Well, today i logged into myspace to find myself in 2 different charts

Electro top 100 i came in 45th

Drum and Bass top 100 i came in 16th

Jungle top 100 i came in 4th

Thanks to all that listen to my music and because of you i have gained such a great position.

Drum and Bass charts screen shot

Jungle charts screen shot

I have decide to set up a drum and bass links directory right here on slotvent.com the directory can be found at:

www.slotvent.com/links/ 

There are many links in here at the moments all related to drum and bass in some way or another including the following category’s

Radio Stations

Artist Sites

Information

Record Labels

Myspace

Samples

Magazines

You are also more than welcome to add your own links to any of the above directory category’s  or you can add your own. We hope this is a useful recourse and that many people use it to find exactly what they need.

I found this on another site i figured it was quite amusing and im guessing these people have never heard drum and bass before

There are many things you have to understand, so that you can be a Drum and Bass Disc Jockey. You have to know the music, the beats and the rhythm. You also have to learn how to use the mic and make sure that people really get to like you.

Steps

1. Learn the basics of rhythm and melody.Learn how to count bars.Practice by listening to your favorite records and counting the bars.Make slash marks for the bars–put longer slashes between the phrases and make notes about what is going on in the song (basic beat, drum fills, bass line comes in/out, melody comes in/out, beat drops out of song). 6.Listen closely and you will notice that bars are grouped in phrases that are usually 8, 16 or 32 bars. The notes that you make will help you learn the records. Your goal at first is to match phrases at the end of a particular record to the phrases at the beginning of another record.
2. Adjust the records using pitch adjust so they are the same bpms. Let the record 1 play through the speakers.Then cue up the record 2 in the earphones and search for the first good beat of the record. Wait for the one beat at the beginning of a new phrase on the record 1 and drop the one beat at the beginning of a phrase on the record 2 at the same time.Then you will be using pitch control on the same record to speed up and slow down record 2 until it is at the same bpm as the record 1. If necessary, pick up the needle on the record 2 and start over until the beats match.
3. Learn the two records’ beats perfectly match, you can switch between the two records as fast or as slow as you want, as long as the phrases match up in a logical way.You can even start the records at different points in a phrase to get really technical and funky. Not all these wacky phrase jumblings will work all the time. Use the notes you took while listening to the records and fit the song phrases together like a puzzle.
4. Master this technique, then you are ready to use melody to master the art.This is where music theory comes into play.You have to figure out the key of the songs and mix them harmonically. Push any two keys on a keyboard, there is a certain feeling that the two notes give which is based on the interval of the notes to one another. You can use this to build or release tension in your set if you know what you are doing. You can mess around with your records and practice without knowing what you are doing, but it helps to look at the art like real musicians and learn theory.
5. Pitch up or slow down a song a lot and it changes the key of the song also. This is why sometimes you match 2 records together and the melodies and basslines match great, but when you try and do it later, when the pitches are different from where they were the first time you mixed the records, they will not sound matched.
6. Learn how to spend the time to find the bomb records nobody else will be playing and make time to practice before you preach in the club. Learn to have fun and not care about learning more, otherwise you will be like most of the DJ that quit when they can’t beatmatch like the professionals. Remember that people like the music, and if you are playing the jams, nobody will remember the one or two mess ups of the night.
7. Work on your mic skills and learn how to yell “Bo Bo.”If the crowd is yelling “rewind, rewind,” stop the record and play the jam you found once more. Also, remember that shouting “Brap”/”Blap Blap Blap” are like the staple diet of MC phrases.
8. Between rewinds remember to “Big Up” as many people as can be thought of.

Tips

• When beat matching you will get to the point where you move the pitch slightly up and it is slower than the lead record and then you will move the pitch slightly down and it will be faster than the lead record. Just try moving the lead record’s pitch a little bit up or down and then try again.
• Think about beatmatching like the game you played when you were a toddler.
• record one is at a certain bpm that can be expressed as a number, say 125.23. You job is to find out what number the record is playing at. Move the pitch on the second record so that it is slower than the lead record, then move the pitch so that it is faster than the lead record. This will be your two endpoints that show you where the bpm is between, say, 115 and 135. Then keep repeating this until you get down real close (buyakasha).
• Sometimes the pitch can’t get to where you want the lead to be at 125.23 but the second record jumps 125.15 to 125.27. It will sound great for a few bars, but if left long then it will sound like a train wreck.
• You can either shift the lead record to something the second record can match up to or you can count the bars until it sounds ‘off’ and then make adjustments with your finger during the mix.
• Some records even when perfectly beatmatched will not go well with each other.
• Sometimes they will be in different keys (harmony/melody) and the keys will be clashing or the percussion (drums and whatnot) won’t be complimenting each other.
• Sometimes you can be using the equalizers on the mixer to help transition between records, but sometimes you have to find a different record to use.
• Rhythm will be the main way you will be mixing records at first.
• Melody will be more important later on.
• It helps to scribble notes while you’re listening to your favorite records. Make slash marks for the bars–put longer slashes between the phrases and make notes about what is going on in the song (basic beat, drum fills, bass line comes in/out, melody comes in/out, beat drops out of song). This will help you learn the records and help you create the puzzle later known as you “set”.
• The records you’re stealing have similar bpm (beats per minute), but rarely the exact bpms.
• It is good to get crappy ones and twos to learn with. Sometimes you will be learning on your 1200s at the house and you’re decent enough to spin at a party. Then you’ll be ready to go to a party and rock the jams and the DJ has some RadioShack turntables that he can wreck it on. Then you will be going on and you know you have more skills, but you sound like a beginner. Learn on that, and when you get to the club or the party that counts and the tables are better than yours you will be able to rock that show with your eyes closed.
• The journey will be hard but the thrill of the perfect mix will be worth it. So don’t give up!

