• Register
  • Help
Results 1 to 9 of 9

Topic: Edgy Loop Libraries

  1. #1

    Edgy Loop Libraries

    I'm going to be working with another composer on a low budget action film soon. We are looking for edgy sample libraries. Not drum loops but bass, synth loops. Something that sounds contemporary and maybe rather new so that the loops havent been in a hundred things yet. We both have Reason & Stylus RMX. He also has Mach5. Any halp or suggestions are greatly appreciated!

    David Russell

  2. #2

    Re: Edgy Loop Libraries

    as far as stuff which hasn't been used a lot yet, have you looked in the Jeff Rona stuff, the libraries that Sony offers, and even the Apple Garage Band loops?
    Music Composition for Feature Films, Television and Interactive Entertainment

  3. #3

    Re: Edgy Loop Libraries

    The Liquid Cinema stuff has a lot of useful synth loops as well as ambient pad sounds. They come in many different formats, including apple loops.

  4. #4
    Senior Member Bruce A. Richardson's Avatar
    Join Date
    Sep 1999
    Dallas, Texas

    Re: Edgy Loop Libraries

    Buy Reaktor, get a techno-freak in the studio for a day, and make your own. This is how to do it, if you want stuff that you won't be hearing all over the place.

  5. #5

    Re: Edgy Loop Libraries

    Or better yet, head over to KVR and search for all the free/cheap Synth plugins that are there. Surely there's something that will float your boat. Vanguard or Godkiller (Novakill) are good. There's a lot of stuff there. There's some stuff from TinyGod I recommend and so many more that it'd take me all day to remember and type them all. And I guarentee they aren't overused because, really, Hollywood's too good for them aren't they.

  6. #6
    Senior Member Bruce A. Richardson's Avatar
    Join Date
    Sep 1999
    Dallas, Texas

    Re: Edgy Loop Libraries

    Yes, definitely this is the ticket.

    Not to disparage any of the fine loop products on the market one bit--they are great. But if you are really wanting to establish your own signature sound, I would recommend rolling your own VERY strongly.

    From personal experience, I can tell you there is nothing quite so embarrassing as having a peer point out that he just heard something that sounded exactly like your hero cue on some TV show the week before. There is a time and place for using prefab loops...if you're doing a quickie TV thing, or some project that is going to come and go with a relatively small profile, it's a good time to save your time and effort and go with prefab.

    But if you're going to hang your hat on it in any way, either mangle up the loops you use beyond any hope of recognition, or make your own.

    Here's an idea of how to run such a session:

    If you are a fair groovemeister, then just wake up, make coffee, hit the red button, and start making grooves with synths. Record everything. When you start feeling a little saturated, stop, and cut up everything you've done so far into loops. Take a walk, maybe twist up a skinny and have a snack. Go back in, hit the red button, and go again. Rinse and repeat. By the end of the day, you should have 400 or more loops, easily.

    If you are not particularly "of the groove," then you have a couple more preproduction steps. If you know some good studio rats who are groove monsters, just call them up, get their hourly, and set up the sessions--run the sessions just like the above, except don't do the cutting up while you're paying for help. Just take breaks to clear the "groove palette" and grind it out.

    If you don't know anyone, then find out what publication in your community has the "hot" music ads, and take out a classified. You are looking to "audition" some groovemeisters for a studio job. Have some people in (with their own rigs) and when you find someone you can work with, hit the red button and start the session.

    In either of the above cases, you are entering a work-for-hire agreement with the artist as a studio session from which you will sculpt your work. So be sure that agreement is OK with your collaborators, and have them sign off on it. Some people will not want to work that way, so do not use such a person for this kind of gig or you will encounter some muddy waters ahead. Plenty of session folks are more than willing to lay down nice tracks for a session fee--it's what they want to do. That's the person you want.

    Don't overlook having a really scorching guitar player, bass player, acoustic drummer, etc., in to do the same. I have had everything from the above to gypsy violin goddesses in for loop sessions. The important thing is that you are creating your "tools" with the intention towards the job from the ground up, and this will pay off handsomely when you actually start the compose-to-picture process.

    For example, in the case of the violinist, I brought her in and set her up by telling her the story of the show through the session, and having her respond emotionally to the story as it unfolded. This left me with about two hours of raw material, every note of it great. When I cut it up and began to loop it and pitch-shift it around, everything just fell into place, and it became one of my favorite projects of all time.

    I certainly don't have anything against the prefab loops, as I said, but the more specific intention you can infuse into the project on every level, including the loop construction process, the more personalized and attached it will become. In my experience, it never fails that the most surprising of results will come from some tiny little thing that was done with intention. Artistic intention is like magic dust. It will attach to something benign and supercharge it in unexpected ways. Something that Thomas Bergerson said in another thread struck me--in discussing Danny Elfman he spoke of him as a very impulsive composer. I think that is a good description. You can fault Elfman for this thing or that, but what he does very well is to become infused with the story, and very honestly respond to it.

    If you take that kind of infusion, and you apply it to early processes like groove and loop construction, the potential is there for the later superstructures to very dynamically build upon the raw impulse and emotion which is tied to the story.

  7. #7

    Re: Edgy Loop Libraries

    If you really want edgy, get Methods of Mayhem. Either Volume 1 or 2, they are both great. Very aggressive stuff. I love it.

    - Mike Greene

  8. #8

    Re: Edgy Loop Libraries

    Rolling your own is definitely the best way to go, and if you had to pick one tool to do that Reaktor would be the one. There are so many amazing possibilities with this software and, better yet, a lot of surprises. I find it an inspirational piece of gear.

    There are times, however, that I do use pre-fab loops. But I view them as source material for creating something unique. By the time I'm done with them, they don't even come close to resembling the original.

    That said, it's much more gratifying to start from scratch and come up with something you had no idea you could, let alone would, design.

  9. #9

    Re: Edgy Loop Libraries

    find killer bass grooves, or get a bass player to come in

    play bass tracks, have the bass track to midi via software out there

    instant synth bass grooves with real groove

    get an arpegiator...go nuts

    recreate teh grooves from your favorite cds in midi, use a different instrument, randomize pitch and tailor it, use different tempos, go nuts...
    Operation Mindcrime 2, in stores now.
    or go here...
    The Digital Bitphonic Orchestra
    -Ashif "Ash" Hakik

Go Back to forum


Posting Permissions

  • You may not post new threads
  • You may not post replies
  • You may not post attachments
  • You may not edit your posts