With the likes of Digital Mystykz, Loefah and Skream it was always going to be heavy. The night started off with the sound system a little quiet, but as it rolled on the bass got heavier and heavier and the tunes got sicker. Finding myself in the middle of an absoultely rammed dancefloor, the vibe was off the hook. 

The set of the night undoubtedly went to Skream, whose tunes were so bass shakingly heavy, I found myself needing a piss for about an hour but not being able to tear myself away for a single second. The real surprise was the sheer variety of tunes, proving that Dubstep can as diverse a genre as Drum and Bass. In the middle of the set I found myself entrenched in a head banging moshpit of sweat, with the lighter crew out in force.

Big props to Mr Lager and Alys Blaze, who had one of their tunes dropped with a rewind. Selctaaaa.

With grime, drum and bass, and hip hop influences there was enough variety to satisfy everyone without compramising on any quality, or more importantly Bass, there was no attitude from anyone, it was all love.

By 6am it was time to get booted out, I think its fair to say if you love Dubstep, get yourself down to the next night. If youve never heard Dubstep on a massive system, this is the place to do it. This night touched me in a way not even Micheael Jackson with small boys could be capeable of.

Overall verdict? unmissable

It seems that the margins in which a person is labelled a criminal are getting smaller and smaller. In Orwell’s’ 1984, he painted a portrait of a society that was watched over and moderated by authoritarian forces. Although at the time this represented an exaggeration of a view of society, years on the comparisons seem less far fetched. We are being made to fear a shadowy world where even your neighbour could be a potential threat, but does this world really exist to the extent that the press and government would have us believe? Are all these measures in their scope really necessary for our protection?

Newspapers like the Daily Mail are feeding into a distorted hysteria, portraying sections of society as the scapegoats of wider national problems. Their definition of people who are criminals is ever expanding, to now include Graffiti artists, people from minority backgrounds, and even a load of people standing muddy in a field, who just want to listen to music. The red tape is being bound so tight it now feels like an ever increasing struggle to breathe.

Labour’s prevailing legacy (apart from war with Iraq and Afghanistan) is their tightening up of anti-social behaviour legislation. In 2003, the Anti-Social Behaviour (ASB) Act was passed. Championed by David Blunkett it strengthened existing laws. The act contained new measures of control, first on the hit list seemed to be Graffiti artists. Under 16’s were no longer allowed to purchase spray paint aerosols and councils were given new powers to order the removal of graffiti from private, yes private, premises even when it had been authorised.

Next on the hit list unsurprisingly were free parties, with a new zero tolerance approach. In 2004, the Act was amended, so that the number of people required to constitute a public assembly was reduced from 20 to 2. With breathtaking hypocrisy, this completely defies the European convention on human rights (ECHR), article 11 of which states that “everyone has the right to peaceful assembly, and the freedom to associate with others”. The convention goes further also stating that “everyone has the right to freedom of expression…without interference by public authority”.  In a statement issued by Blunkett, required of him from the convention, he stated that in his view “the provisions of the ASB Act are compatible with the ECHR”

Pirate radio stations are not escaping either. Currently there are about 150 in the country, most of which are centred round London. Last year there were approximately 150 seizures, and 2005 saw the launch of Operation Leopard (at taxpayers expense) where the police launched massive raids all over London to seize broadcasting material. Yet research from Ofcom, the office of communication, has found some interesting if not predictable findings. It found that 16% of the whole population of London listened to pirate for it’s unique music content that could be found nowhere else. In another report it was found that communities actually felt that pirate was an important medium for the “development and promotion of grass- roots talent”, and also important to give minority groups a voice. Of course pirate does have its issues, such as interfering with the signal of licensed radio stations, but surely a measured approach needs to be taken, against those that organise it.

