layering with panning is really helpful here, as well, and offsetting the layers by a few milliseconds can fatten stuff up (the snare in 'all i need' is sort of an example of this, as it sounds like it's two snares hard-panned left and right). once you start to build up enough of these you get a pretty wild sound going. it sounds like sometimes these guys aren't even using breaks necessarily - just finding cool beats (with the entire tune still playing) and eq'ing out some of the bottom and then applying all sorts of effects so that they aren't quite as recognizable. I would try finding some interesting breaks and cutting them down to just a bar or less and looping them in-between the regular beats, just messing with it until you find something that's interesting alongside the rest of your tune. i think like 3 minutes into 'recoiled' is a good example of this, where there is just so much shit going on, but if you break it down into its individual elements, it starts to be a little more manageable. i know flylo likes to fill his tunes with all sorts of extra, unquantized percussions and one-off sounds, which can help with stereo image (having elements not hitting at the precise beat divisions as the rest of your instruments can go a long way in making a groove work and filling out the entire soundscape, and to me, it's a huge part of flylo's sound). just cutting up a fairly common sample and pitching it way up or down can lead to some really interesting results, which i think is the case with some of this stuff. I can't really offer specifics but both of these guys base a lot of their tunes on straight-up sampling and manipulation. The reverbs in this are wild, and there's the distorted bass againĪlso, any ideas what kind of drum samples these guys are using? the gritty (maybe lowpassed ?) ones? The bass in motivation is distorted and so delicious, any ideas? The hats in this song seem to phase with time, what the hell is he doing with them? with the beat and i have no idea how they pull it off. like sometimes they perfectly pan delays/reverbs that seem to sweep from left to right, etc.

they aren't just panning shit left and right, the whole stereo image seems alive and breathing. The two producers have this insane talent of designing the trippiest stereo images. it sounds heavily compressed but perfectly natural at the same time. clams casino and flying lotus have this compressed, sidechained, lofi, gritty sound that i can't figure out how to pull off for the life of me. So i know it's not dubstep but i figured you guys would have some input about two of the strangest hip hop producers out now and their production techniques.

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