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How to Throw an Amazing Jungle Themed Birthday Party

You know you are throwing somebody a jungle birthday party, but now what? It can be as simple or as involved as you would like. Decide first of all how complex you want it to be, and then go from there. If you are completely stumped, here are a few ideas:

Use brown paper bags, and cut them into thick strips, then twist them into 'vines'. Tape them together to make them as long or as short as you wish. Add a few paper cut out leaves to the vines and put a few on the walls. String them all about your party area, criss crossing them from ceiling to wall back and forth.
Place real or silk plants in groups all around and in corners to imitate the jungle flora. Concentrate on making areas of thick jungle.
Put cut out elephant or tiger 'tracks' on the floor or ground, leading people where you want traffic to go. Maybe outside, leading up to your door, or inside where the kids have to discover the animals on a safari.
Give your jungle some animal life. Stuffed animals can be hiding in the trees and bushes, or along the 'river bank'.
Get some pith helmets and scarves for everyone to wear while they are in your jungle.
Pick up a CD of background jungle music. Monkeys howling and parrots squawking or a soft rain falling. This will really set the mood and get things rolling.
Cover your tables with blue plastic tablecloths for water, or green for the overall theme. Place plastic ants and insects crawling here and there. Get a map and plaster it on the wall to show where in the world this deepest darkest jungle is.
Use an animal pinata or a box for the 'treasure' at the end of the expedition filled with sweets and toys for the kids to enjoy.
Brown paper bags with party favors in them of plastic animals and little binoculars can be passed out after the food and games are finished.
Food can be as simple as celery filled with peanut butter and raisins for ants on a log, and some carrot sticks and popcorn. Make a caterpillar cake and decorate it with black licorice whips. Mix up some jungle juice of pineapple or coconut and orange. Or, you can use your imagination and come up with your own unique foods.
Whatever your jungle themed party looks like, it doesn't have to be perfect. Make it your own, and create a place where all animal children can have a fun time for a few hours. There are plenty of ideas out there, stop by a party store to pick up your supplies.

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Using an online service and their sequencer software can be a great way to get amazing Jungle rhythms for you music project. All you need to do is know what constitutes a basic jungle beat and how to alter it to make it unique in order to create a fantastic, personalized, professional quality jungle beat!

The basic beat structure of many jungle rhythms is placing and accent on the one, two, the "and of the three, and four. Alternating a low and high pitched sound on these accents is also typical. To compose your first jungle beat, try placing a strong bass drum sound on the one and the one and the "and" of the three and a higher pitched sound, preferably a snare, on the two and the four. Hit playback and see what you have to get the feel for where the accents fall and why they make that jungle sound.

Next try add some more sounds or increase the number of times your bass drum sounds in the track. Placing another bass drum on the "and" of the one or before the "and" of the three, for instance, can fill out the rhythm without losing the accents you creating initially. Try the same with the snare, again making sure to keep the accents strong. See how crazy you can make the rhythm without overpowering that jungle feel. Another approach is to make the sequence extremely long and fill many of the beats, creating a balance between repeating sounds and alternating sounds. Jungle, especially when it branches out into dark step or hard step, will increase the business of the rhythm and keep dancers guessing, all while making it semi-predictable in that they can keep moving to reoccurring strong accents. An example would be (S=snare, BD=bass drum) BD, BD, S, BD, S, BD, S, S, S, BD, BD, BD, S, S, BD, BD, S, BD, S, BD, and so forth.

Consider, too, that using a sequencer you will have repeating patterns eventually, so merging patterns, or extending sparse patterns into fuller ones, and adding sounds over top of a rhythm can enhance and expand your idea to create an even more interesting track. Using bass sounds, for instance, placing them in strong beats over top of the jungle beats can make a great track. Alternately, making a jungle style rhythm with bass sounds then pinned in down with strong beat simple drum sounds can be extremely effective too. Even using both full drum patterns with a busy full pattern bass guitar can create a unique, experimental track surprisingly without clutter.