There’s also the contentious issue of licensing music performances. On paper I can see why the Performing rights society want payment for the broadcasting of their music, but cases have come to light that show how the line has become blurred. One such example was a bike repair shop that played music in their workshop. Sometimes customers came into the workshop, in which case the owner insisted it was turned off. The owner then received a letter from the performing rights society, telling him that the music was to go off permanently, unless he paid £85 license fee, as playing tunes in the workshop constituted a public broadcast, and as such, had to be licensed.

In another case the owner of a record shop played tunes in the background for customers (as was the case with all record shops before most got squeezed out the market through exorbitant rent) He was also told unless he coughed up money, the playing of music was illegal and had to be switched off- despite the fact the owner argued that it was free promotion for the artists, because he sold their music. To add to the madness those who get caught breaking this rule can receive a maximum of £20,000 fine and six months in prison. Even charities are no longer safe; performances that are raising money for a good cause must also pay the licence fee.

To add to the blurring of human rights Ministers are currently considering plans to hold a database of electronic information. In this database will be very single phone call made in the UK and also every email that has been sent. Service providers, will then pass on the information for the government to scrutinise. A report from Richard Thomas, the information commissioner stated that in his opinion, by enforcing such big brother measures we are committing “slow social suicide” as mistrust is built up between communities and the fragile trust between government and society is eroded.

The big brother analogy is one seems increasingly relevant. The introduction of loudspeakers in town centres that bark orders at you, should you drop a piece of litter, smacks of the nanny state gone mad. Of course no-one is arguing that for social cohesion we do not need to control anti-social behaviour, of course we do, but to treat people like they are small children again is a regressive step.

Our right to free speech and action seems to be increasingly under threat, thanks to post 9/11 and 7/7 paranoia. There has been a whole raft of new legislation that has hurriedly been ushered into place to restrict people’s opinions and right to free speech. Norm Chomsky summed up the principals of democracy when he stated that “if you believe in the freedom of free speech, you believe in freedom of speech for views you don’t like”.

So now more than ever we must see the red tape that binds us, and fight for resistance, through music, creativity and art, no matter what the cost. In the words of a Zen proverb, ‘better to live one day as a tiger than a thousand years as a sheep’.

Of those who do get a record deal, roughly only 3% will make it past their first record without being dropped. Record companies usually want roughly a ten percent cut of the profits, and some now are requiring money from the sales of other revenue, such as merchandising, to cover their own costs. All this comes on the back of some high profile cases of artists suing their record companies over unpaid royalties. There is a lot to be said for artistic independence in the industry. Some mainstream record companies use the monopoly they have of the market, to mould it for their own purposes, to maximise the profit they make. To appeal to as many people as possible, mainstream labels promote middle of the road monotony, to maximise profit. From the late 80’s onwards many of them started to take more control of artists, managing their image, budget and their creative input, creating a stagnant and homogenized mainstream market. Therefore a certain amount of independence is vital, to balance the health of the music scene.

However powerful they seem, record labels are only marketing men. They do not make music, they only sell the artist as a brand. So a small amount of promotional knowledge, (and of course talent) can be all that’s needed. Currently major labels are tightening their belts with who they sign, due to economic recession, free downloads from the internet, and because of free music sites like Virb and Last fm. As a result, this has impacted record company profits, and the former control they had over the industry is declining. Self promotion can mean that often the manufacturer, distributer and retailer element can be cut out altogether, thereby making it a more cost effective option for unsigned artists to follow.

In 2005, Sway was one of the first artists to win a MOBO unsigned. It was one of the industries first nods to the uprising of the underground, and the power of artists who are increasingly making music unsigned. He distributed his music through independent shops and gained a strong following from there onwards. This showed that musicians can take on record labels, and achieve their success independently. Disillusioned established artists, are also breaking free of the bonds of conventional labels, to do their own thing, empowering themselves to maximise their artistic control, and profits. TY, who was with Big Dada is one such artist. Now he is managing himself independently from home to give himself this freedom.

