Sonor Force 2005 Drumkit
-Full Birch Shells
-12" High tom
-14" Low tom
-16" Floor tom
-14" Matched wooden snare
-22" Bassdrum
-Sonor hardware (hihat stand, snare stand, pedals and tom rack)
-14" Sabian B8 hihats
-16" Sabian B8 crash
-20" Sabian B8 ride
-Sabian gigbag for all cymbals
-2x Gilbraltar "boom" cymbal stands
-Gibraltar drum stool
-Sticks, rute, brushes etc.

Bought it two years ago, brand new and played for only 6 months with it: then I had to move and I cannot play
drums in the new appartment. It's been sitting here unused for all this time. The sound of this drum is exceptionally
good. It has the deepest bassdrum ever, and I had the kit customized to 12" 14" 16" toms instead of the
10" 12" 16" original configuration as I like my drums low and deep.

The tom rack and assorted toms are a Sonor-exclusive technology that removes all cross-vibrations between
shells and allow for much more placement options than a regular tom rack. The cymbals are classic B8's,
very clear hats, high and aggressive crash and a smooth ride. Everything is in *ultra mint* condition.
Not a single scratch anywhere, this drum could be sent back to the factory and they'd sell it back as
new. Paid a little over 1600$, letting go at 1250$.
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Yamaha AN1X Synthesizer
-61 keys, velocity and aftertouch.
-8 assignable knobs
-Morphing between patches
-Flexible arpegiator/sequencer
-Free envloppes (record your knob movements into the patch)
-Effect section is 1 delay, 1 reverb and one multi-fx unit.
-Ribbon controller

One of the first virtual analogs to exist. Very easy and fast to program, and the sound possibilities are very
extensive. I've abused the sound engine for years, and even though I could still find place for it, I would end
up repeating myself so its time to move on.

I've been using it as a midi controller only for quite some time now so I thought I should just go ahead and
replace it with a proper controller and sell this baby to someone who will have more use for it.

Bought when it was still new, so it was worth around 1500$ at the time. Average price for used units,
after gathering some info from the web, is generally around 400$ USD. Letting go for 400$ CDN.
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Behringer MX2442A 24-tracks Mix Desk
-24 inputs (20 mono, 4 stereo)
-3 band EQ (semi-parametric mids) for mono channels
-4 band graphic EQ for stereo channels
-4 busses
-6 auxiallary outputs (pre/post fader switchable)
-48v phantom
-Separate heavy duty rack-mountable power supply eliminates a lot of noise the signal and keeps the
console cool (no parameter drift).

Often dubbed as the poor man's Mackie 24-8. I have used both the 24-8 and the MX2442A and find that the
Behringer is actually just a touch better than the Mackie. It has more options to start with and also has this
very warm sound that will hold its own against any analog desk. Noise is virtually non existent.

I bought this new about five years ago when I wa using and recording a lot of hardware, bands and all that.
I find that it is now way over what I need. I paid 1100$ for it new, selling at 750$.
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M-Audio 1010LT PCI sound card
-10 ins and 10 outs
-XLR Microphone inputs with pre amps
-S/PDIF i/o,MIDI i/o,wordclock i/o
-24-bit 96 kHz recording
-Zero latency hardware monitoring
-Bit-for-bit accurate digital transfers via S/PDIF
- High dynamic range (A-weighted measured): D/A 101.5 dB, A/D 99.6 dB.
- Low distortion (measured THD @ 0dBFS): A/D and D/A less than 0.002%.
- Frequency Response: 22-22kHz, -0.2,-0.4dB @48kHz; 22-40kHz, -0.2,-0.7dB @96kHz
-MIDI in/out

Probably one of the most popular soundcards available. Has 10 inputs and 10 outputs which is great if
you plan on recording more than one thing simultaneously, or want to output separate tracks to a mix desk.

Has all the connectors your need right at the back of the card from the breakout cables. All the analog and
digital I/O are there, MIDI is there, XLR lines are there. I am also including a RCA-to-1/4" snake cable.
Current retail price is between 200 and 250$ USD. Letting go at 200$ CDN.
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Celebrity (Ovation) electro-accoustic guitar
-This guitar was bought and modified to play slide.
-The frets have been ground down flat to the smallest possible height so it's still playable normally but interfere as little as possible with a slide.
-Varnish is cracked on the front, but the wood (and so the sound) is still perfect. I had planned to sand it and revarnish it but never found the time.
-1/4" output with a volume and tone knobs
-Also sounds very great a simply an accoustic guitar

Don't remember how much I paid for this one as it was bought during a shopping spree, but the current retail
price is around 500$USD. I'm selling for 150$ CDN because of the cracked varnish.

