I'm wondering how people here makes loops for Stylus RMX. I'm not asking how to make a .rex file, but how you create the original loop. (what tools you use etc.) I'm mostly interested in creating loops like the "Can of Growls" from the Stylus library.
I tried to open a regular acoustic drumkit in Kontakt 2 and using FX's like low-fi, distortion and filters, and then make a loop in my sequencer. I got some pretty good results that way. Is there some other things I could try?
There's not a single answer I could give you, since there are literally hundreds of tools and techniques we use in our sound design. It all depends on the mood and the moment. Sometimes the techniques are very bizarre, like starting with ambiences and splicing them into grooves and processing the individual segments through there own series of FX.
I created "Can of Growls" a long time ago, but I think I remember using a lot of Logic FX on that one....especially the Auto-Filter, the Tape Delay at high feedback and the Bit Smasher. I think I also did some tempo sync LFO trick in the EXS24 as a source signal. The original source samples were probably from another set of loops and samples that I was creating in a custom Rebirth mod that I made with samples of ticks, clicks, drums and insect noises. We do a lot of offline processing too, multiple passes, so it ends up being run through dozens of processing stages.
I know there is unlimited number of ways to create loops, but it's always great to get some tips from other people. I'll try the things you mentioned. I don't have Logic though, but still there is a lot more to learn about Kontakt 2, so I'll figure out something.
I've been a member of the "Church of Bowed Metals" forever, now, and I'm still wondering how those were created. You've been forth coming on some of your production techniques, and I'm still blown away by the sonic nature of both "Oil Can" and "Rusty Spoke"... Sometimes I think "Skillsaw" and other times, I think "Jigsaw"... Definitely a healthy portion of verb/delay/resampling. As many know, they're among the most utilized samples in dramatic pop culture media. And they never seem to lose their effect.
On that note, I wanted to once again draw out praise for the original "Distorted Reality" collection. It still stands toe to toe with the best of the more recent evocative, sound design oriented libraries. Frankly, it was WAY ahead of its time, in regards to the technology that existed then vs. now; and still, to this day has immensely ballsy variety that few collections boast.
Oil Can Bow and Rusty Spoke are reversed samples of various metals that I stacked in a 770 sampler, bowed cymbals, etc...then I ran them through a lot of external FX (analog fuzzboxes, Roland SRV-330 reverb, Dimension C, etc.)