Staying away from set labels has created an explosion in the variety and styles of music available to listen to all over the world. Previously, a small number of big selling artists would be promoted by major labels to make money, but with the internet as the ultimate tool of promotion, this has now enabled not just UK hip hop artists, but people all over the world to become successful.

New York producer, and rapper Aesop Rock, is unique because he has embraced this approach. Making music for ten years he produced five albums, all without the support of a major label, getting props from the underground and the respect of people in the industry. Visionary producers such as this are the proof that with persistence, anything can be achieved. In response to the new wave of producers who are doing their own thing, the internet has responded with sites that are dedicated to looking after people who are not signed to a label. Sites like AWOL (Artists without a label) help musicians to manage themselves. Their ethos is to treat artists fairly and help them to retain full artistic control.

Now seems a better time than ever for people to release material and promote themselves, this is not to say that the role of labels has become obsolete. For some, this traditional approach will be the key, as self reliance, and promotion does have its drawbacks- limited funding being one of them. But the rules of the game are changing, and now it is down to the labels themselves to reinvent their outdated approach when dealing with new artists.

“Of course it is, it seems that a large percentage of those under 40 think it’s ‘cool’ to be ‘bad’. This is because ‘urban culture’ - the euphemism for western black culture - has been promoted by a political/cultural elite in politics/education and in the entertainment industry. It is a political/cultural orthodoxy which negates white european ethnic and cultural identity. Thus, those who are most susceptible to this cultural domination - the young, poor, uneducated (but not always so, by any means - think of the cultural ‘movers and shakers’ in the media) take on this identity in the absence of their own being given ‘respect’. You’ll find most of the perpetrators of ‘bad’ behaviour and attitude walking and talking like ‘dey is black’. Nah wot ah mean!”

Maybe I missed something but since when was urban culture, a euphanism for black culture? and clearly, If you are poor, of course you are subject to cultural domination.

What a load of shit. I wish people would consider the argument and not look at things in such a blinkered way. People are entitled to their opinions dont get me wrong, but not when the foundations of their arguments are based on total rubbish, or just assumptions about massive swathes of society.

Maybe it never occurred to some, that people use their own brain, and make their own choice when picking up a knife, to blame it on music is a tired scapegoat for other problems in society.

Music has created the soundtrack to our lives. Whether rich or poor, it has been a tool that people the world over have used to express emotion, or to spread a political message. It is as natural as breathing, or the sunrise. Nature itself creates rhythms, it is a force that is unstoppable, and all the more beautiful because it can capture emotion in its notes. It is as diverse as the people that create it, and its power is something that we have been expressing for civilizations, in times of war and peace.

People for centuries have using been music not only to create something beautiful and unique, but as a way of expressing a political opinion or a form of protest, against racism, oppressive regimes, or social injustice. The condition of human experience, has a direct link to the type of music produced. In the sixties African American artists were calling for social change, and greater equality of rights, shown in music that was being produced, by artists such as James Brown. In the seventies, as well as being one of the most influential singer songwriters of our time, Bob Marley, was a vocal advocate of black power, and called for peace in his songs, at a time when there was violent struggle and upheaval in the Jamaican political system. The music that was being produced, was as important a part of the movement, as the political speeches and changes that were taking place at the time.

Music is such a powerful force, that governments the world over, often ban music that portrays them in a light that goes against the propaganda spin that they portray. In staunchly communist North Korea, the singer Ji Hae Nam was imprisoned for three years, and tortured for singing a song that was South Korean. All music in North Korea must be government approved, and singing the praises of communism, or it is deemed unpatriotic and punished.

The long, ongoing struggle in Tibet, for recognition of indigenous rights of its people, has produced some powerful and evocative musical results. With most forms of freedom of expression suppressed by the Chinese authorities, music remains a powerful symbol of solidarity and unity. In Tibetan society, music plays an important role, because other forms of communication are so tightly regulated. To the extent, that people embarking from international flights, have the content of any CD’s checked by the authorities as they arrive. Therefore the presence of music as a form of resistance, continues to be a vital step in what the Dalai Lama advocates as ‘non violent’ resistance.