All you have to do is find an online service, sign up, and get started. There are a few online beat making services out there currently. I personally like using Sonic Producer. They offer professional and concise tutorials and lessons. If you want to find out more about it, check out this review by going here: Sonic Producer Review

Good luck and have fun!

William Connor, Percussionist and Ethnomusicology Ph.D. candidate London, England and Honolulu, Hawaii, USA

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Female DJs Have Their Say

By admin, 2011-01-05
Female DJs Have Their Say

Traditionally dance music DJs have been men. Traditionally DJs for all music types have been men. Women DJs have been around for years, of course. They have just kept a lower profile than their male contemporaries, remaining on the underground dance scene. It is unknown whether this was by choice or by circumstance. Now, however, the women are ascending and taking their long deserved place beside men in the nightclubs and at the dance parties of the world.

Four of the most successful female DJs in Europe are part of the first DJ-collective in Berlin. The collective is called Femmes with Fatal Breaks and they began in March of '99. The members come and go as they choose what directions they would like to take their careers in, but they never have any trouble finding talented and dedicated women to fill the gaps. The current members are DJ T-ina, DJ Christine Lang, DJ Spoke, and MC Quio.

In addition to being famous for their vinyl sets that range in style from drum & bass to grime, they also include live vocals by T-ina and rap-ragga-jungle lyrics from Quio. The four members also bring their own established fan bases from their distinguished careers as solo artists.

DJ T-ina has been in the industry for nearly ten years. She came across her style by cutting and mixing the components of diverse electronic beats into an exciting break beat. She doesn't do drum & bass but has dabbled in most other styles of urban dance music including House, Techno, Swing Jazz, Hip Hop and Ragga. T-ina's eclectic taste in music and art led to her staging her own events, which attracted large and diverse crowds. She has also established her own record label called NEID, and is well on her way to becoming a dominant force in the dance music industry.

DJ Christine Lang was one of the pioneering women in Germany's Drum & Bass scene. She began in '93 and honed her skills by playing to 2000 people every Saturday in one of Bremen's nightclubs. In '96 she moved to Berlin where she made a name for herself playing at all the famous clubs and festivals. She started touring abroad, and as she toured her music style grew increasingly rougher. Eventually she began including heavy bass styles such as ukgarage and dubstep in her sets. In '05 she began working in film and produced Quio's music video for her song "So Dazed".

Quio is also know as MC Looney Tunes; one can only assume that she thought it was a good name at the time. She started her music career as a DJ in Bremen and later moved to Berlin where she started a band and became a singer. In '97 The Berlin Drum & Bass club started the women-party-collective, G-Point and Quio became the Drum & Bass MC. Now her style has extended to include Hip Hop, 2Step, Garage and Grime.

DJ Spoke has only been DJ-ing since 2003. She started with a Hip Hop style and joined the BeatFreaks in Berlin. Together they organised female open mic nights, concerts, workshops and a regular party series. That same year she moved to the UK where her style became more drum & bass orientated. While she was in London she worked with DJ Sexyrubbersole and organised several underground parties with special guests like MC Chickaboo and Miss Pink. It was in London that she also incorporated 2Step, Garage and Dubstep into her set style. DJ Spoke is also focusing more on producing her own tracks; as she wants more artistic control over her own work.

Female DJs are indeed becoming powerhouses in the dance music industry, especially in Europe where the dance music scene is more popular than anywhere else. An encouraging aspect of these rising stars is that they haven't forgotten how difficult it was to break into the DJ-ing world. They do their best to help other aspirant female DJs reach their dreams and that makes them true role models.