Warnings

• Make sure you protect your ears and learn to mix the records in your earphones on low volume, that way you can mix wherever you’re playing at.

It works great on reeces, to get that snappy sound, it’s a kind of manual buffer override.

-export a sound file to raw- format(you can do so in cool edit, audition or check your sound editor if it can do so…)
-then open in photoshop,the with x height = the amount of bytes, so square root the amount of bytes will give you the with and height with even aspect ratios, the total amount of bytes should be less (or photoshop will start giving you the following error “specified image is larger than file”, leave it 8bit, count is 1, header size you can play with.
-edit and save as raw-format, open in sound editor, export as sound file

Right then everyone has one and it appears i dont so as from now im on the lookout for people to help promote me by being in the street team. This just involves you telling your friends about my music, using my images and promoting my music on your myspace, tagworld, bebo, facebook profiles.

I have joined up with reverbnation where you can join my street team and help to promote me

Just visit www.reverbnation.com/slotvent click become fan under my name and join up ( all you need is an email address)

Once you have joined my team there are a load of widgets and banners that you can use the highest performing members of the team will receive free gig tickets and more.

I need people to download my music (you can delete it afterwards if you must)

just goto

http://www.tunesquare.com/default.asp?pg=profile&mID=823

And click the songs in my playlist and download them they are free to download

once you have downloaded them feel free to delete them i just need the downloads

The more downloads i get the more money i can give to my local charity and community center

SVARCSPACE

17 Oct 2007 19:14

YES MATE! Rinsin’!

john

17 Oct 2007 14:15

heavy tunes

twoducksd..

17 Oct 2007 13:46

This is pretty ace i must say!

Cam
x

hybrid

16 Oct 2007 21:28

had a lil’listern to ur tunes bro liking what ive heard! who are yo influences! what advice can you give me for production (message me personaly can ya with tips)keep up the good work hybrid ps cheers with da reg!

Heres a list of the things people type on google and end up on this site. Its only a small list

Live offers two main views—the Session View and the Arrangement View—that interact in a powerful and unique way, allowing you to create, produce and perform your music all in a single application. Here is the principle behind each view:Session View

Live’s unique Session View acts as a powerful musical sketch and launch pad, allowing you to try out new ideas easily and improvise freely. Each cell in the Session View grid can hold a recording, MIDI file, or any other musical idea. These ideas can be recorded on the fly or dragged in from the Browser and played in any order and at any time you wish.

Arrangement View

The Arrangement View offers a timeline-based approach for traditional multitrack recording, MIDI sequencing and other music production tasks. You can even improvise in the Session View, and all of your actions will be recorded into the Arrangement View, where they can be edited whenever you like.

Live 7 Features

• Multitrack recording up to 32-bit/192kHz
• Complete nondestructive editing with unlimited undo
• Powerful and creative MIDI sequencing of software and hardware instruments
• Real-time time-stretching and warping of AIFF, WAV, Ogg Vorbis, FLAC and MP3 files, for improvisation and instant remixing
• A comprehensive selection of built-in audio effects, including a host of creative delays, filters, distortions, studio compressors and EQs
• Built-in software instruments: Simpler for creative sample-based synthesis, Impulse for sampled drums
• Instrument-, Drum-, Effect Racks for creating and managing complex performance setups, drum kits and multi-effects
• VST and AU effects and instruments support; automatic plug-in delay compensation
• REX file support and native sliced audio file creation
• Video import and export for scoring to picture or warping picture to music
• Real-time control of parameters with any MIDI controller—just MIDI-map it or choose from a list of popular supported controllers for instant mapping
• Full ReWire support
• Single-screen user interface for simple, creativity-focused operation
• Multicore and multiprocessor support

Get it now !!!!