There are some inspiring examples across the world of people using music as a tool, not only for peaceful protest, but also as a way of bringing together societies that are fractured. Radio all for peace, is one such example, a jointly run Palestinian and Israeli radio show. Its aims, are to create positive working relationships between the two sides, thereby promoting harmony, and trust. Through the use of interviews, jointly run projects, and discussion of common interests they aim to break the stereotypes that each side has of each other, and open up honest and frank dialogue. In such a politically divided part of the world, the importance of projects such as these cannot be underestimated, as no damaged relationships can be start to be repaired without open communication. Of course there is a long way to go, but examples such as these truly inspire hope.

Make Music Not War, is another online based organisation that uses music as a tool for interracial dialogue, to show the injustice of oppressive regimes to the outside world. Their view is that music is a universal tool for truth and hope, that speaks across all cultures and faiths. The diversity of music from all different corners of the world, reflects these attitudes.

The regime of President Mugabe has achieved many things. Hyperinflation, mass unemployment, the erosion of human rights, starvation of millions of Zimbabweans, the list goes on.. As journalists, and anyone who criticises the regime, are banned from Zimbabwe, people are taking matters into their own hands. Viomak, a UK based Zimbabwean protest singer, has just taken action one step further, by launching an online, protest radio. The message is clear, if the opinions of people are stifled, they will find another way to make their voice heard. With a potential audience of the whole world, online radio provides a perfect platform, for this. In between songs, political speeches and opinions are aired, making this project a perfect combination of song, and political dialogue.

Music has been, and always will be, a powerful indicator of the strength and enduring nature of the human spirit. When human rights are violated, and people are denied the right to live in a free and just society, then music will always be a peaceful form of resistance. Because music can convey emotion, and contemplation in its lyrics, its use is not just something that is aurally beautiful to listen to. It can be a powerful political tool also. We must encourage forward thinking projects, that use music, as a way of creating social cohesion, for the benefit of our society, and also the world beyond our window.

Location: The Tunnel, Leake Sreet, London, SE1 7NN
Nearest tube: Waterloo, Tax: £3.00
Runs until: September 30th

Check The Cans Festival website for more info.

In the first commission to use the building’s iconic river façade, and the first major public museum display of street art in London, Tate Modern presents the work of six internationally acclaimed artists whose work is intricately linked to the urban environment:

Blu from Bologna, Italy; the artist collective Faile from New York, USA; JR from Paris, France; Nunca and Os Gêmeos, both from São Paulo, Brazil and Sixeart from Barcelona, Spain.

For more details, check it out for yourself on the Tate Modern website.

There is a wave of fresh new producers on the scene, as access to software and equipment has become easier, and more affordable than ever. Home studios, have now overtaken the presence of the traditional recording studio, bringing a greater variety of styles to the scene. These new school producers, are as diverse in style, as the equipment they use to produce their music. They are not afraid to embrace different approaches to music production, mixing a blend of new and old technology, to achieve the sounds they want. This has given Oxfordshire music a strong national presence, and credibility.

Historically, the underground scene has always been extremely strong in Oxford, with unsigned artists being well received and listened to as much as those who are established. This tradition, is one that looks set to continue. Thanks to the formulation of new nights, and social channels, such as Feel The Bass, as well as the free party scene. Free parties continue to be a great place for producers to test their tunes, in a technical sense, and also to gauge an unbiased response to their music.

In this article we showcase a range of Oxfordshire based producers. Covering a range of styles, from experimental electronica, to organic drums and bass. We asked them for their opinions on the scene, and take a closer look at their achievements so far, and their tips for studio success.

What are your names and artist names?

Tom (Necho/Dyslogic), Phil M (Phillbee), James M (Rough Quest), Alex Hope (lqdbeats), Myles, Pete and Dano (Jazz Thieves) and David May (Overcast).

What are you about musically, what kind of music do you make and what other music related projects have/or will you be involved in?