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Sandra wrote this article for the online marketers Dance Music News dance music news [http://www.dance-music-news.info] one of the leading suppliers of dance music news on the net

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How To Produce A Great Drum And Bass Track

From its humble beginnings on the london rave scene in the early 90's, when breaks were innocently looped instead of sequenced, and vocals pitched up instead of timestrecthed, to the present day, it has always been at the cutting edge of electronic musical innovation. Much of the scene's early output was characterised by a total disregard for the conventions, techniques and rules of the day (largely because none of the producers knew what they were), while todays producers are among the most skilled, meticulous and innovative there are. But the common thread is a determination to rinse it, and rinse it in even more ingenious ways.
As the production bar in drum 'n' bass has been rased on an almost seasonal basis, it's taken the learning curve with it. Even producers who don't like the genre will often sit and marvel at the complexity and density of modern DnB productions. Also drum 'n' bass has a distinct sound, and it places emphasis on different areas of the mix to other genres, so that even producers in other types of electronic music can struggle to achieve that DnB vibe.


1- Layering chopped up break beats (DRUM LOOPS) is a good way to get that authentic DnB sound. For a tight, modern sound, put each hits end point before the next drum sound occurs: simply leaving the end point at the end of the sample makes it easier to program junglistic beats, but you'll either have to tune or time stretch it to make sure it plays at the correct tempo.

2- One of the main advantages of using really tightly chopped beats is that you can easily pitch bend your drum part up and down without it ever going out of time. This technique can be used to create stunning percussive effects. For the best results try combining this method withother forms of processing such as filtering or degrading effects.

3- If your track's switch lacks bite, try using a different break beat or rythm pattern to keep the crowd on their toes, processing such as pitch shifting or flanging can do miracles here.

4-When using heavy compression on your rythm track for that fat break beat sound, you may find that your beat gets overpowered when a big kick drum sound is triggered. Consider putting any such sound on a seperate channel with its own compression. If your kick drum needs enhancing, try beefing it up with a layered TR-909 kick drum sample, but resist the urge to turn it up too loud, make sure the sub bass and beat still have enough room to breath.

5-By using a variety of layered re-programmed breakbeats, you can quickly build up a complex rythm track. The trick is to make it sound like one cohesive part that develops and builds, rather than several different parts all fighting for space. The golden rule is to accurately program your drums in the first place, although additional EQing of flabby kick drums, cymbals and hihats may help reign in errant beats.

6- For those liquid funk moments, a housey organ bass always sounds great. You can make your own using sine, pulse or triangle waves low-pass filtered until you get just a few harmonics poking through. Try detuning one oscillator up seven semitones for a handy fifth that will bring back some old school memories.

7- These days it seems everyone is rockin the saw wave lead. This sound is easy to create - short attack and release envelope, a little chorus or pitch modulation on the saw wave and your there. Things can be made more interesting with a little degrading effect, and a bit of glide can add an interesting twist to your nasty lead noise.

8- For artificial intelligence style warbling synth lines, an LFO tied to the filter cutoff is your best bet. Make sure the LFO's phase is synced to the start of the note and try a variety of rates and phase positions until you come up with a suitable noise. Experiment using different wave shapes, LFO amounts and filter cutoff settings,and try further developing the sound with a little LFO based pulse modulation.

9- When using 'real' instrument samples or presets, it's important that they sit comfortably alongside your more processed sounds. If possible, create reverb and delay send effects so you can place all your sounds in the same virtual space. Along with good playing or sequencing, reverb can disguise synthesized reverb sounds. For an even more pronounced effect, try applying a reverb pre-fader soundscape style effects.

10- Make more sophisticated arpeggiator leads by applying frequency or pulse width modulation envelopes to the sound and varying the decaytime. High-pass work well with this style of sound. When filter sweeping the sound in or out, try automating another synth setting, such as one of the envelopes decay time or filter envelope amount. For a trancey sound, delay is a must, but don't make it too extreme or you may mask any chord changes.

11- Now days, most virtual analogue synths feature a massive amount of wave shapes for you to experiment with. Instead of using a sine wave, try a variety of different wave shapes and low-pass filter them to remove all but the lowest frequencies. This will give you a sub bass with more interest than a standard sine tone, which can be enhanced further with tube amplification and other effects.

12- A proper sub bass is all important when creating DnB tracks. In order to create the desired wall of sound effect, the bassline has to hit the low end of the frequency spectrum. The easiest way to create a sub bass is to use a sine wave with a very short attack time and quick release. Try using this sound to double the lead part, thereby adding beef, but remember to watch the levels, as you can have too much of a good thing.