Hi all,

Three new tracks over on my myspace thing.

ATM - electro bing bang

RUG BURN - funky minimal techhouse

NICE SHOES - electro/new wave

enjoy

It's just weird to explain to your mom that you are having sex with both of them.

Ok my recent project is far from being a showcase for my mixing skills as it's basically based around overdriving everything to stupid levels.... but here's your crash course:

1- There is two type of low end groove: kick-driven or bass-driven. The one thing you want to avoid is bass build-up (when multiple sounds hit the same low frequencies at the same time) cause it's the best way to ruin a track. Basically one element needs to be lower than the other. Usually the sounds decide for themselves who wants to end up where, but with ultra-precise crap like psytrance, you'll often run into kicks and basses that hit the same sweet spot. So cut out some offending frequencies in one sound, leave them in the other....and vice versa.

2- When you're EQing, always CUT before you boost. You rarely need to boost any frequencies if you cut out the rest. A cut is much less damaging and much easier to control. Plus, remember that very few things with audio are linear. You have much more precision when going down, than when going up.

3-When EQing, the stupidest thing to do is to solo the part you're EQing. You'll just end up making a super big beefy sound that fills everything, you'll need to raise the level of the other tracks, and pretty soon you'll end up with a screaming mix where everything sits in the highmids, battling the rest for attention.

4-Bass sounds should be compressed/limited. And this is even more effective for basslines that have more than one tone. Single-tone bassline don't move much, but its very very common to have a bass sounds that sounds super good on C-D-E-F and then booms on G-A-B.. or whatever other notes. A compressor will reduce the boom. Multiband compressors are especially useful here.

5-When you are mixing, pretend there is someone with you sitting 3-4 feet away. That person should be able to hear your speak normally over the loudest parts of the music. Any volume higher than that and you will over/under mix many many things. At this level you should be able to hear the kick and bass perfectly well even if you don't feel the boom.

6-Mastering is a very delicate process that adds/remove basically nothing from the sound. No amount of mastering will ever save a bad mix, and no amount of mastering will make an average mix better. Bad mix, bad track. Who do you see credited on the back of an album? The engineer who created the whole sound of the album, or the mastering tech who added a +0.3db boost between 400hz and 408hz? A good solid mix with always be the most important part of the production. Recording errors can be fixed in the mixing stage, but mixing errors can rarely be fixed during the mastering stage. And most people can't even tell the difference between pre and post mastering mixes. Hell I could turn on and off the mastering eq/comps live and it would still not be noticed by most people. Mastering has more to do with good dithering of dynamic sounds at low volumes, correcting DC offets, phase problems and how properly engineered for replay it is, it has very little impact of the timbral structure.

7- Always compare your stuff to commercial CDs. Yes its mastered, and that is exactly how you should try to sound. I repeat, mastering adds/removes almost nothing to the sound. You can't pick out a instrument from a rendered wav file, so if its too loud, too bright, too muddy.. you have very few ways of correcting that after the actual mixdown.

8- When you need to add more layers to beef up a track, you're doing something wrong. You basically have four "places" in the mix you need to fill. Low, LowMid, HiMid, High. A sound should sit squarely inside only one section, or at least avoid adjacent sections. For example a kick drum is perfectly good when sitting almost exclusively in the low end. if you add lowmids to it it becomes too boomy and will interfere with the bass. If you add some himids, you'll add bite, if you add highs you'll add snap. All in all, bassdrum+bass sit in the low end, sounds that will "fill" the track are in the lowmids (pads for example), lead sounds are in the highmids, and the highs are for the rythmic drive (hats, ride etc). If you have 70 layers going on and the mix still doesn't hit you in the face, chances are you've got a section that is underpopulated compared to the others. A single instrument in every section will sound full. Look at rock bands.. Drum, bass, guitar, voice. That's it, that's all...any more than that and it becomes a challenge to mix. Electronic music offers more complex mixes because the sounds are much less harmonically and timbrally rich so they're easier to sit "alone" inside a mix.

