issue 114 · 2026-10-30 · for people who make house

The BCCO rumble is MIDI and delay, not reverb

The BCCO-style walkthrough is here, and the part worth stealing is how the rumble stays tight at tempo. If your loop only works once the hard-groove loops are on top, the real fix is further down in the low end.

◆ start here

▶ Your loop has to work before the hard-groove loops go on

Fast techno mud is a low-end problem: the rumble here is built from MIDI notes and delay-fed 16ths, not a reverb wash, so it stays tight. The kick-tail shortening in Simpler and the sub-cut order are the moves worth copying.

◢ learn

▶ A one-knob compressor built from stock racks

Map threshold, ratio, knee and Saturator drive to a single macro, cap the range, and invert it so turning up means more compression. The presenter trips over two details: .adg is the rack preset, and racks max out at 8 macros.

▶ A parallel synth layer for Move that leaves stock firmware alone

Move's own behavior stays intact; you long-press a track to reach the Schwung slot view and route MIDI by channel number. Back up your sets first — it's a hack, and the empty sampler preset is how you silence Move's native voice so only Schwung sounds.

◢ free & gear

Drop an unprotected Kontakt file in and it converts to a sampler bundle(free)

Free, with real limits: only unprotected Kontakt .nki files import, and scripts don't transfer. The Auto Sampler in the standalone app is the payoff — it plays and records your hardware patch note by note, trims silence, finds loops, and maps velocity layers.

2 min read · grab it →

A sampled acoustic marimba where the mallet hit softens with one fader(free)

Stereo-sampled acoustic marimba, four articulations free, only Roll behind the $4.99 upgrade. The Attack fader softens the mallet; download asks for an email and subscribes you.

2 min read · grab it →

◢ the word

Bleed as loud as the vocal, removed by content not level

$79, built for stem-separation leakage, not live room bleed. The Residual solo control is how you audition what it removes — breaths, consonants, note tails — and back off before losing detail.

3 min read · read →

Hundreds of spectral filters that pull down resonances instead of static notches

$79. Quance runs fast self-adjusting filters across up to eight Focus Points, with six detector modes for different source material. Delta monitoring lets you hear only what's being cut, which is the fastest way to sanity-check it.

3 min read · read →

Time-stretched nappies become pitched percussive bonks

Matthew Herbert's new project is a free download on Accidental with an honour-system request to donate to a food bank and write to your MP. The craft is worth stealing: stretch found-source recordings into pitched, percussive textures, build pockets of satisfaction, then deliberately erode them.

5 min read · read →
♫ In Rotation
 
Luch — AZYBU
— LarryLuxe's pick
📊 The Charts
 
▲ #03 Stanny Abram, D-SOUNDS — Fire in my Veins (Original Mix)
▲ 4 · 7d · ▶ hear · profile →
▼ #05 Larry La Birt, Corey Holmes — It's All About The Love For You
▼ 3 · 7d · ▶ hear · profile →
▼ #94 MistaJam — Born To Be Free Feat. Carla Monroe (Extended Mix)
▼ 80 · 1d · ▶ hear
▼ #90 Milo Passier — Hold On (Original Mix)
▼ 66 · 1d · ▶ hear
▲ #28 DJ Erv — Levitate
back on · profile →
🏛 Blast from the Past
 
The Bucketheads — The Bomb! (These Sounds Fall Into My Mind) (1995) · mid-'90s
The Bomb! is a single, untouchable disco loop stretched into a house anthem. It proved you don't need more than a perfect sample, a kick drum, and one long filter sweep to destroy a room. That economy of magic still works if you trust the source material.
  • sample: Chicago — Street Player (1979) — A 4‑bar loop lifted from the bridge of Chicago's 1979 track 'Street Player' — the unison horn stabs, strings, and the chopped 'street player' shout. Kenny Dope pitched it up a couple of semitones and let the loop carry the entire song. No extra synths, no chord changes; the loop is the record.
  • technique: Classic MPC low‑pass filter sweep — The loop was sampled straight off vinyl into an Akai MPC (likely an MPC60 or MPC3000 II) and truncated tight. The only processing was the MPC's own resonant low‑pass filter. A slow, manual sweep of the cutoff knob — from heavily muffled to wide open — builds tension across the intro, then slams the full brightness in exactly when the first kick hits. It’s a masterclass in arranging with nothing but filter motion.
  • artist: Kenny 'Dope' Gonzalez (The Bucketheads) — Kenny 'Dope' Gonzalez, already a house giant as one‑half of Masters At Work, used the Bucketheads alias to get raw. The goal was a simple disco edit that felt like summer in New York — a beat, a sample, and zero fat. That discipline is why this still sounds urgent.
house lore — widely credited by producers, not a sourced claim

🔮 Producer Horoscope (for fun) — Your kick will sit perfectly for exactly four bars, then ask for a different sample.

Go make something rude.

one of these lands every morning.

for working house producers with a track already half-finished.

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covered in this issue: codwaves quance