Some really wonderful pad sounds and then few sounds that were very uninspiring. 15 sounds is a little on the light side as well.


The FX folder is a nice collection of sounds that go from bleeps to sweeps over 5 octaves on your keyboard.

Perfect for adding that little bit of extra spice to your tracks. If you’re after a few extra sounds for your tech or minimal tracks this FX Patch should do quite nicely.


Bass Multi – very unusual collection of sounds here. You get your clean Sub but then there’s a DubLFO, Saw and Short House stab! The sounds are a bit vanilla but thats ok. The sounds are solid though so should be perfect for adding some of your own fx like Distortion/Flanger/Phaser etc.


The Bass Hits folder is where the action is at. You get 5 folders of patches ranging from Old Skool Bass/Tech Bass to Tone & Kick Bass. Something for everyone in these 5 folders but the emphasis is definitley on the Reece and Tech Bass as they have the most samples. All the patches are correctly labelled with Root pitch and have plenty of modulation/movement. I’m sure you’ll have no problems getting some nice Bass loops from this folder of sounds.


K-Tee has a supplied a very adequate folder of drum hits that should keep you busy for a while. 41 kicks, 30 snares and a nice selection of  cymbals. To keep things brief in this review some a dry/wet/dirty/etc. Tonnes of variety so absolutely perfect for layering up on top of each other!


If you needed some proof as to what you can achieve with these Bass samples then the awesome showcase of riffs in this folder should shut you up! K-Tee covers all the styles in Drum and Bass and these loops are an awesome inspiration for any body producing DnB. Study these loops!


So what do I think about the K-Tee Sample Pack? Its great! Its a very modern sounding sample pack so if you’re after sounds that are currently being slammed around dance floor this is the one. The Sandy break is AWESOME! Quality Quality Quality…  What do I think it needs? The sample pack is a bit light when it comes to Atmos/Pad sounds and doesn’t have any Construction kits. So if you like to get down by using Construction kits you’re out of luck. I for one think Construction Kits are great for people starting off in DnB Production but the non inclusion isn’t the end of the World.

All in all I think the  K-Tee Sample Pack is really well put together and well worth the cash. Check out some more info here.

Loopmasters Present Dread Drum & Bass by BladerunnerBladerunner steps up to the plate and takes on the Loopmasters Sample CD challenge
and scores a Direct Hit!

Dread Drum & Bass brings you the sound of Bladerunner right into your studio!

Click Here for the Free Samples

Lets dive straight in!


Sparkling collection of breaks. Very well put together. All of the breaks (besides a couple) have that trademark Bladerunner pace and drive/roll. The compression and EQ are just perfect on these breaks. No additional EQ or compression needed. They just work. Period. There is plenty there to choose from and enough variety to keep sorted for plenty of tracks. All the BPMs are roughy 175 so quite pace-y but its


Musical Loops

To give you a taste of what you can achieve with the samples Bladerunner has compiled a nice set of Bass and Music Loops.The BPM and Key of each sample is clearly labelled and to be fair you get a little spoilt for choice! Nice floating Rhodes to sinister strings pads are backed up by 808 bass filtering warping riffs and Dread Reese bass. If you’re going for the Bladerunner style Bass lines you lucked out because he left nothing out in this pack.


When it comes to the drum hits one thought comes to mind. Pretty stock standard. Nothing special here but hey, what was you expecting? Really, they will do the job. Just layer the hits up in Ableton or Kontakt and away you go. There is plenty of variety to cover all that you need. You only get 20 hits in each category but that’s plenty… believe me.


The FX section was a bit of a let down but the samples are true to the genre/Bladerunner. So lots of hoovers/lasers/and rise effects. You don’t get many and there ain’t loads of variety but they’re good enough to add a little spice to your tracks.


All the different types of sample packs are catered for here. So I fired up my Kontakt to see what i could come up with myself.
The Music Hits folder is definitley the stand out here. So easy to get some ideas going with the Patches. Lush pads and strings, guitar chords, Horns and Sax round out a nice collection of sounds perfect for creating a vibe or music bed to start off a track with. Great quality!

Well some shakers/tambs/crashes/rides would have been nice but i suppose there is plenty of those available to you via the web so no real lose there. Some type of Vocals would have been nice as well for some Jungle flavour. Some atmos/drone/FX would have really topped off a wonder sample pack.


Bladerunner has nailed it with Dread Drum & Bass. In just under 600mb he has delivered the Bladerunner sound to your studio. The highlights for sure a the SUPERB drum breaks and Music hits. Worth the cost of the sample pack alone. Go out and grab it Here


DNB Production HolidayHowdy, the little break that I thought I would take turned into a full 2 weeks!