13- Another classic DnB sound is that of the 'Reece' bassline, as used in Renegade Feat Ray keith's Terrorist. While it's unlikely you'll get in trouble for sampling this much loved tone, you can create your own version by layering up detuned square waves with a touch of low pass filtering. This can then be resampled and further processed to create your own fearsome basslines.

14- Another good way to keep the energy levels up on a switch is to introduce a kick drum roll underneath the main beat.

15- To create the familiar wah-bass effect you'll need a synth with a an oscillator set to a wave shape with at least a few harmonics (ie, not a sine or triange), filtered with a low pass filter. An LFO or, alternatively, a short attack and decay envelope, can control the cutoff of the filter. When using an envelope, the note must be retriggered quickly to create the undulating bass riff.

16- Variation can be added to wah-bass riffs by modulating the LFO speed or envelope amount via key-following, eg, the higher the note played on the keyboard, the quicker the LFO oscillates or the more envelope is applied to the filter cutoff. Try varying amounts of one or both of these techniques to create progressively more twisted bass flutters.

17- When adding overdrive effects to filters, try out the different distortion types available and experiment with varying amounts of your chosen effect. Using vast amounts of overdrive may sound menacing,but in the context of a track, less is often more. Try starting out with a small amount of distortion and increase the levels slowly until you reach the optimum settings for your sound. The key is experimentation!

18- Another parameter that requires judicious tweaking when creating distorted bass noises is resonance. While it's very tempting to crank everything up to the most ear bending levels, try to stick to subtler settings- the highest db filter won't necessarily sound the best. Experiment with a combination of filter types and resonance settings until you get just enough harshness to offset the, rumbling bass end.

19- If your using an LFO to create your wah-bass, there are a couple of options available to you. Syncing the LFO to the track is a convenient way of getting it to play in time, but you may find the flexibility of the LFO rate control is worth making use of instead. Try any alternative phase and shape settings to create a variety of sounds.

20- Try using your synth or samplers pitch envelope to automatically bend notes downward. Experiment with different attack, decay and level values, and additional LFO pitch modulation, to create some unusual effects. If your instrument is capable of it, try applying different pitch modulation settings to each voice for yet more twisted bass.

for more production tips and free software and audio samples visit http://computermusicman.blogspot.com

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Making Drum and Bass Beats

By admin, 2011-01-05
Making Drum and Bass Beats

Making drum and bass beats can be done. Read on and I will show you how.

Drum and bass also known as Dnb is a very popular type of music associated with rave. Rave music came on the scene in the early 1990's, coming from the UK scene. Rave music is known for its fast breakbeats with heavy bass, sub bass and drum beats. Over the last 10-15 years, other sounds have been added from other types of music to make a new style.

Making drum and bass beats

You have to set your tempo between 160 and 190 on your sequencer. This is the range you want it for making drum and bass beats. Now I will assume you will be using a 4/4 bar, you have to adjust your drum machine or sequencer to 16. That means when you do the 1-2-3-4 count to the beat it will be broken down into four pieces.

Adding a Bass and Drum sound

Now that you have the tempo set we are ready to go. You are going to start with a basic four bass pattern. This pattern needs to hit on the down beat. Add the snare in on every second and fourth beat. Now add your high hat beat. Set your high hat for every four bars. Put your bass in there and you are all set.

Making the final beat

It is very important to play around with the beats until you get a sound you like. Try listening to some of your favorite beats to get a feel for what you like and what your taste are. Once you have an idea of what your looking for recreate a beat with your own touches.

Pay close attention here

Read the next page to be making beats like a professional in no time. Click here

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Drum and Bass - Rave Music for a New Generation-Taylor P

Drum and Bass, also commonly know by the abbreviations D&B and DnB, is a genre of electronic music that with roots in British rave culture of the late 1980s and early 1990s. Early Drum & Bass of this period was often referred to as 'Jungle' and drew influences from a variety of other genres, such as Acid Techno, House, Dancehall, Reggae and Hardcore Techno.

