For producers who possess limited or intermediate experience, you can download a program called BTV Solo.
Make your own Dubstep by clicking the button beneath:
Assessing the Options:
In future articles we aim to cover the more advanced production tools, however today we will focus on the cheapest, easiest to use program, BTV Solo.
Unlike other advanced production suites, anyone can commence and complete a radio-ready track in a small space of time.
Here are some of the most notable positives of BTV SOLO -
* Stacks of sick sound kits and samples included
* Can be downloaded straight away
* Lowest priced Dubstep maker on the market
* The fastest and easiest to use sequencer available
* Drum machine style keyboard trigger features
* Finished and mastered tracks are exported to .wav files
NO Expensive Equipment Needed:
As detailed in greater depth within the paragraphs below; if you already own a computer, then you have all the tools you need to get started.
NO expensive hardware interfaces needed to function:
Many of the expensive studio applications will not even function without the hardware interface plugged in. Pro Tools for example, will allow you to install the software and open it, though you cannot access a new or existing session without the box, or desk connected to the computer.
NO mastering studio to be paid for:
Many DJs pay for external, separate mastering studios in order to have a broadcast quality finished track. BTV Solo allows you to export high quality .wav files with a single mouse click. These finished tracks are ready to be played in your next set, or sold online.
NO monitor speakers or headphones required:
Again, in many programs, you simply cannot get a decent mix without proper studio monitor speakers plugged in, and some will not allow you to open the session, as mentioned above with Pro Tools. Quality headphones are recommended for a nice mix, but for now you computer speakers will be enough to complete a full session.
NO drum machine or drum pads needed:
Many DJs love the hands-on approach to producing Dubstep beats and prefer to trigger the drums manually. For this you will need a (hardware) drum machine plugged into your computer.
The most unique aspect of BTV Solo is that you can actually utilize your keyboard keys as drum pads to tap out beats by hand. Just assign a particular drum sound, to a particular key, hit record and start triggering.
DOWNLOAD FROM: http://www.btvsolo.com
Working Independently from Home:
The beauty of becoming engaged in the production of Dubstep and electronic music creation in general, is the fact that you can complete whole tracks from start to finish, without having to rely on anyone else.
If you were in any other genre, you would need live vocals, or live bass, additional instruments or at very least a mastering engineer. I cannot stress enough how awesome it feels to need nothing more than your laptop, allowing you to work from anywhere in you house, or anywhere in the world for that matter.
How The Big Boys Roll:
Back in the earliest days of Dubstep creation, pioneers like Benga and Skream were working solely from their laptops, with some of those same tracks now being spun in sets where they are receiving massive checks to do so.
Although someone like David Guetta is pop and house etc, he is still relevant here: Back when he was commissioned by the Black Eyed Peas will.iam to create what would be his first commercially successful track, he was way out of his depth and stated in an documentary interview, words to the effect of: “I’m used to being alone with my laptop making by beats”.
There is some video of him sitting in a hotel room with his Macbook, where he completes a track, plays sample to the camera crew and then pumps it in a live set the same night to thousands of people. That is the power of digital music.
So unless you are having massive Hollywood names perform on your track, everything, and I mean everything, can be completed from start to finish on your laptop. However, when you do start to feel that this is something you are going to pursue, please, get a good machine. Make sure it is a Mac…
It is worth having a look at the official BTV SOLO website, visit it here: by clicking this link
JfIN on the Permanent Vacation is labeled as house, but it feels a little bigger than that. Hugely organic textures, perpetually progressions with point and counterpoint melodies stitched through like the best of them are, slightly non-standard percussion sitting on top in the middle – it’s a lovely piece of work from beginning to end.
The second track, “Destiny,” starts out with the haunting vocal stab, moves into a nice catchy breakbeat, and then continues in with full vocal arrangement that is more 80s pop than typical techno, and the eventual deep four-to-the-floor justifies its post-disco flavor. It’s easy to envision a stage in your mind – frontman with the band behind, full mosh put but with everybody taking a momentary break to just close their eyes and vibe.
“El Oeste” slows down even further, a grimy kick skipping underneath a bent synth line and snare stutters, the string samples eventually growing up out of the bass before the chord progressions start taking form too much. If there was such a thing as shoe-gaze techno, this would be it at its finest. For someone known as being ‘tropical,’ this track of Talabot’s isn’t going to put your anywhere pleasant – more likely on the North Pole somewhere, waiting in vain for signs of reindeer.
More 80s drums and a scream start “Oro y Sangre,’ and after that, the creepy layered bassline takes center with enough static to make you think retro and a few bongos sprinkled in to make you think transatlantic Latin. By this point in the album already, Talabot has nicely establish his wide stereo sound and is starting to work the angles a little bit, poking just a little fun at the listener. You can see the nudge-nudge-wink-wink with each scream of terror that plays in the background. At this point, you may want to like the album more that you actually do. The initial interest has waned a little and the progressions seem a little loopy rather than structured and relevant, and the fade out at the end of the track puts a period on that.
The rest of the album never quite picks up the way that it could, staying in the deep house-not-house feel and coming in and out of vocal work. Though you can tell he obviously knows what he is doing, there is a slight lack of variation over the course of the tracks, where they are too different to be consistently, and too similar to tell a greater story. His mid-range work starts to get a little heavy as well, and you might find yourself turning the volume down to get a better balance in your ears. “HORSE” gives you a nice stand-out break near the end, but isn’t quite enough to pull you all the way through the album.
John Talabot is apparently something of a mystery, as that is not his real name and there are no aliases listed, but he’s done quite a bit of lauded work in the last few years. His two podcasts for XLR8R and FACT magazine have gotten quite good press, and those who follow him, follow him rabidly.