9-Volume before boosting EQ. If you don't hear the kick, bring the volume up, not the low eq. If your hihat is lost in the mix, try the volume before boosting the high end. Avoid boosting the high ends until all other options have been tried. Sometimes you *need* to eqboost something by a few db....but most of the time you do not.

10-special effects aside, if you need to go beyond compressor/eq/reverb/delay/phaser/chorus to give your mix any meat, you're doing something definitely wrong. SuperBassMaximzerHell2000Deluxe or NinjaExicterSuperHihatDestructor are NOT plugins you use for mixing. They are plugins you fiddle around with to create sounds and timbres, but never to do any serious stuff.

11-You should not have more than 2 of any 'mix' effect unless they have major differences, ie a digital delay and an analog/tape delay. The more selection you have, the more preset-based your sessions are... load a plugin...flip through the presets.. nothing good.. next plugin. And you end up not learning how to properly use your stuff. 50% of the people I know use compressors everywhere but still don't understand shit about how it actually works, so they absolutely need to have 30 different compressors avaialable for the 30 different types of compression they need instead of learning how to use and understand a compressor and just need one or two to get all these sounds. Waves + TC Bundle should be all you need.

12- Oh and if you're using the built in EQs in your sequencer, hit your face on the wall a dozen time then install waves Q10

p0werp0int

err before you try installing msoffice inside cubase and set your house on fire.. I was refering to what bre4653the said.

"It's compact, lights up, and feel good."

Yeah I had a girlfriend like that once.

old atari joysticks are digital...better get an analog stick if you wanna do anything more complicated and on/off.

Reverb-based effects are your best friends, and worse enemies. You can really make a mix come together with small touches of reverb here and there. But put ever so slightly too much of it and you muddy up your mix.

As to whether or not its been overdone.. the only effects that aren't overdone are the ones that haven't been invented yet. With the amount of effect-based music being produced (most electronic music in fact.. cause very little of it is music-based) there is simply no escaping the "this sounds exactly like" syndrome. Clichés are clichés because many different people, at different times, doing different music, all thought it would be good. Besides.. the biggest cliché of all is to try and avoid any clichés. Originality is quite overhyped. What sounds good is good, what works works. And everything goes in cycles. Everything returns after its been declared lame. It returns, slightly modified to fit the flavour of the day, and round we go again. A few years ago nobody would do the BOOM-----BOOM------BOOM------BOOM--BOOM--BOOM--BOOM-B-B-B-B-B-B-B-BOOM fill because "whoa man.. I don't wanna sound like fucken fatboy slim or some shit yo"... and now it's all over the fucking place again, and, god forbid, fatboy slim is popular again.

Ok well the silence has gone on long enough. Let me break the ice then.

It's not very good :-/

I'm pretty sure it did well live though. I have a recording here of my first live set, which was a total dancefloor killer, that sounds pretty much the same. When it's played vely vely roud, with a certain level of intoxication in all members present, its just not the same. But at a moderate level, actively listening to it, its just a lot of very raw, unprocessed basic synth sounds overlapping each other. But its definitely not material to listen to at home, or to give a good impression of your "producership" IMO. Live sets are best enjoyed live.

I'm curious as to how much of it was actually "live"? By the sounds of it, I would guess that the main synth is generally played by hand and the cutoffs that are cool to fiddle with are all linked on a controller of some kind?

indeediddly

The good old "devil voice" effect is indeed a reversed reverb. Reverse your sound, apply reverb, reverse again and you got it. To really get this effect going, you need to use a short, but very present and bright reverb. Like no hi-damp, no pre-delay and 50% wetness. It's also good to use the same reverb but with a longer decay on the last syllable of the reversed sample so that when you play it right-side again, the first vocal comes in from further away.

Another classic effect with reversing samples is the Twin Peaks voice. Basically record your vocals, reverse them and learn to speak them this way. Get it as close as possible to actually speaking backwards, record yourself again and reverse that sample. You'll speak forward, but with this strange backwards intonation.

Now mix both effects and have fun :)

don't you just hate these awkward silents?

silences*

fuc8@#$^&%&*(&@*(&# no edit button can suck ma ballz

The LFO'ed sound.

Ohhh

Me likes. Not sure about the 1:25 sound. Hafta agree with K here, vocal samples take away from the track.

What does it do? There's lots of text my brain doesn't want me to read if they are no screenshots to support it.