Necho/Dyslogic: Don’t know any more - used to have some idea… everything I do is heavily DUB-influenced. I like SPACE and 3d soundscapes… I like found sound and weird crackly noise… feedback loops and lots of SUB… My remix stuff is a kind of tribal electronic space dub and my original stuff is sounding very dubsteppy these days… but dubstep with SPACE… Some of my older stuff has a bit of a wonky bluesy feel… I used to play synths in a band but I wasn’t very good and my sounds weren’t really compatible…

Phillbe: I’m all about DNB hard and heavy man… I try and be as original as I can. I’m going to be working on a little collab with Marakumo from TwistedBeatz soon and am trying to get a few parties up and running in Bicester. I moved to Oxford when I was 17, was involved in the DNB scene there from the early days (from about ‘91 onwards). I was a resident at Exodus Sound System for a couple of years and a regular on the Oxford rave circuit. I moved away for a few years but have been living in Bicester for around 6 years now and been producing music for around 2 years.

Rough Quest: I like to dabble in making drum n bass and other more harder stuff, but I really do love to make ambient grooves and generally more down-tempo stuff. I think I enjoy the slower tempo more as it allows me to develop my grooves and I find it gives me a lot more space to get all the little details in there. I’m trying to get myself more involved in what’s going on here in Oxfordshire. There’s interesting stuff, but I find you have to look a bit harder for it.

Lqdbeats: Musically I like quite a wide range of stuff. From composers such as Dvorak and Bach, to Foo Fighters to Justice to drum and bass, breaks and electro. I used to play cello and did A level music and have played in orchestras and metal bands! The music I tend to make usually veers to drum and bass BPM and tends to be on the liquid/intelligent/atmospheric side of things. I don’t intentionally set out to go in that direction, just seems to happen! I also enjoy making breaks, electro and ambient stuff, wherever the tune goes really! In terms of other music projects I’ve re-mixed a tune by a lad called Dirty Barry and am in the process of re-mixing ‘breakaway’ by DJ Priors and Dirty Barry. I’ve also got some collaborations hopefully coming together this year with some producers I’ve ‘met’ through MySpace. Previous projects are a little embarrassing, teenage angst, death metal band, you get the picture… ha ha!!!

Jazz Thieves: We produce jazz, funk influenced drum and bass on a different level and a majority of the time feature vocalists, mainly from the Oxford area also. Individually we have worked on many genres of drum and bass over the years, and more recently on breaks, hip hop and a little R&B also.

Overcast: We currently make Progressive House and Progressive Breaks. Both of us have been heavily involved in the D&B scene in the past, and will be looking at producing D&B again in the future, but right now house music is where its at. I’ve performed on Radio 1 and 1xtra as well as many smaller stations. Although I’m no longer living in Oxford, my family still do, so I’m around quite a bit. As well as Drum & Bass, I’m heavily into house music, which is how the Overcast project came about.

What hardware/software do you lot use? And which is your favourite?

Necho/Dyslogic: Reaktor, Absynth, Kontakt, Live, Logic, a Mac Pro computer, UAD-1e, M-Audio FW410 (gonna ditch it as soon as I have some cash), crappy monitors, little keyboard, 1976 Fender Precision Bass and a Gordon Smith GS-2 guitar.

Phillbe: I use Cubase, alot of VST plug-ins like CamelPhat. I also use WaveLab and a little known sequencer called Tunafish.

Rough Quest: iMac, KRK r6 monitors, Shure SM58 microphone, Ableton Live 7, Reason 3, Absynth 4, Kontakt 2, Predator, V-Station, Dubstation (one of my favourites), VintageWarmer and a few controllers.

Lqdbeats: I use predominately software for my production, although I have a Yamaha CS1X, which is my only real piece of hardware. I bought this before I got a computer and software. It was a good starting point really as I learnt (through trial and error!) how to layer up sounds and what advance, decay, release and sustain do! Now it’s mostly used as a control synth, although I also use a M-audio Oxygen8 as a control surface. I run Reason 4, ReCycle and Audacity on my Mac PowerBook. I cut my teeth on Reason 2.5 and have been using it ever since.