Man, I’m really glad that I did… I really needed it. :-)

At first It was hard.

You know what I mean?

I didn’t know what to do with myself and checking my Facebook every 2 mins got boring REAL FAST!

Anyways, the down time was brilliant for me because it allowed me to refocus and get in touch with the music again! Why 2 weeks? I thought  you was taking a ONE WEEK break? Well, I was happy with the week break but at the end of the week I started to get my HDD organized. Sorting out my Audio Projects, Sample Packs/VST’s and Presets etc. The reality?

What a F-*king MESS!

I really had created a massive headache for myself and it took a whole week of admin to sort it out! Hence the extra week break. I’m glad I did it though as I feel really focused and determined. I’ve just recently finished a track with Mark Bionic and I think it sounds great! (Audio soon to be on my SoundCloud).

Any hints and tips for you?

1. I would say start with your sample packs. I moved most of them off my PC onto a EXT HDD. I’ll add them to my library one at time in the future. This way I can go through each pack properly and get the most out of each one.

2. I’ve said it before. Limit your plugins. That means VST and VSTi’s. I dropped loads of synths from my VST plugins folder and I’m so HAPPY! Knowing a few good synths is extremely beneficial for your music production! I’m using plugins like the UAD Manley Passive and Fairchild 670 etc and loving them! They’ve been hiding in the UAD folder buried underneath the hundreds of plugins! Get to know a few of them really well!

3. Audio Projects. Move them off your HDD and be brutal. I’ve got this bad habit of trying to fix old tunes… I don’t know why? Just open them up one at a time and quickly decide YES or NO. If yes, leave them in your Project folder if NO then leave them on the EX HDD for later on.

4. Organise your Samples Folder…  don’t care how you do it but it needs to be done. I moved most of them onto the EXT HDD as well and then cherry picked the ones I thought sounded wicked. You’ll see the holes in your library this way as well and in the future you can plug these gaps!

5. Really try to have an idea of what track/break/bass your trying to produce. If you just go in willy nilly you’ll pretty much get a willy nilly result. I know this because I’ve got a load of unfinished tracks on my EXT HDD! Have an idea of what you want to produce. If you don’t know. Get to know. Listen to some of your favourite producers and take their tunes apart. You’ll be amazed at what you really hear when you zone into a certain sound!

So, there it is. 5 quick tips on getting organised and taking a break from Music Production. Well, according to me anyways…

As I’ve mentioned before I got some new tips and tricks to share with you so stay tuned.

See you on the dancefloor!


How To Layer Drum n Bass Breaks

How To Layer Drum n Bass Breaks

Thursday, October 29th, 2009 at 2:08 pm

dauntless_in_noisia_studioHowdy, how has the last few weeks been for ya then? Good I hope. They were great for me, and yes if you were thinking did I manage to get some studio time in on my Honeymoon, well the answer is yes…. and no! Ha.
I’ll get back to that in a bit. First of I wanted to talk about layering breaks and how important this drum n bass production technique is. I kinda went over some concepts in an earlier blog post. You can read it here.  When I look through the statistics a lot of people want information about how to layer their drums. Now, layering drums can be a tricky thing. I spent years in my early production life trying to do so… and failed miserably! I tried every VST Plugin, every VSTi Plugin and every DAW out there with NO LUCK but with sheer determination and the guidance from a few inspirational souls my breaks started to come together. Bit by bit everything that I was taught started to make sense to me and when you hit that point things are good! Anyways, lets get you up to that point because there’s nothing like a big PHAT break that YOU made!

Lets Get Rolling
The first thing I like to do is start with a drum break I like the sound of. What I’m looking for is a nice kick, snare and hat sound. The break must be PHAT! Its important here to pick a great sounding break. If you’re struggling to find any breaks check out Loopmasters for some drum n bass samples. If you pick a crap break your already in a losing position. This is why the Amen break is so loved/abused. Its a great sounding break! Generally I like the sound of old funk breaks. Loop them up and apply a bit of EQ to bring out the individual elements in the break kick, snare etc.

UAD Cambridge

I use either the Sonnox EQ or my trusty UAD Cambridge EQ (above). They are some  my favourite VST Plugins for sure! I definitely cut the bottom out of the breaks, say lower then 50hz. I don’t want too much going on down there as you have to leave some room for the sub. If you find that you have a subby kick, EQ that shit out of there or replace the break entirely.

You need to do this NOW or its going to screw stuff up for later. One of the only options you have if you want to keep the kick is to use a method called “Sidechaining”. This is technique is very popular in House music but its popularity is growing in drum n bass production circles. Next, I’ll  limit the break a little to bring out some of the levels. This helps to give the drum break a healthy amount of snap or punch usually .