@nellboy
While some people could probably do with some crash course, unless you're an acredited abelton representative, you're just blowing smoke out of your ass right now. What you are offering requires no special knowledge, just that a person put enough time to get around a new interface. They real knowledge, the real useful stuff that will help someone put some music down, like chord composition and progression, signal treatment, session recording and mixing is not something you will touch in your "course". If you'd like to start an Abelton crash course blog or something that'd be a great idea, but I don't think you should expect money for such a small thing. We're all broke son... do like the rest of us and sell that ass on the streets yo.

:D

If you've bothered to sit down, install something as huge and complex as Logic and then learn the in and outs of it, its sort of self defeating to go "down" to reason. I'm in the same situation with Cubase vs Abelton. I spent the last.. what.. 8-10 years learning Cubase? Now everyone I know is moving to Ableton and urging me to do so. I can see where they're coming from but DAMMIT... 10 fucking years on the same sequencer...

This said.. I know people who use Reason, like Omni here, and do pretty fucking amazing shit with it. In the end, whatever floats your boat I guess. But personally I'd switch to Abelton before Reason.

The collaborative aspect is cool... but then again I'm too much of an asshole for people to want to work with me :)

[shameless bragging]
I was there in 93, at Nexxus. I was there at Enigma. I was there at 22nd July. I was there in 94 playing my music at Nuit De Rave. I was there 10 years before rebirth. I was there before you could run any real time effect on a sound, much less a real-time synthesized one. I was there, and you were still at mommy's teat.
[/shameless bragging]

Now can we get over this and stop with this jealousy thing? You said critics were welcome, well that's what I gave you. I didn't talk about my music one stupid second. I didn't compare anything you do with anything I did. So drop it.

Yes, PUSH REC+PLAY is extremely simplistic. It wasn't meant to be otherwise. The sound, amateurish as it is, is exactly where it's suposed to be. Everything is a calculated move. It might not strike a chord with you, but you won't find me losing sleep over that. I don't do music to impress, I don't do music to please, I don't do music to prove myself, I don't do music to reinvent the wheel. I do music that I like, for the fuck of it.

@ScottyP
Yeah well.... in all honesty, PRP sounds like pretty much anything you can run through a distortion haha :)

I think exclusivity goes down the drain when you simply copy a sound.

Juste apres l'avoir ecouter pis posté ca, jme suis rendu compte que mon chat a pilé sur ma console et mit le tout en mono... Voila qui explique pquoi je trouvais ca mono :D

kid stuff

It's a bit uninspired/GMS to my ears. Sounds like something GMS or 3dVision would have put out 8 years ago. If that was the sound you were after then bravo. If not then you might need to go back to the drawing board. Good thing you play after IM cause this wouldn't lift the crowd on its own.

My gripes:
-Waaaaay too many vocal samples everywhere. One vox every three tracks is ok, 70 samples in the same track is overkill and destroys any punch it might have had.
-Too thin. Where's the PHAT bro?
-tra-ta-ta-ta-ta-ta-tra-ta-ta-ta-ta synths, bah. No real harmonic content, just throwing notes real fast for no apparent reasons.
-No personality. You just imitate what you've heard before. Find your own sound, break some rules, be original.

take it or leave it, 'tis just me opinion.

Yeah it's a style I know shit about so I don't have a lot of reference points. I do love filth though... that's why I never shower.

Hey.. just got back from a stupid 16h shift...fuck I'm tired.

@Regi
Haha! Nice :) Drop a hard chorus on that and you've got the whole nu-metal limp bizkit shit going on :) Will you give it all for the nookie?

@Brad
Yeah I don't think many metal bands use pianos..except maybe to set them on fire... But there's a lot of musicality worth working on it there.

Here's mine.. roughly 5 hours, mix is terrible but hey. Im not much of a metalhead so I guess I'm pretty much off the mark too. (i secretly hoped you would pick polka) We'll let Kalan "Iron Maiden Tatooed On My Cock" Br34th3 decide if it is metal or if its just gay..he seems to know about this shit (i mean.. metal... ..however...hmmm nevermind, I got a pink msn anyways). Didn't bother finding a name so.. dunno.. let's says it's called .. Gerbils & Rectums. Oh and of course its dedicated to all the haters :D

[ download.yousendit.com ]

HAhaha fuck I'm tired.. I think I downmixed it with all tracks muted haha.. lemme fix that :)

There.. now instead of nothing, you can hear.. well.. not nothing.