Jazz Thieves: Lynx Aurora, Neve Vintage Pre-Amps, Folcrom Summing box, Toft eq/pre/compressor, Thermionic Culture Valve compressor, Kontact 3, Nuendo, plugins etc etc

Overcast: For software I use Cubase SX3 and Renoise for sequencing, various VST plugins - current favourites are Surge, Kontakt and Nexus. As for hardware I use Virus TI, Nord Lead 1 and 2, Roland JP8080, Motu Traveler, RME Fireface 800 and a Korg Trinity Plus with the Prophecy Card.

Have you had any success with your music (outside of the bedroom/studio) so far? Any advice on how to get heard?

Necho/Dyslogic: I’ve had a release or two here and there - mainly remixes… played Glade 2006 with my old band, had a tune played out by IDSpiral DJs at a few festivals. and got Seb Taylor from Kaya Project/Digitalis to play guitar on one of my tracks… Still haven’t found my groove as a solo geek yet though, better at producing other peoples ideas, really… Did a remix - the original artist’s label handled the rest… Used MySpace to find like-minded DJ-types/musicians and did collaborations.

Phillbe: Yeah, I’ve had a release on Darkland Recordings and an EP on TwistedNoize, which was well received. Also got a new one coming out on TwistedNoize Platinum called Switchbac. As far as airplay goes, a lot of my tunes are on heavy rotation on internet radio and also have had DJ support from Crissy Criss on 1xtra, Dr Slecta on Twisted and from DJ Rocksteady in London. Apparently someone played Switchbac at Herbal the other week! …It all happened really through MySpace and just hitting people up with my tunes via AIM. Also, hitting a lot of Internet labels and other labels and basically keeping my fingers crossed.

Rough Quest: Apart from having one tune featured in Computer Music, not much else. I’ve had a tune played in Turnmills in London, but it ended up being a tune I’d made that I didn’t really like to much! Though I haven’t done too much, I think the key is about networking really. Just chatting to people, getting to know them (either face to face or virtually) and finding opportunities to get your foot in.

Lqdbeats: I haven’t had any success so far as getting any tunes played in a club or on radio or being signed goes. I’ve had some pretty decent responses from people through MySpace… That’s about it so far!

Jazz Thieves: Yes, we were featured on one of Bryan Gee’s Liquid V mix CD compilations hosted by Artificial Intelligence in 2006 and we’ve also had a stream of releases on our own label, Pushin’ Wax Recordings since. Not to mention other releases on Keynote Recordings based in Reading, here in the UK. Meeting people and other artists in the scene, globally, in your own front room, by means of networking on AIM was a massive help on getting heard. We’ve also received continued support from many people on MySpace, however, over the years we have met many different people with links in one way or another. As for tips, today, we’d suggest hitting people up on MySpace & Dog On Acid etc - much like we did - and request their AIM addresses etc. It’s the only convenient and fastest way to go… beware though, it can get addictive!

Overcast: We’ve both had a number of releases under previous guises (Rareform/Blunt). Dave is a well-established D&B MC (Manikular). The Rareform project allowed David to tour with a live act and also work with established D&B names such as Total Science, Spirit and Simon Bassline Smith. He also had work used on television and films including a track on Eastenders! We did it the usual way really, identifying labels that are pushing the sound of music we’re writing and then sending them links to check out our tunes online/CDs. Make sure your demo is actually good - be very self critical. First impressions count and if the first tune you send out is rubbish then a label is unlikely to listen to any more. Get some web space as well and upload your tracks to it - it’s a much more convenient way to send out demos and you can always send out a CD if they ask for one.

Do you have any tips for fellow producers?

