?????? ??? House,Techno,Minimal. Analogue Electronic is stunning collection of cutting edge loops recorded from real analogue hardware. If you produce House, Techno, or Minimal you dont want to miss this. Heavy basslines and cutting synth leads a plenty.
When it comes to perfectly constructed sample packs 'The Minimax Tech Construktion Kit' takes first prize. The attention to detail and broad range of eclectic samples gives this tech construktion kit the ability to cross various genres including minimal tech, tech house and techno.
The Neptunes quietly emerged from Virginia Beach at the turn of the century and quickly became the hottest producers within the rap industry, then the entire pop music industry. The peerless duo began their ascendance in the late '90s with a few party-themed hits: Ol' Dirty Bastard's "Got My Money" (1999), Mystikal's "Shake Ya Ass" (2000), and Jay-Z's "I Wanna Love U" (2001). The Neptunes crossed over from rap to pop in 2001 and began producing tracks for the likes of Britney Spears ("I'm a Slave 4 U"), NSYNC ("Girlfriend"), and Usher ("U Don't Have to Call"). In addition to these pop stars, the duo continued producing hits for the biggest names in rap, working with everyone from LL Cool J ("Luv U Better") and Busta Rhymes ("Pass the Courvoisier") to Bow Wow ("Take Ya Home") and Nelly ("Hot in Herre"). Furthermore, the Neptunes began their own rap-rock group, N.E.R.D., and introduced another one, the Clipse. By this point, the duo -- Pharrell Williams and Chad Hugo -- had become the pop-rap industry's most demanded producers, on a par with other big-name producers like Dr. Dre and Timbaland, if not perhaps even supplanting them. Their debut album, Neptunes Present... Clones (2003), confirmed their across-the-board popularity, topping Billboard's album chart and moving roughly 250,000 units during its first week.
Bill Laswell reveals secret codes from the underground. Break the codes and reformulate this information into new transmissions for broadcast within your own music communication networks. Your new codes will transgress all known music types. The language of Bill Laswell is a musical Esperanto, an amalgam of cultures, subcultures, street cultures. Laswell's treatments of seemingly disparate musical information give equal power to the traditional and the experimental, the conventional and the exotic, the pure form and the strange hybrid. From this emerges a new confluence, a language of music perfectly suited for building original narratives in ACID.