[ download.yousendit.com ]

Tell me about it.. last time I skateboarded drunk I had a forty in my hands, hit a rock, forty flew...broke... and I fell right in the glass, no shirt. Now I got this cool vietnam-style scar.

But yeah euhm.. I do have a life and some occupations so it ain't happening today for me. However go right ahead bro, I'll catch up don't worry.

Well we DID ask for samples and you told us to google it so that's what happens :) I prefered the older track though... Im getting old and this is way too fast for me :)

Actually Twisted Freq's material is pretty nice. I really don't care for all these vocal breakdowns (that might be what Host refers to as HHC methinks), but when you got no vocals playing, it kicks ass.

Yeah, sounds like an attempt at sucking my cock ;)

But is it a bit unreasonable for the following reasons:
-Any genre means comparing apples and oranges.
-You've been on this forum arguably much longer than I, so the amount of biased supporters that will vote for their friend nonwithstanding the actual quality of the track will invariably be much higher on your side.
-I don't see how a blowjob from you would be considered having won anything :)

But not being the kind of guy to turn down a friendly challenge, I'll counter-propose this:
-Same genre of music, non electronic. Your choice of Polka, Jazz or Heavy Metal.
-Each of our tracks will be posted anonymously by a third party we will have agreed upon.
-48 hours to make the track.
-No sampling/use of loops, original composition only.
-Maximum track length of 5:00
-Winner gets the satisfaction of having won the tinkling contest.

@Kalan
someday you will wake up and I will have painted your house pink...bastard :D I think I'm gonna name my next track "Pale Red" heh.

@regimental
Well do propose. Can't really know if I accept or decline if you don't give me the details :)

@Twisted
Thanks bro :) I don't think we should be comparing my music to Host's though. Apples and oranges. I'm sure people in his scene will appreciate what he does, even if they probably would all agree that the attitude needs to go. And we do have to admit the subsequent versions were much better than the first one. We won't get into how the changes he made to the track were specifically the points that we all said needed to be addressed cause...yknow...the fuse might blow again :D

@Host
Who cares if your music is better than his? If it truly is, why don't you give him pointers? Encourage him? Share? It's a small scene bro, and we need to take care of our own. Infighting will only damage the scene you seem to care about so much. I've been making music for almost as long as you were alive and I still get humbled by newcomers who show me new tricks. But you're right.. leave me out of this :D

Sorry Host, I don't hate you one bit bro. I know you need enemies to strive, but really.. I just think you made a bad track and presented it with too much attitude and I expressed this opinion with the same arrogance you presented the track. Of course you're clearly reading something else from the message, but that's all in your head :D

ITS NOT PINK ITS PALE RED!@#!@#!@

:D

thx for the comments guys :D And Kalan.....fuck you! It's not pink, it's PALE RED ffs!

@Mike
No worries, hijack away. I have the feeling I will not be able to make any posts without Host blowing a fuse on me every time anyways :)

@Host_One
I really couldn't give a flying fuck about you dissing me an all, in fact I wholeheartedly encourage you to do so.. y'know...pent up emotions can lead to health problems and it seems you haven't reached puberty and discovered masturbation as a form of tension release yet. So I will quite happily volunteer myself to be the target of everything you need to vent out so that you may live a few extra years.. I'm just that kinda guy ya know? Heart of fucking gold really. Hah.

However, this forum and real life are two very distinct things. Think twice about threatening to punch me. While I have absolutely no problems with taking you to school the good old fashion way, I have the feeling you will not be able to deal with it like a man. If you get your ass kicked, it will not stop there, you will not have learned any lesson and you'll just keep coming back and back, or call the cops, or all your friends or any other possible result except accepting defeat and letting it go so I really see no point in jumping in your pathetic tinkling contest. Don't try to start something that you may very well not be able to handle all the way through. Verbal abuse on a forum is one thing, but life is not the forum, and you can't just press caps lock to make yourself sound tougher when you're face to face.

I've been on this forum something like 24 hours and in that short time I've seen enough threads where you threaten people to confirm that you have serious attitude issues, the kind we normally see in a kid who's been taken off ritalin too soon. I for one cannot stand that kind of attitude, and I'm not going to refrain from expressing my contempt for such behaviour. The way you deal with it is your own choice, but keep it clean of threats or someday you're going to get your own ass served on a plate, with all the trimmings.

