Novation Launchpad as a Monome Tutorial

Today, I figured out how to use my launchpad like a monome for free. This tutorial may not be the best because I wrote it as I was slowly figuring it all out....but, follow these steps, and it should all work. You should download these 4 programs to get this all to work properly, but in the end, I only use program number 3 when using the monome. Basically, I just made the connection with MAX RUNTIME once, and it worked after that.

4 programs -

1 "MAX Runtime"

2. "Polygome"

3. "Polygome OSX (special)" (click the download Polygome OSX link)

4. "Nonome Manual"


Now to be totally honest, I didnt 100% understand this process...but I know after doing it it worked. Basically, install everything. I dont understand exactly why I need to have MAX runtime running at the same time, but after I did it all ONCE, it worked without running programs 1, and 2. I only use Polygome OSX (program 3) from here on.

Please read the manual for set up. I wont go over that part. (also, in the manual, skip part 6, 7 about routing via MAX). It was useless for me.

Also, after reading the manual...it doesnt clearly state which file you should open with MAX. It is in the folder polygome_v0.98/polygome64v98/_polygome64.maxpat

(again, I only loaded this once, and then shut it down after that)

What I recomend is shutting down both programs now that you have them set up, and only open up the file "nonome-launchpad-poly-osx". The monome works fine for me after this step.

Now to first set up your routing. Lets do 2 things here. Lets start by getting into ableton and make sure your ins and outs are set up right. Lets look at the one input called "from nonome launchpad poly osx 1" Turn on track and remote.

This now enables you to output your monome to it.


Now, lets go back to the nonome program and set the destination output to that same input. In the top right corner where it says MIDI OUTPUT, SELECT that same Poly Osx 1 output (same as you just did in ableton to the inputs). Like this -


Now, if all that is set up well, you should have a connection. Now go within your ableton session view, and toss in a new midi track with an instrument you like. Go into the track routing section and select that SAME poly Osx 1 as your input like this -


Now, as long as your NONOME PROGRAM has its clock sync set to INTERNAL, and the little box is clicked...you should be getting sounds out of your launchpad in USER 2 mode. (remember to push user 2 mode 2ce to get the other options as described in the manual)

Also remember that the top row of buttons (top of the 8x8 grid buttons, not the preset buttons) lets you change the different sequence of the monome. So if you are wondering why nothing is changing, just push one of those 8 buttons, and it will change the sequence.

Now, this is all good, but we have one more problem. We need to SYNC the time in ableton to match the monome, instead of using the internal source....after all, we want the tempo to match ableton.

What you want to do first is to go into your AUDIO MIDI preferences in your mac. Open up midi preferences. Double click the IAC button to make a new midi bus. Name it. Mine is called "Monome Bus I made". Make sure to click the little box that says "Device is online". Now you have a midi bus to send your clock source out on.


Next, we need to go into ableton to enable that source. Go to the midi sync tab in ableton preferences and you will now see that bus you just created in the INPUT/OUTPUT section. Click the SYNC button next to the new IAC Bus you made (under OUTPUT). (you may also click TRACK like I did, but you dont have to, this is for another reason).


Now you have a bus that is sending out your clock time. Now, you must get back into nonome program and set the settings to receive that clock time. Under source, select BEAT CLOCK. Unclick the little box beside it that says "internal". Now, in the drop box that says "receive beat clock from", select that same IAC Bus you just created. Now you are connected.



******REMEMBER. No clock source will be detected unless you press PLAY within ableton...because there is no clock source to go by if its is on! So go into ableton and press play on the top bar.**********

Now you have a monome working with whatever sound you want, and in time with abletons tempo. Like I said, I just figured this all out today, so once I play around with it for a bit, I will give a whole new tutorial on how to use it. Right now, I simply dont know. I just wrote this blog mostly so I dont forget what I did today. It was really confusing to figure this shit out on my own...but I love the challenge.

A few tips I did realize today. Within nonome, in the PITCH SETUP part at the top, play with those paramenters to get different sounds.

In the mode section helps define velocity and different modes of use.

Anyway, when I understand it, ill blog it.

Peace!