Typical elements of Drum and Bass tracks are fast sampled breakbeats usually played between 160 and 190 BPM accompanied by heavy bass and sub bass synthesizer melodies. A commonly-used breakbeat used by Drum & Bass artists is known as the 'Amen Break' and is sampled from the funk song "Amen, Brother" by the Winston Brothers.

One of the earliest albums to exhibit the musical components associated with modern Drum and Bass tracks was the 1989 album "Radio Babylon," by Meat Beat Manifesto. Other prominent Drum and Bass bands and artists include Pendulum, Noisia, Black Sun Empire, Concord Dawn and Spor.

The cities of London and Bristol in the United Kingdom are often associated with Drum and Bass. Elsewhere, the genre is also popular in countries such as the Netherlands, Belgium and Germany. Jungle, and Drum & Bass began to gain popularity in North America as well starting in the mid 1990s.

As Drum & Bass started to incorporate fewer influences from genres such as Reggae and Dancehall, the term 'Jungle' became less commonplace to describe it. Drum & Bass producers who have completely shed the Reggae and Dancehall elements of early Jungle recordings in favor of more complex breakbeats and electronic rhythms have pioneered the Drum & Bass subgenres Techstep and Neurofunk, which also infuse elements from Industrial music and breakcore.

Taylor is a contributor at Alternative Electronics, the most comprehensive resource online for information about the equipment used in alternative electronic music, where you can also read more about popular drum and bass artists.

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Pendulum Essential Mix - A Hallmark in Drum and Bass Music: Peco Manuzi

Drum and Bass
has enjoyed a high level of popularity in the United Kingdom as well as in other parts of the world since the 1990s. For the uninitiated, this sub-genre of dance music integrates elements of Hip Hop, Dub and Techno that is often characterized by the heavy use of drums and bass as the name implies. BBC's Pendulum Essential Mix is one of the best compilations of the genre and this comes as no surprise. Pendulum Essential Mix is one of the products of BBC's popular Essential Mix radio show. Essential Mix has played a vital part in the history and development of dance music and many fans consider it as one of the institutions of the genre.

As the name implies, the Pendulum Essential Mix features music from the Australian Drum and Bass rock band Pendulum. The band was founded back in the year 2002 in Perth, Australia. The band's founders include Paul Harding, Gareth McGrillen and Rob Swire. Both McGillen and Swire were part of a popular rock band named Xygen while Harding was one of the best DJs in the country at that time. Since then, the band has produced popular hits like "Toxic Shock," "Voyager," "Back to you," and "Vault." Since their first release, the band has come a long way and some of their best tracks are included in this mix.

While this mix contains many of the band's popular tracks, it also contains a lot of Drum and Bass hits as well as tracks from other genres that the members of the band often listen to. The release includes tracks from other artists like Skepta, Silent Witness and Break, Shockone, Billy the Kilt & Dani L Mebius, Foals, Heist, Evol Intent, Rusko feat. Amber Coffman, Cyantific, Logistics, Klute, Black Sun Empire & Dkay, Ulterior Motive & Jubei, Chase and Statuse feat. Dizee Rascal, N.W.A, Crushington, Dr P, Gella, Flux Pavillion, Ben Verse and many others. Some of these artists have inspired Pendulum in one way or another and many of them influenced that band's development.

For people who are fans of Drum and Bass, getting the Pendulum Essential Mix is a no-brainer. This most recent mix from Pendulum is one of the best collections of dance music ever released and no dance music record collection is complete without this seminal collection. Both fans of the band as well as people who have never heard of them will definitely enjoy the tracks featured in this mix.

Download the Pendulum essential mix and many other drum and bass mixes on my blog for free.

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I don't know about you, but I love downloading the latest complete DJ sets to listen to while I'm on my way to work or at the gym. They are great because they are not individual mp3 files but rather multiple mp3 files mixed into one long mp3 track. Its great to listen to if you don't want to browse through your music on your mp3 player each time you want to listen to another song. You can just press play and listen to your complete DJ set without any interruptions. Most sets/mixes last from 30 minutes up to anything as long as 8 hours! This is why they are so convenient to listen to, just press play, sit back and enjoy.