Two last things...Stop with all this 'faggot' and 'gay' crap. If you have issues with your sexuality, sort them out and come out the closet, if not then there is no need to resort to behavior and language generally observed in a schoolyard. Also, stop telling people to watch their backs, if you were a man you'd come up front face to face.

Hi all,

Just thought I'd present my new project here as this has to be the only place where I haven't whored myself yet :)

The goodies can be found at: [ www.myspace.com ]

It's somewhere between electro and industrial I guess. Its loud.. just.. real fucking loud. Comments are welcomed, although I'm notorious at not caring about critics too much.

Enjoy...or not, it's all up to you :D

y0

J'y connais rien a ce genre de musique alors je peux pas full commenter sur la musique elle meme. Mais perso, je trouve ca bien monté avec les bons elements aux bonnes places et tout et tout. Ya juste un truc au niveau de la production, c'est pas mal mono. C'est a cause du downmix ou c'est comme ca a l'origine? Juste mettre un chorus/imager sur le main synth ca grossirais la tracks au boutte IMO.

Anyways.. good work
-Jim

So cute!

I sincerely hope you don't think all THESE QUICK LITTLE REPLIES ALL IN CAPS make you look like anything else but a frustrated teenager banging on his keyboard, tears in his eyes, as the world around him crumbles, realizing that people aren't as moronic as expected and can't be force-fed shit tracks with his ego-spoon.

So you don't like my tracks huh? Good for ya! At least you've managed to form an opinion right? As far as I know I ain't making music for you, and you ain't making music for us, so drop the ego and attitude already. Grow a fucking spine and some balls to go with it. If you can't deal with three (count'em three!) persons telling you your track sucks, you'll DIE when you hit the big leagues boy.

It's all in the attitude kid. If you had presented this with any semblance of humility, people would have reacted accordingly and you would probably have had much more constructive criticism. But as it stands now, we're just all happy to see you go down the shit slide, with all three of your functional neurones going "Look ma! Imma be on me way to the top!". And what about all the subsequent replies, wow man, pure fucking entertainment!

And by all means, stop thinking you're doing something spectacularly impressive here. Drum n bass is nothing but straight 4/4 with broken beats and just like most dancefloor music, it's at the bottom rung of the musical complexity ladder my good man. You want to impress people with some technical wizardry? Well then you're gonna have to pick something else than drum n bass, or you're going to have to get better at it.

One last thing.. don't pretend any of this ain't affecting you, just look at how you reacted. It's a shame you don't get an edit button huh?

I actually had to open an account here just for this. The situation demands it.

Please... by any means, any possible way, any plausible chain of events, ANYTHING.... PLEASE. Do not make any more music, ever. You, your children and your children's children should have their ears poked out with icepicks (preferable rusty, and infected with some nice trendy disease)

So before you get your panties up in a ball again, lemme give you a few pointers as to why you should seriously consider musical suicide:

-Your track is clearly loop based, and by that I don't mean it repeats itself every 0.5 seconds (it does...) but rather that you are just taking pre-produced crap from sample CDs that were produced for and strictly aimed at people making jingles for toyota ads. If making a DRUM LINE is beyond what you can do, don't pretend.

-While I understand that you cannot fully comprehend and process all the information required to grasp the concept of the audio spectrum, I will try to dumb it down as far as I can to get my point across: Bass, Mid, High. Three bands. One goes BOOM, one goes SCREECH and one goes TSSSSSS. Right now.. there's no BOOM in your track. Sounds like someone is hitting a wet towel on a pillow.

-You should sit down and rethink your approach. I think that coming on with your first track and expecting it to be anything beyond pure fucking aural shit proves you are a kid. Go play with duplo blocks ffs.

- Jesus titty fucking christ.. I'm already out of things to complain about.. that's how fucking empty, soulless and cliché your track sounds. Take a hint from "washed up psytrance DJs" like Kalan who are actually giving you the real fucking deal about your shit (as in 'shit' not as in 'the shit').

-This is drum n bass. First off... there is no bass. Second, there is no 'n', And while there is drum in there, YOU HAVEN'T COMPOSED A SINGLE SNARE HIT YOURSELF you motherfucking by-product of a pile of used-up tampon trash.

Please die.