FroBot

Using all 5 senses when making music (via ableton)

When we make music, we are mostly using our sense of hearing. When one thinks of music scientifically, they probably think of waves, ear drums, and things they learned in 7th grade biology diagrams mixed with 11th grade physics videos. Sure, one can argue that a music listener is mostly using their sense of hearing to utilize music...but this can not go as far to describe the artist making it. A good artist knows how to understand all of their senses when making music, to help trigger inspiration, create a schedule, or just set themselves at ease. Finding ones creative balance is obviously different for each person, but you should not be afraid to explore your other senses while making music. Here, we will talk specifically about finding that peace within yourself & your home studio while making tracks (and a little bit about ableton live).

Lets break the 5 senses down and talk about each of their roles in the track making process. Remember that the importance of each is how it reflects on your brain....triggering the creativity.

1. Hearing - Obviously important, so important that I will not go into to much detail about it. You are totally stimulating this sense during the track making process. Depending on your preference, great audio quality via headphones or monitors can make a difference in how your ears feel. Other than that, your ears are being pretty selfish and getting most of the enjoyment over your other senses while making tracks.

2. Sight- When sitting at your computer and working within a sequencer, you are limiting your visual senses to the same (repetitive) stimulation. Sure you can change between different programs within your DAW, and look at different effects....but these are not nearly the things that maximize your eyes excitement. 1st off, obviously situational, but set up your studio near a window, or somewhere you can get a view of the real world should you choose to. Letting your eyes be treated to normal, everyday stimulation can help your brain get out of that sequential zombie mode you can sometimes fall into. That can be a good thing, but especially when moments are feeling not so "creative"...just a minute looking into the real world can really change your perspective on the track. If you dont have this luxury to be near a window, making your work station as visually friendly as possible will really help. If you are like me, tons of art around your studio can help to spawn ideas. Since my wife is an artist, I love to put her mandalas around me, tapestries, posters, whatever. If you are more of the "clean" type, having a perfectly clean station with all chords taken care of can be just the visual stimulation you need to help your creativity though the process. After all, having a nice workstation while working is one of the most important parts of getting in a musical routine. Dont forget, candles can make the mood JUST perfect sometimes. Lighting can also be very important.

Now, on a tech note, dont ever forget the importance of abletons color and screen size changing options. Our brain are very responsive to colors, so changing the feel of live can help your visual brain trigger ideas differently per color. I specifically like the midnight setting like this -

Also, dont forget that you also can change the size options...which can serve more like a tool sometimes than a creative thing, but it can make a difference. You know how sometimes if you go to someone elses house to make music on their computer, and it feels totally different...and therefor you make different music....well, it can work like that. Here are some views of it bigger and smaller -



Totally different feel. Anyway, play around and find something that is nice for you. When it gets dull, change it. I find the midnight one gives me a nice darker feel, and makes me feel a little more serious about my art. I also love the frosty one on a winters day. But anyway, its always fun to change.

Also, sometimes, just a quick walk away from the computer for a minute or two can really clear your eyes up. After all, we all know that staring at a computer screen for hours on end is not a healthy thing. Take care of your eyes, and maybe it will reflect in your music.

3. Touch - Another important element to your creativity. Simple things really. Be comfortable. Have the heat or AC (or nice window breeze) just how you like it. Make sure you are sitting the way you want to be sitting. (in my case, i sit on a block because I constantly stand up and start dancing a little while making a track, then get back down and be serious for a few minutes, and then do it again. If there was a time lapse of me track making, I would look fucking crazy) Also, have some comfortable clothes on. I hate anything tugging at my balls....pajamas and Thai pants are my style. Also, back to dancing...dont be afraid to let that body shake when its feeling it. Sometimes, to really get the feel of how a track is going to be, you need to get up and move like you would in the club. This is natural, but on a more technical side, it can help you find nice swing timings for your snares and high hats. Just get into ableton, and use the swing buttons (or find your own groove). When you shake your hips, you can really tell the swing of a track. Also, making your hearts rate go up can help you feel more energy, which will show within your track. Play with your sense of touch while track making, because in the real world, it is one of your most important senses.

4. Smell - Now, this one may seem a little bit odd...but hear me out. I think, your sense of smell is one of stronger (if not, THE STRONGEST) sense of them all. Its amazing how well your brain can remember certain smells from a certain point in your life. Sometimes a certain smells lets you know what time of day it is, or what is about to happen to you. This sense, scientifically, is hardwired to the brain like no other sense. So why ignore it when track making. Something as simple as opening a window can let a breeze of fresh air into your studio and spawn new ideas. Maybe tobacco is your thing, and the smell of a nice lit cigarette just gets you in the mood for music. Rock it! In my case, im an incense guy. I love the smell of Nag Champa. Once that smell kicks into my brain, I think "MUSIC TIME". I never start a session without lighting one. Also, thanks to my friend Sam, I have gotten into oils in the past year. Essential oils are amazing for setting your bodys creative tone. I love the smell of hard peppermint...just makes me totally relax and helps re-center myself. Play around with your nose, and it will have great effect on your music.