Complete DJ sets are also a fantastic way to discover new music. A DJ is someone who blends two or more songs together to create a 'set' or 'mix'. So a DJ is in charge of what music goes into the sets they record and share on the internet. This is what makes listening to complete DJ sets so great. There is a good chance you will come across a few songs the DJ has included in their set that you have never heard before.

Most DJ's include a tracklist with their set/mix so you can always find the name and artist of a particular song you like and buy a copy for yourself. Did I forget to mention that you can listen and download these complete DJ sets for free. The biggest DJs in the world share their DJ mixes with fans all the time and amatuer DJs do the same. They never charge people for this, its a great way to showcase some of their own material or promote their record label/club night etc, or just because they love sharing great music with other people.

Peco is an avid DJ and member of http://www.beatplexity.com where he and many other DJs upload and shares their complete DJ sets for free.

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Tips For Mixing and Beat Matching Drum and Bass Music: Sterling Rogers

When you are mixing a good rule of thumb is not to overtax the sound system or clipping will occur or worse you might blow the sound system.

Clipping is when the music begins to distort or have a crackle sound and the sound cuts of and then on again.

When mixing something like drum and bass you want to keep the bass down on one track but not completely out. Give it just enough of the bass so you know it's there.

You want to do this so this because it makes for a cleaner transitions between songs. It also gives you some headroom to really give the house some boom when you cut it in on some 808 drops.

For those who don't know 808 drops come from the Roland 808 drum machine. This drum machine was a favorite among early Hiphop artists for its clean sounding drums.

The 808-drop is a kick drum that is extended over several seconds unlike a normal kick drum, which lasts about one second. It sounds like a low rumble. You want people to be able to feel the bass in their chests!

Also if you cut the bass all the way out it creates a nice high-end effect. The highs are a bit sharper it opens up the mix. Don't give the crowd too many highs because that can become irritating.

Be creative in your mix and don't be afraid to experiment. When it comes to mixing there is no right or wrong ways really.

It all depends on whether or not the crowd is feeling your music. They are the best source of feedback for your mix.

The 3 Steps you need to beat match 2 songs together.

Step 1

Now for this tutorial the turntable on your left we will call deck 1 and the turntable on your right we will call deck 2.

Deck 1 will have the record we will mix with deck 2. Deck 2 will be the play deck.

It will play the record that we will mix with deck 1. Start to play the record on deck 2.

Step 2

Now cue the record on deck 1 to a point that is several bars ahead of deck 2.

By cueing the record I mean placing the needle on the record at a point further in the song and holding it there with your finger. Put enough pressure on the record to hold it in place while allowing the platter to spin underneath.

Step 3

When the record on deck 2 reaches your cue point on deck 1 you want to release the record on deck 1 from its cue point so it plays in sync with the record on deck 2.

Keep practicing this exercise until you get both decks playing in sync.

What to do if you cannot get both records to play exactly at the same time when you are beat matching.

You may not get both records to play exactly at the same time. In this case you may have brought the record on deck 1 into the mix with the record on deck 2 a little slow and now the beats don't match.

If this is the case you can use your decks pitch control to fix this issue.

If your record on deck 1 is playing too slow increase its speed by using the pitch control on your deck until it starts to play in sync with the record on deck 2.

You may need to increase the pitch to the point where it is playing faster than the record on deck 2 and then decrease the pitch until it syncs with the record on deck 2.

If the record on deck 1 is playing faster than the record on deck 2 then you need to decrease the speed of the record on deck 1 with its pitch control until it is in sync with the record on deck 2.

Some times you need additional help with this exercise and to speed up the learning curve it is often helpful to see how beat matching is done.

Sterling is an article marketer and SEO enthusiast. He has been marketing online since 2003 in many disciplines. Visit his latest website which helps people decide which brands are the best brake pads such as the Ferodo brake pads.

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