I use the Sonnox Transmod for this as its ultra transparent and I love the little drive setting on there (truly one the best VST Plugins out there). Just to let you know I work at the tempo of the break for this. I don’ t import the break into Cubase at drum n bass tempo. Just use the original tempo of the break. ( I got to give credit to Nik from Noisia this for this one. Big ups… Me and the wife spent some time in Groningen In the Netherlands with the Noisia boys. Awesome dudes! Maybe even the highlight of our 6 weeks!) Anyway… moving on.

Time To Get Edward Scissors Out! 
Once I have the break rolling and its phat as funk. I’ll open up the audio editor in Cubase for some chop chop action. Its a simple matter of using Cubase’s hit point detection tool and the rest is history. If your NOT using Cubase (why aren’t you? lol) then you could use Propellerhead Recycle or Native Instruments Kontakt etc to slice up the beat. Or is you wanted to get ultra simple on it you could just cut it up in the project window. Dead easy that is!

Time For The Fun Stuff! 

Now, after that’s all done I’ll separate the hits onto different audio channels to work with. I’ll boot the tempo up to drum n bass friendly tempo of 172bpm and I’ll have a look at the break hits and shorten the hits (if there to long) or play around with the envelopes if I think there is too much noise or air in there for my liking. I’ll then buss the drums to a Group Buss (Cubase calls them Groups) and apply some compression and some slight/heavy distortion.

I’ll use the Sonnox Dynamics for the compression and I’ll use Studio Devil for the distortion. I’ll try other plugins out as well if I’m not getting what I want from the other 2. I do all this to gel the break back together and to give the break my own vibe. I’ll then bounce out this break and start all other again. If I don’t think the kick has enough punch I’ll layer it with another kick, same for the snare hats etc. I have a library of hits that I turn to when some parts need reinforcing. Remember when layering to check Cubase’s Phase button to see if the hits are sounding good or not. I could write a whole article on phase so I’m not going to get into that one! Its crazy! Anyways, just try to be a precise as you can and try a few different hits out.

Please Sir Can I Have Some More?

Now I just don’t layer individual hits onto my breaks, some times I’ll layer whole breaks themselves. The trick here is to be selective about what layers your trying to merge together. Try to pick 2 layers that complement each other. Maybe 1 has a nice kick snare and other a nice shuffle? Maybe one break is crusty sounding and the other punchy but clean? The whole plan is to join them together and make them sound like they are from the same kit. You use COMPRESSION for this and a bit of distortion if you will please. Place the plugins on your drum bus. Make sure you are bussing your drums that your trying to layer! Amit describes the Wave C4 compressor like cheese melting over your beats. It helps glue stuff together Period! Now personally I don’t really get down with Multiband limiting/compression but you have to find a plugin you like to work with.


The UAD LA2A works great for me and lets not forget the daddy of them all the WAVES SSL G Buss! Killer! 2 of the best VST Plugins for gelling shit together!

Another Thing
Don’t forget that you don’t have to use all the elements in the loop your trying to layer up! You have the choice to take out a crap sounding snare or kick etc. Rearrange the hits so the pattern fits the one your working on or come up with a whole new pattern/loop. I like to only take the first few hits from shaker loops and loop them around etc. Oh, and I like to quantize to 16′s. I know I know, I’ve been playing around with swing and groove quantize for years but for dancefloor stuff I like to keep it straight. People like Noisia, Phace and Misanthrop can still make it sound funky with the beats quantized to 16s. Who am I to mess with that cold hard fact?

To Finish Up
Okay, I hope that has cleared some stuff up for you. Maybe not ultra detailed as I wanted but for that I’m going to start putting together some short/long videos on drum n bass production. There is something wicked about videos I really love. So In the videos I’ll show you how I use my favourite VST plugins and show you around the studio and more. Anyways.. good luck with your tune making and I’ll see you on the dancefloor.
Peace out

No Frills and Locus Sydney

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“Junglist Militia” “Drum-n-Bass Today”



                              “Junglist Militia”

                         “Drum-n-Bass Today”

“17 Years of Solid Jungle, Drum-n-Bass… Since 1996….”

” Here is a brief description of the man they call Clover in the Drum N Bass and Jungle Industry, he is the founding father of Junglist Militia Since 1996 and continues to hold the Torch and continues to spread the undeniable Legacy!!!!  




Been around for a long time!