5. - Taste - Most would say this doesnt apply much, but I beg to differ. Everyday, when I start my session (around 8:00am...yes, im a morning person)...I always start with a coffee. As soon as that coffee is finished brewing, I pour a cup, and turn on ableton live. Every weekday, no matter what. Now, not only does it help put my morning in perspective, but it also helped me to make a routine out of my somewhat procrastinating habits. Now, dont let it go too far like I did when I drink like 2 pots a day sometimes when making music...but it is really nice to start a session with. Helps clear your throat, and works with your sense of touch in making your body feel comfortable. Taste and touch are interrelated in my opinion. If coffee isnt your thing, having a drink beside you when making tracks so you can easily quench your thirst without leaving can help you from "losing the groove". And, this goes without saying, but a few beers, a glass of wine, baileys & coffee, a shot of whiskey....all of these can be nice additions to the creative process. After all, your brain is like a stretch armstrong doll....you can stretch the fuck out of it....but it always comes back....well, unless you really fuck it up or something.

By utilizing all of your senses during the track making process, you can help to assure that you are doing everything in your power to set the creative stage. If you try to use your other senses besides hearing, you will find your self saying "I just dont feel creative"....LESS! This can be the bottom line of all producing, "Just not feeling it". But, the best producers have found ways to overcome this...because they know deep down, that they love MUSIC more than anything in the world...and there is nothing that will come between them, and making that music everyday. Its what gives you passion, what gives you satisfaction, challenges, and pure enjoyment. If there is anyway to cure the "day to day life" disease, such as using all your senses to overcome these uncreative moments....well, you should at least give it a try...if you love music.

FroBot

NOTES FOR 3.18.2010

Todays Session Above

Well, good 4 hour session today. Got interrupted by my landlord coming to the door and saying that some repair guy needs to check my ceiling. The scary thing is, my wife has glass blowing shit in the dining room...we have a cat (not allowed cats here), and the place is a disaster. I was like (hold on a sec) while I cleaned up, and then came back to the door and he said "Oh, whoops, its the neighbors house". Phew! Scary thing is, he had keys, so he was going to come in either way. Wake up call....shit.

Anyway, progressed a little in that same track I was working on. I came up with some good ideas today.

A nice breakdown is to just delete EVERYTHING in a break, and toss in a sub bass. Then come in with anything you want. Its a really surprising hit if you start from halfway in a bar or something like that. I have 4 of the same style hit throughout the song. Sounds really cool.

I love asian sounds...specifically Chinese. Using midi effects like chord and scale make it really easy to make nice Chinese melodies. Without using them, its usually all black keys on the keyboard....but, if you want the whole thing in a different key, using those tools are really nice incase you cant remember the chords. I double layered a synth melody, and makes a great chinese beat.

Also, when something sounds just a little bit dull, or sharp....chorus can take care of that. It really makes a nice sound when used in just the right amounts. I did it on the melody like this -


Lately, when I have been making the backbone of the song using session view, I have been switching between basses within the same track. Thats easy for ableton to do, but not easy for a mixing engineer to EQ each one separately. When you send off tracks to someone, they are all audio files, so without looking at the waveform, or knowing the song, its hard to know where all the basses change especially if they change very subtly. When I finish with this track, I will separate my basses into different tracks. Just make sure the sidechain is on all of them when you do it.

Crash cymbals are a bitch to get just right. I always feel like they stand out awkwardly. I need to make some new racks of all cymbals so I have like 200 crash cymbals to choose from. Because the head of an actual crash cymbal is so big, there can be different tones within them. So getting one tuned just right to match the song can be tricky.

I made a pretty cool sound with a crash cymbol today, using a drum rack and crash sample. Then I put of the LFO and modulated the rate faster and faster. Also put a low pass filter that has a modulated LFO at the backwards rate of the sample LFO. Sounded rad.

I was recording my synth melody, and for some reason, the whole thing changed keys. I looked within it, and nothing was changed. I cant figure out why its doing that. I looked at all my envelopes too, nothing was on. I wonder what thats about.