Necho/Dyslogic: Dunno really - just keep plugging away… get a set of tools you like and learn them inside out. Buying/pirating new stuff all the time won’t help you write better music. Doesn’t matter how many knobs you have to twiddle - if you can’t make good sounds/don’t know what you want to write - you won’t make good tunes. Avoid using too many loops - loops kill inspiration unless you keep mangling them up. DON’T use sample CDs - they’re shit. Make your own sounds. Try making tunes using only 4 tracks. All the kit you use is just a SET OF TOOLS - its your brain that is the important thing - Burial did both his albums using only Soundforge on a shitty PC - no MIDI. (But try to get some decent monitors and place them correctly). Learn to compress and EQ properly. Don’t use presets unless you’re going to fuck with them completely (there’s nothing wrong with using them per se - its just that you won’t learn to program synths properly if you rely on them). COLLABORATE! REMIX! Don’t spend too long on your own… you need other people’s input/comments/encouragement or you’ll just become convinced that everything you do is shite. I could go on….

Phillbe: BE ORIGINAL! No one is gonna listen or sign you if you just a sound like everyone else. Get yourself a specific sound and just work on it. Also, samples are key… the cleanest sounds you can get - always makes for better music.

Rough Quest: Really get to know your compressors. Though I’m no expert, I’ve been finding out more and more as I experiment with different ones. What they actually do to sound, how different ones have different affects etc. etc. You can really be quite creative with them. Also, always experiment with different genres and tempos - especially tempo. It’s amazing how a song can just ‘make sense’ when you hit the right tempo for it. Be open minded generally and keep experimenting with different things… I’ve made lots of wicked sounds out of just a mic and a delay plugin!

Lqdbeats: I think the best tip I can give is just go with what you think sounds good. Don’t stress or force the issue/idea if you’re having a creative block. Come back to it another

time. There have been (and will be) plenty of times where I’ve reached a point where I can’t seem to get any further. I’ve come back to tunes, days/weeks/months/years(!) when I’ve been inspired by a sound or sample I’ve found, or just with fresh ears. It’s crazy how one sound can make everything else fall into place or just listening with fresh ears can give you the idea to finish a tune.

Jazz Thieves: On a mixing level make sure there is a high pass EQ filter on each sound, removing any hum and unwanted frequencies. Also if using a sequencer with various ‘workspaces’ - set one up with your analyser, so any time you want to look at it, you just hit ‘Alt F1′ or whatever - this is a great time saver! With writing beats, its good to have a default song set up with loads of breaks on different channels that you keep adding to, all timed up. Then you can mess with muting in or out different breaks to get a new feel. With bass, obviously separating up the frequencies, and make sure its got a groove! A lot of our tunes have just copied bass lines from classic funk/jazz records but used with new instrumentation, which is a sure fire method of using tried and tested bass lines and re-introducing them to a new generation. On a more practical level, its a good idea to carry an iPod about with your tracks on and any time you are analysing tracks away from studio, write down all the issues you hear. This is a really objective way to analyse. Then, next time you load up, you can just reel off your list of issues and not have to think too hard about what to do!

Overcast: Most important is to make sure your samples are good in the first place. Read production boards etc on the Internet, as there is a wealth of information out there - and don’t be afraid to experiment! A lot of our best sounds come from when we just try something stupid in the studio - 9 times out of 10 it will sound crap, but it’s that other 1 time when you come up with something amazing that makes it all worthwhile. And don’t forget, it’s all about the detail! Finally, subtractive EQ is the way forward.

• Phillbee: www.myspace.com/philbeetunez
• Rough Quest: www.myspace.com/roughquest
• Lqdbeats: www.myspace.com/lqdbeats
• Jazz Thieves: www.myspace.com/jazzthievesuk
• Overcast: www.overcastmusic.info

Thank you to everyone involved for this article. Hope you readers can learn a little from these guys and hopefully be opened up to what is going on in Oxfordshire!

Introduction written by Ella Dickenson. Complied and edited by James Morris