Heres my Bio ( http://www.junglistmilitia.com) -CLOVER- dj Clover aka Brutal Incision aka AngelDust GateKeeper aka LPZ aka dnb dubsmoke plus many other sub titles. Clover is an active member of BMI and the United States Trade Mark and Copyright Association. Clover owns over 7000 records most of them being Drum-N-Bass and Jungle, he also has several releases out on Vinyl dating back from the early 90′s to the present Have a listen, follow the links @ the bottom of the page Clover started with a 303 drum machine and picked up his first turntable in the early 90s driven by nasty bass lines and hardcore music he ventured into the Jungle Drum and Bass scene in the greater Bay area of San Jose, San Francisco California and hosted some of the finest radio stations such as 106 KMEL with Rick Chase the Bay Areas largest Hip-Hop Radio station and hosted Jungle plus all the countless College radio stations that he attended to He has played along side or at the same events as Papa Roach, POD, Insolence, The Harlem Globe Trotters, Digital Underground,PLK,Frisky, Ed Rush, Optical,Paul Oakenfold,Carl Cox, Christopher Lawrence,Robyn Chaos,Dylan and with thousands of other djs all across the world and all over Europe making millions dance Globally . Also Clover Recently started the THERAPY SESSIONS ISRAEL chapter which he is still very active in and is involved in.. And also the PISSED OFF CHILD SESSIONS in ISRAEL and does parties there every month.. He was a resident of Feel Good Entertainment,Mega Buzz,Full Flava Productions,and Americas Largest production crew called COOL WORLD Productions. Clover started some of the very first Renegade JUNGLE open air 5 dollar funk parties on the beaches and in the woods of California. Clover loves Jazz,Rock,Soul,Blues,Rap,Punk and most forms of electronic music. Clover established Junglist Militia which is now 15 years old in 1996 in Los Angeles California creating at that time the worlds largest darkest dj production crew to ever hit the planet. Junglist Militia is now succeeding in the Textile, Sk8-boardining,surfing,snowboarding and record label Industry. Clover is Currently living in Los Angeles California and also lives in Israel and travels at various times in the year. JUNGLIST MILITIA Destroying Minds Since 1996 Currently doing a weekly radio show JUNGLIST MILITIA FAMILY PERVERSION RADIO VIST OUR ONLINE MP3 STORES http://junglistmilitia.ithinkmusic.com http://www.chemical-records.co.uk/store/junglistmilitia/Junglist-Militia VISIT OUR SOCIAL NETWORKS http://twitter.com/junglistmilitia http://www.facebook.com/junglistmilitia VISIT OUR FREE DNB SITES http://www.junglistmilitia.com http://soundcloud.com/junglistmilitia http://www.myspace.com/junglistmilitiajmidsd http://www.myspace.com/angeldustgatekeeper http://www.myspace.com/therapysessionsisrael

For Bookings And Live PA/DJ Set Please Contact;


E -MAIL: junglistmilitiaradio@gmail.com





21 Drum n Bass Production Mixing Tips

21 Drum n Bass Production Mixing Tips


Tuesday, December 22nd, 2009 at 8:45 am

Ask any drum n bass producer what’s the hardest part of drum n bass production and 9 out of 10 will tell you its the mixdown. So with that in mind I thought I’d share a few mixing tips I’ve managed to pick up along the way.

1. Compression, now before everyone gets their knickers in a knot. I’m not talking about squeezing the life out of your
drums. I’m talking about using a compressor on your drum buss to help glue all your drum sounds together. Its important to make your drums sound like one uniform cohesive sound and compression will do the trick quite well.

2. Try to separate all your drums onto their own tracks. This makes it nice and easy for level changes but also if something needs replacing later in the mix as well.

3. Try adding a touch of reverb to your drums to bring them to life and to make them sound more natural.

4. Try adding an envelope shaper to hits to bring out more attack or to round out the sound more. Works great with snares and kicks and you can even use it on your master buss!

5. If your having trouble with your kick and snare getting lost in the mix try bussing them to their own group first with a separate compressor/eq etc then sending them to the drum buss.

6. Try adding a little distortion to your drums, bass, fx etc. Distortion is awesome and can add that bit of dirt your tune might be lacking. Try using it as a send and insert effect.

7. Take a break every 2 hours or so. You need to give your ears a chance to rest especially if you’re monitoring at loud volumes. Always check your mixes the NEXT morning with a fresh set of ears.

8. Try to cut with EQ first before boost.

9. Generally EQ after compression. This way you don’t undo what the compression has done! If you’re applying EQ on a surgical level ( like removing rumble from a vocal) then place the EQ before compression.

10. When compressing a sound make to use the bypass button to check on what compression your applying.

11. Play around with your fx/vst plugins chains. A reverb after a delay sounds different to a delay after reverb.

12. Layering isn’t always about putting 9 basslines on top of each other. Sometimes it can be subtle like duplicating a drum track, added compression and blending that back in with the original.