All of my tracks seem so different from other peoples tracks. Besides the first one I finished, they all seem like a story...each with little tiny parts of different elements. Other people seem to be more smooth and maintain the same sound throughout. Maybe it comes with being ADD....and the way I DJ songs more quickly than a lot of DJs like to do....so I figure, make the tracks the way I would want to DJ them. If I want to play a 6 minute track I made....at least it really switches up and doesnt seem the same.

Thats it for today.

Peace!

FroBot

NOTES FOR 3.17.2010

Todays Session Above

Today started out with a nice regular session, working on a track from last week. Then, I got files from my mastering guy w/ some tech problems. So 2 things happened today.

Lets start with the things I learned mastering. Bad...but good came out of it.

I had put an nice low pass filter effect with alternating LFO speeds and a vocal starting in a breakdown. All these effects were on the master track...stupid me, but what I didnt realize is that when you export each individual track....those master effects wont take place. So I had to go back, and put the same effect in each track, and make sure the envelopes were ok!

BUT, a nice new trick I learned while doing that....if you make an effects rack out of the effects you used on your master track....then click the effects rack. Press COPY (Apple C). Then go to the tracks you want them on and just press paste. (you are pasting the whole rack into the track) Then, the envelopes you have for that effects rack are already put into the track. So each were copied into each track automatically based on the rack. That saved a hell of a lot of time. All I had to do then was change the envelopes for the ON/OFF of that effects rack...and my effects were in there! Nice.

I just just have to remember to be careful as to where it starts and ends, because I cant forget that if its blending the next part, to let the effects rack stay on until the envelopes for the effects are totally finished. I need to look at the longer lasting envelopes from the effects, and then shut off the effects chain then. I made some mistakes, but then realized this. Its hard when you have like 10 envelopes running on the master track, its hard to remember which one is longest without searching all of them. Especially after a week of not working on that track.

Well anyway, exporting now...sending off this afternoon. My stupid error, cost me time and money....gotta be careful in the future.

WELL aside from that, notes on my track making today -

Quick breaks have always been a problem for me....some kind of creative 4 bars before an explosion or new beat hits. Its very easy just to remove some kicks, and put on a crash cymbol or something, but thinking of cool switches can be tough. Found a new technique today....randomness at start. Just decide where you want an off beat change to come in, and delete everything or few things during those bars. Start just copy and pasting snares, or kicks on weird places...and feel something out. Get into your stabs rack, throw in some unique stabs, and then let it explode. It can sound really creative. So, to make a quick break before a new part, when the creative brain cant think of something, just be random, and your creative brain will feel something out of that.

Today I used a nice sub bass hit on 2.3 beats....totally off hit, but sounds super cool to bring it back in with snare rolls.

Using autopan, and using envolopes to control the "off set" can make for some really cool sounds. No one will ever notice unless they have headphones on, but adds some real creativity to your pans. I used it on a commodore 64 sample and sounded totally rad.

Dont be lazy, everytime you put in a sample...think of how you can make it better....with at least 1 or 2 envelopes. Do it on the spot....because once you listen to a track too many times a certain way, your brain starts to want it to be that way. So make your envelope changes ASAP... so you come to like the more unique, artistic sound....UNLESS of course it IS how you want it....but then again, dont be lazy either. Sometimes, a small stab is an opportunity to try out one of the effects you havent been using so much so you can better understand it....

Today, I did that with the grain delay effect. I was using that commodore 64 sample, already enveloping the pans offset....then I used a grain delay to slice it all up using the spray & frequency of it. Turns a rather boring, low bit sound into one of the main artistic parts of a breakdown. Grain delay is a fun little tool with low bit samples. The slices are so clean if you dont have any reverbs or anything on it. Can really crush a sound.



By the way....I FUCKING LOVE all my new racks I made all this week. I have thousands of unique sounds at my disposal right now....and its always a surprise to where the track is going to go when I open up a 8x8 stab rack full of all my favorite sounds...and I have like 50 racks to choose from. I start looking for a sound, and always find something else. That is all the bottom part of my sequence today...so many stabs!

Well thats it for today. Its already Wednesday! Nice!

Peace!