13. However, layering in drum  n bass is critical in getting that “sound” for your drums and bass. If your drums or bass are sounding weak, its time to layer up!

14. Make sure to apply bass cut to a channel when you can. Its so important to freeing up some headroom and making space in your mix. You an analyzer if you can as well to check if you have any rogue frequencies down in the sub area you don’t need.

15. If your unsure what a certain know or switch or fader does on a plugin or fx or synth test the extreme settings on it and listen to whats happening to the sound. When you’ve worked out what’s going on bring it down to a sensible level.

16. Sidechaining is becoming popular in drum n bass production as well so if your having trouble getting your kick and bass to punch through together try sidechaining them.

17. Sidechaining is not only reserved for the your kick and bass you can get excellent results sidechaing some pads with your kick etc.

18. Don’t be afraid to go into the red a little when your mixing down your track. 3db should be okay but use your ears when you do so.

19. If 2 sounds or more are fighting for the same frequency range try panning them a little left and right. This will help with the separation a lot.

20. Don’t be afraid to use a limiter on your master buss to squeeze out some more db. I’d say 98% of drum n bass producers use limiters in one way or another. So you might as start learning about what they do and how they sound now!

21. When using EQ first sweep the frequency bands slowly and listen out for any horrible resonant frequencies that jump out at you. Then use EQ cut to remove those frequencies. A little here and there can make a huge difference to the overall sound.

Okay then, 21 drum n bass production mixing tips as promised. However, most of these tips can be applied to any genre of music you might make so get cracking!

see you on the dancefloor.


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Filed under: Drum n Bass Drums VST Plugins • Drum n Bass Mixing • Drum n Bass Production

Hackers launch assault on Israeli government websites

Hackers launch assault on Israeli government websites

Israeli officials count 44 million attacks on government sites since bombardment of Gaza began – but only one succeeds

hackers target israeli websites

Most of the hacking attempts, which began in response to the IDF’s bombardment of Gaza, have originated in Israel and the Palestinian territories. Photograph: Mahmud Hams/AFP/Getty Images

More than 44 million hacking attempts have been made on Israeli government websites since Wednesday when Israel began its Gaza offensive, according to Israeli officials.

Finance minister Yuval Steinitz said just one hacking attempt was successful on a site he did not want to name, but added that it was up and running after 10 minutes of downtime.

Attempts on defence-related sites were the most numerous, according to his ministry, while 10m attempts were said to have been made on the site of Israel’s president, 7m on the foreign ministry and 3m on the site of the Israeli prime minister, Benjamin Netanyahu.

A finance ministry spokesman told Reuters that while the attacks have come from around the world, most have been from Israel and thePalestinian territories.

“The ministry’s computer division will continue to block the millions of cyber-attacks,” said Steinitz, speaking ahead of the weekly cabinet meeting. “We are enjoying the fruits of our investment in recent years in developing computerised defence systems.”

A video message purporting to be from the hacking collective,Anonymouswas posted online on Sunday, warning: “We will strike any and all websites that we deem to be in Israeli cyberspace in retaliation for the mistreating of people in Gaza and other areas.”

Cyber-attacks launched following the start of the Israeli offensive knocked some sites offline for a short period of time at the end of last week and resulted in others being defaced with pro-Palestinian messages.

Anonymous said on Saturday that it had taken down or erased the databases of nearly 700 Israeli private and public websites, including that of the Bank of Jerusalem finance house.

Hackers Target Israel: Tens Of Millions Of Cyberattacks Attempted On Government Websites

Hackers Target Israel: Tens Of Millions Of Cyberattacks Attempted On Government Websites

Reuters  |  Posted: 11/18/2012 12:02 pm EST Updated: 11/19/2012 9:50 am EST

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Hackers Israel

JERUSALEM (Reuters) – More than 44 million hacking attempts have been made on Israeli government web sites since Wednesday when Israel began its Gaza air strikes, the government said on Sunday.

Finance Minister Yuval Steinitz said just one hacking attempt was successful on a site he did not want to name, but it was up and running after 10 minutes of downtime.

Typically, there are a few hundred hacking attempts a day on Israeli sites, the ministry said.

Defense-related sites and those of Israel’s prime minister, president and Foreign Ministry have been targeted.

A ministry spokesman said while the attacks have come from around the world, most have been from Israel and the Palestinian territories.

“The ministry’s computer division will continue to block the millions of cyber attacks,” Steinitz said. “We are enjoying the fruits of our investment in recent years in developing computerized defense systems.”

Steinitz has instructed his ministry to operate in emergency mode to counter attempts to undermine government sites.

Both sides in the Gaza conflict, but particularly Israel, are embracing the social media as one of their tools of warfare. The Israeli Defense Force has established a presence on nearly every platform available while Palestinian militants are active on Twitter.

Last month, U.S. Defence Secretary Leon Panetta said cyberspace is the battlefield of the future, with attackers already going after banks and other financial systems. U.S. banks have been under sustained attack by suspected Iranian hackers thought to be responding to economic sanctions aimed at forcing Tehran to negotiate over its nuclear program.

(Reporting by Steven Scheer; Editing by Stephen Powell)




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Danielle Tumminio: Why Jerusalem Rocket Attacks Change Everything

Many thought Hamas didn’t have the technological ability to send missiles to Jerusalem. Many others believed that Hamas would never fire missiles on the city because it houses Islam’s third most holy site. But those assumptions can no longer be assumed.
Rabbi Arthur Waskow 

Rabbi Arthur Waskow: Did Israel Choose War Instead of Long-Term Truce With Gaza?

The article says that although they knew about the discussions, the Israeli government “nevertheless” approved the assassination. The question I think we need to ask is whether the Israeli government ordered the assassination not “nevertheless” but “therefore.”
Filed by Catharine Smith  | 


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Page: 1 2  Next ›  Last »  (2 total)
01:57 PM on 11/21/2012

Ah didums poor Israel!



09:43 PM on 11/20/2012

I wish anonymous would take down the white supremacist website stormfront.



04:24 PM on 11/20/2012

Why not hack Hamas computers. Oh wait. Hard to hack a rock tablet and chisel. Stop firing rockets into Israel.

12:26 PM on 11/20/2012

Hackers trying to hack the people who developed Instant Messaging? Laughable.

04:14 AM on 11/20/2012

I wish they would go after Wallstreet , I can just imagine the what would happen if they could make it look like to Dow dropped by 1/2…LOL.

12:26 AM on 11/20/2012

Guy Fawkes, you crazy diamond…



Just A Guy222
Its time to Reforest America!
12:15 AM on 11/20/2012

The world hates apartheid Israel

10:57 PM on 11/19/2012

I’m just trying to understand why…I kind of understand the goal of hacking but I never once equated it with deliberately placing lives in jeopardy. One can only presume that hackers support terrorism in all its forms, while they sit on a keyboard and let others bleed for their acts of sabotage. Bravo :-(




John Genryu

Zen Buddhist priest/IT Consultant
12:51 AM on 11/20/2012

“One can only presume that hackers support terrorism in all its forms.” If they did, they would be backing Israel.

06:15 AM on 11/20/2012

Strange comments from a Buddhist. Israel is not a terrorist state. Perhaps hackers and all those with computer skills might consider applying their talents to analyzing footage from Gaza and the many – though perhaps not now – staged injuries. Israel is at the negotiations table to bring an end to the violence – ongoing violence after not just the past 7 days, but for the past year and any number of years. 

It’s an old video but worth watching http://www.youtube.com/watch?v=DwtRd3ZCNBs&feature=share 

And if you want to see child abuse have a look:http://www.youtube.com/watch?v=eTGbP55HGi8

06:29 AM on 11/21/2012

Go back to Israel and stay out of my country

08:06 AM on 11/21/2012

Happy to go, but first I’m going to enjoy my Thanksgiving here with friends and family, apparently the same country as yours. 

You can Israel a terrorist state, as you did in your previous comment, but you might want to look at the animal and base behavior of those you champion as they drag people through the streets of Gaza behind motorcycles – truly reflective of the kind of terrorist labels you so easily like to throw around.

08:55 PM on 11/19/2012

Advice to the Hackers out there, be careful. Massad, or HaMossad leModiʿin uleTafkidim Meyuḥadim, don’t always play nice if history of them is any indicator.



Just A Guy222
Its time to Reforest America!
12:16 AM on 11/20/2012

Would gladly use my 2nd amendment right on any Massad agent in the US, this is America not Israel. Our freedom of speech is worth more than there entire country.

07:17 AM on 11/20/2012

And just exactly what does ‘Freedom of Speech’ got to with my commit. I was referring to Hackers which has nothing to do with ‘Freedom of Speech’.




John Genryu

Zen Buddhist priest/IT Consultant
12:51 AM on 11/20/2012

Mossad are incompetent and their reputation in the intelligence community is as a laughing stock.

07:31 AM on 11/20/2012

And you read this in what spy novel? Or perhaps you listen to the brilliant news outlets in this country. And if you’re one of the Hackers that break into Israeli computer I’d be extremely careful it I was you. Do you have any idea how many different accidents there are. And of course there are the health problems that people develops all of the sudden.




Out to Lunch

10:34 AM on 11/20/2012

They assassinate first, ask questions later. Not so intelligent, but it is effective.