FroBot

Using Instrument Racks w/ Drum Racks To Have Effects Per Row Using Chains

So, yesterday, I was putting together huge drum kits....8 kits per rack...all made for my Trigger Finger. (see yesterdays blog for more info). The thing I really wanted to do was to be able to control effects based off of rows of my trigger finger. I want to be able to use the knobs on the trigger finger for effects, but without them effecting the whole group of samples. Specifically, since these drum pads are mostly for production, I really only want my tools on there so I dont have to waste time with that. Effects, well, im never really sure what I am going to want. I only have 2 knobs per row...one definitely being a frequency shifter. The other, I really want something to transpose the samples note up and down (+6, - 6) like I do with my samples...but that requires either using an audio pitch vst (which I dont really like), or, individually mapping each samples transpose to the same knob....LAME, and will take forever. So I need to think about this.

Another problem with the frequency shifter is that I need to to have a large range, but but also be able to get back to the 0 point easily...because some samples sound like shit if they are even just a few frequencies off....so I might have to use midimap to split a knob into 2 knobs, one going from (on the shifter) 0 and up, and the other knob going 0 and down. That way by putting the knob ALL THE WAY to one side or the other, it will be at 0....instead of trying to find it in the middle of the knob. In that case, I will use up both buttons...so shit....looks like I cant get exactly what I want without tons of mapping work.

ANYWAY....all that aside, lets get into how to make instrument racks w/ drum racks, so you can put different effects per row (or column if you like).

Ok, so what I have done is created a blank instrument rack in a new midi track.

Then, what I want to do is open up the chains of that rack. Now, I will take one of the drum kits I made yesterday (8 kits on 1 rack). Drag that into the device chain 4 times (for all 4 rows) like this -
You can see the exact same drum rack 4 times. Now, what you want to do is go to chain 1 (which is my case are the kicks). You need to delete every sample within that chain that is not a kick.

Then you need to go to chain 2, and delete every sample that is not in row 2 (or column 2 if you are doing columns). In my case, they are snares.

Again for 3, and 4. Also, rename your chains so its easier. Mine now looks like this -


You can see on my grid on the right side of my drum rack, now in rows instead of taking up every square.

Now you have individual chains to put your effects into. I went ahead and put in my frequency shifter to try it out. Click the chain you want, and put the effect after the chain, like this -


Now, any mapping you do to your controller for the effect, will not save when you save this instrument rack. But it is there. Considering I only have 8 knobs, its not a big deal just to map it when I want to use it. Its a lot better than manually putting it in, and I really need a rack that has per row effect options. REMEMBER, CLICK SAVE!

Now, it did take a lot of time to delete out all the samples I didnt want in each rack. If you want, you could just MAKE it right the first time. But, I also like to have copies of JUST my drum racks, in case I am doing improv and my friends want to use my racks their own way. So I put a little extra time into making both. It is a little bit time consuming considering the slow action of deletion of samples within a drum rack.

Also, one little thing I hate about drum racks, is how when you go to view the next 4x4 square within the grid view, it only jumps up 3 rows, not all 4....makes deleting confusing sometime. Maybe a fix for Live 9....please!

Well, now you have an instrument rack that have effects per row on your drum pad. Hopefully you can get the sound you are looking for even faster now.

Peace!

FroBot

Drum Racks w/ Your Drum Pad - Normal Kit 4x4 Creation

Well, the other day I went over how to use the Novation Launchpad to find stabs, instruments, & other things during the production process. Today, I am going to talk about using your drum pad for elements that definitely need a nice rhythmic response from your pads...such as normal 4x4 drum kits. Having many of these ready to go can really help during the beat making & sample making processes. You can by all means use a tool like the Launchpad for this, but, for drumming, its nice to have really responsive pads in case you do not want to quantize after and are looking for a more natural (human) sound.

I use the M-Audio Trigger Finger for my drums. I like it because the pads are pretty strong, the way I like it, and I also have 8 knobs & 4 faders for controlling other parameters (I want to put a frequency shifter on each row, but I need to think about the best way to do that....which will probably be tomorrow).

Now, I have personally re-mapped the internal midi mapping to the Trigger Finger to work best with the drum racks within ableton. I have dedicated the whole controller on channel 16 to avoid confusion with my Launchpad, VCM 600, & Microkontrol.

I have mapped out memory banks 1-8 (meaning 16pads x 8 banks). That is the same amount as the maximum that the drum racks can hold. (or 128 samples). So each of my racks will have 128 samples starting from C -2, to G8). I have mapped each bank in an exact progression of that scale from banks 1 - 8....meaning, if I click bank one...the bottom left note mapping would be C-2, each pad moving up in midi sequence. If I switch to bank 2, it would be E-1, (again matching the drum rack in ableton). This way, I can switch between 8 total different kits just by switching the memory bank on my controller. So 8 kits per rack (max).