06:50 PM on 11/19/2012

Hackers are misfits of society that hide behind a computer screen because they can’t make it in the real world. they liive in their moms basement and create these virus so they can feel some type of attachment to society.

07:02 PM on 11/19/2012

but sometimes they are useful



Too bad ignorance isn’t painful
10:09 PM on 11/19/2012

Says a guy who has no real idea.

10:26 PM on 11/19/2012

Actually, he’s pretty much on the mark. Hackers think they’re doing some kind of justice in the world when they’re actually not. Denial of service attacks end up costing hard working people money as tax dollars have to be used to pay for any new security.

In the case of Israel, I really don’t think any denial of service attacks are going to do much to make Israel stop attacking Gaza. To the contrary, Israel will probably intensify their attacks as a response.

And the easiest way to stop a Hacker is to isolate your primary networks, which Israel already does. You can’t hack what isn’t connected to the web.

Hackers….Losers…same thing different name. They’re just trying to act like the actually have some kind of control. Delusional is what they are.





06:09 PM on 11/19/2012

Are these cyber attacks on Israel considered an act of war seeing as how they’re involved in their conflict with hamas ? and if so will Israel go after these hackers and hunt them down no matter where they are ,? could prove a little dicey if their in our country or another allied country as we know the way terrorists that attack Israel get treated when found, as they should..

05:59 PM on 11/19/2012

And see how effective they have been. ROFL

05:33 PM on 11/19/2012

I don’t think messing with Israel is a good idea?
I’m no fan of anonymous, so proceed goofballs proceed.





Liberal Gay Socialist Atheist,Teabagger nightmare
04:50 PM on 11/19/2012

How brave of these hackers. Taking down the Home Front Command website that provides emergency information will really help prevent civilian deaths.

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03:18 PM on 11/19/2012

Good for the Hackers… Someone has to stand up for the internet, free speech and for people who have few friends.



05:09 PM on 11/19/2012

Just don’t cry when they will steal your personal data some day because who-knows-for-what reason…

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08:07 PM on 11/19/2012

They wont

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09:11 PM on 11/19/2012

They won’t and I won’t.




Dumb Ol Bubba

05:17 PM on 11/19/2012

If, in fact, you are a U.S. citizen, I doubt you would be as supportive of the hackers if anarchists like them somehow succeeded in taking down important U.S. government sites that included your food stamp records, your welfare records, your enemployment insurance records, or your Social Security number.

These “anonymous” hackers are sad figures, indeed. Nothing productive to do with their time except attempt to make the world and even messier, uglier place than it can already be on a bad day.

Shame on you.

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08:12 PM on 11/19/2012

I am in the US and if some Iraqi or Afghani hacked the US, we would kind of deserve it.

Right, they make it messy and ugly by killing civilians and bombing countries and…. oh wait… That is not what they do… they hack computers… If there is shame anywhere it’s on you for equating the two… Computers Hacking is NOTHING compared to taking life… sorry but you are wrong.

How to Accept Self-Signed SSL Certificates in Selenium

How to Accept Self-Signed SSL Certificates in Selenium

Posted April 13, 2010By Kevin

Accessing pages with self-signed SSL certificates in Selenium can be a bit tricky. The core of the issue is every major browser raises a security issue when accessing a page using a self-signed SSL certificate. Since this security check takes effect before the Selenium Javascript can execute, there’s no way to instruct the browser to accept the certificate.

Selenium as a Proxy Server

As it turns out, there is a solution built into Selenium, but there’s some work involved to get it going properly. Unless you use the -avoidProxy argument when you start up the Selenium server, it will serve as a proxy for connections originating on localhost. If you start the Selenium server with the -trustAllSSLCertificates argument the proxy will be able to handle any type of SSL certificate issue for any site. The corollary to using Selenium server as a proxy is that your browser sessions need to be configured to use the Selenium server as a proxy. It should be noted that this is not the same as proxy injection mode; Selenium is not injecting itself into your page, it’s simply proxying the content for you.

Configuring the Selenium Browser Launchers

You configure the browser’s proxy settings through the browser launcher. Some of the provided launchers do this already. For Internet Explorer you can use the *iexploreproxy launcher and for Firefox you can use the *firefoxproxy launcher. Another option is to use a custom browser launcher. We do this with both Firefox and Internet Explorer and the code can be found on our GitHub repository.

We found the default chrome launcher for Firefox is very close to what we want and didn’t want to have to manage our own custom profiles. So we use that launcher as a base and modified it such that if Selenium server is started with -trustAllSSLCertificates option then then generated Firefox profile will set up the Selenium server as the proxy. The patch actually modifies the *firefox launcher, but a custom launcher is likely a safer option for you.

The reason we use a custom launcher with Internet Explorer is that we’ve experienced reliability issues with the *iexploreproxy launcher. We’ve found *iexplore to be more reliable so our custom launcher simply configures Internet Explorer to use Selenium as its proxy server and then uses HTA to perform the browser automation functions, similar to how *iexplore operates. The code for this launcher is also available in our GitHub repository.

An extra step is required for proxying SSL content with Internet Explorer. Selenium bundles a special certification authority (CA) certificate that is used to trust all the other SSL certificates. Windows will not trust this CA certificate until it is installed in the trusted root store.

Installing the CyberVillains Certificate on Windows

The following figures show the steps necessary to install the CyberVillains certificate on Windows. This is only necessary if you’re using Internet Explorer. Selenium is able to manipulate Firefox to trust the certificate with its custom-built profile.

The CyberVillains certificate is bundled in the most recent Selenium RC releases. If you download the distribution and extract it, you should be able to get going starting with Figure 1. In the explorer address bar in Figure 1 you can see where to find the certificate. You must substitute the base path (C:\, here) with wherever you extracted the files.

Figure 1: Double-click the CyberVillains certificate in the selenium server distribution.
Figure 2: Install the CyberVillains certificate.
Figure 3: Click through the SSL certificate import wizard.
Figure 4: Choose the Trusted Root Certification Authorities certificate store.
Figure 5: Complete the import.
Figure 6: Accept the security warning.
Figure 7: Wrap everything up.

At this stage everything is set up and you should be able to run your Selenium server with the -trustAllSSLCertificates argument without any problems.


To recap, accepting self-signed certificates in Selenium is a two-staged process. You need to instruct the Selenium server to trust all SSL certificates and then tell the browser to use the Selenium server as a proxy. You may find that creating a custom browser launcher is the best way to configure your browser’s proxy settings. After doing this, you’ll be able to test sites running on domains with self-signed and invalid SSL certificates.

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Showing 5 of 6 comments

  • Prasad Karani

    I have done the above steps but still i am facing certificate issue..
    please help me.I am using this code to start my server

    RemoteControlConfiguration rcc = new RemoteControlConfiguration ();
    SeleniumServer seleniumserver=new SeleniumServer(rcc);
    setUp(“https://xxxx.xxx.xxx.com/“, “*iexplore”);

    If i use *iexploreproxy the my server itself is not launching.

  • Hi,

    As mentioned, you need to be using the Selenium Server as the proxy.  The simplest way to do that is to use *iexploreproxy.  If that doesn’t work, you could try creating your own browser launcher.  You might be able to get away with manually setting the proxy setting before you start the browser, too.  But, none of the code changes you’ve made above will make a difference until IE is using the proper proxy configuration.

  • Ash

    Hi nirvdrum,
    I followed all the steps but i am getting error at statement
    SeleniumServer seleniumserver=new SeleniumServer(rcc);, saying cannot invoke SeleniumServer(int). Can you please help? I have been stuck in this problem for days now. Any help is much appreciated.


  • I wouldn’t use that code above.  It didn’t work for the author of it, so it’s unilkely to be a good starting point.  I don’t run the selenium server in embedded mode though and this article doesn’t discuss embedded mode so I can’t really say what’s wrong.  Is there a reason you can’t just run a Selenium server someplace?

  • Prasad Karani

    Hi nirvdrum,

    Thanks for quick reply.I am new to selenium. Can you please elobrate on how to  creating browser launcher and proxy configurations for IE.


The Computer Revolution/Cyber Villains

The Computer Revolution/Cyber Villains

The Computer Revolution

Unreviewed changes are displayed on this pageThis page may need to be reviewed for quality.

Hacker- 1. A hacker is someone who creates and modifies computer software and computer hardware, including computer programming, administration, and security-related items. 2. People who gain unauthorized access to computers or networks, often just for the challenge of it.

3. Thrill-seeker hacker: hackers who illegally access computer systems for the challenge of it. 4. White-hat hacker: Professionals who break into computer systems and networks with the knowledge of their owners to expose security flaws that can then be fixed.

Crackers- Malicious hackers, who break into computers for malicious purposes. 4 types of Crackers

  1. Script Kiddies: mostly teenagers without much technical expertise who use downloadable software to preform malicious break-ins.
  2. Hacktivists: people who break into a computer system for a politically or socially motivated purpose
  3. Black-hat hacker: those who break into computer systems to steal or destroy information or to use it for illegal profit.
  4. Cyberterrorists: Politically motivated person who attacks computer systems so as to bring physical or financial harm to a lot of people or destroy a lot of information.