I have also mapped all the midi knobs and faders to be the same values whether on bank 1, or bank 2, bank 3, etc. So, I can have the exact same effect controls on them. This is my preference.

Now, today, I made tons of new kits...just surfing samples and dropping them into audio tracks (like explained in my launchpad drum rack tutorial). But instead of labeling them by genre its like this -

I made each 4x4 session clip spot match what I wanted on the drum pad.

Row 1 - Other Sounds
Row 2 - High Hats
Row 3 - Snares / Claps
Row 4 - Kicks

Of course some are different samples sounding like these elements, but I tried to stay in a rough template. I renamed the scenes to make it easier.


You can notice I messed up a little on the right with the names...but I went back and fixed it after I took the picture.

Start filling up your squares....dont be shy....add tons. You will have tons to choose from.

(I even had other tracks on the right side because I kept stumbling upon other samples I wanted in my launchpad racks, so mine looked like this) The first 8 rows are for drum kits.


So you've selected all your samples.

Now, just make a new midi track with a drum rack, and set the view down to c-2.

Here is the downfall to this method, which I learned today. Since when you drag from your audio clips into the pad, it puts whatever you have in scene 1, 2, 3, 4 in the bottom of the pad, and my kicks for instance, and horizontal through the tracks, you must select only kicks 1, 2, 3, 4, and then drag them into the drum rack. Then go back, select the snares, and drag them in. Again and Again.

After doing this, I realized, its probably much easier if I were to have named the scenes like this.

1- Kick
2 - Kick
3 - Kick
4 - Kick
5-Snare
6-Snare
7-Snare
8-Snare
9-HH
10-HH
11-HH
12-HH
13-Other
14-Other
15-Other
16-Other

If I would have made the drum racks I made vertically, I could just drag them by the whole GROUP into the drum pad. But, it really only took me and extra 7 minutes doing it my way....and I was easily able to visualize a pad when I was making it in the normal session view. So whichever way you like is fine. You can just drag into drum racks, but when surfing and finding certain elements in groups (like all snares, or all HH), the way the drum racks view works can be tricky because there are no labels to tell you what each row is. (ex. HH, Kicks, etc)

After that...click the little disk icon on your rack to save it...name it....and there you have 16x8 pads in one rack.

Now if you plan to improv with these kits, you will need to go in and adjust all the volumes (all in my launchpad drum rack tutorial).

Now, to make a new rack, just drag a new rack over your old one, and do it again until all your samples you chose are gone. I made 3 racks today...so about 384 drum samples.

Now, if I ever want to layer a drum sample, I can just use the overdub button, record within the midi track, and I have 128 samples to choose from. Nice options for building.

Now, time to figure out how to program effects based on the rows. I was thinking about separating the drum rack into 4 separate racks....containing only one row out of the 4x4 pad. Run them all together, and put the effects I want per row in each rack....but there has got to be a better way. I know I could throw them individually into each chain and then map them, but that will take fucking forever. Anyway, that will all be for tomorrow anyway.

Have fun making beats with your drum pad!

Peace!

FroBot

Ideas After Listening - Notes 3.14.2010

Just idea notes. Means nothing to most.

3 bars instead of 4.

Build up, explode on 2 early...surprise it 2 bars early.

Regular Piano and Strings

Use a vocal instead of a crash on a hit into something new.

Side chain white noisy pad with kick. Filter up and down.

Use a nice funky deep jazz bassy sound, solo that fucker.

Explode and then do sweep down, instead of always up.

End of a bar, uses nice key sound and roll down on the last part of bar 4 only, or 8.

Make a track with hard warm tech house bass same time as kick. Hand drums cut up. The off will be another drum SWING!

Chop vocals up during a build up 1/4 maybe nice.

Try some different kicks besides electronic. Do a sample slicing track from hand drums, and tones and delays.

Harmonica is nice too.

Jazz Style - 6 bars, 7 bars...or some shit like that....switching.

Crazy idea. Bring the frequencies up on the track...and make a white noise at a super high frequency, no reverb, then slam back into the track.

Dont just filter a kick to sound low. Cut its release with either a compressor or something...make it really thin too. Maybe Q on an EQ.

Also, when filtering, try a band pass with a high Q.

Sorry im not so useful today.