искал себе оригинальные звуки из фанка для джунгл, вроде есть нормальные string инструменты как в старом джангле
OK heres how I do mine. Might be a good guide for beginners as well.
I lurk here quite a lot and don't always have the chance to post as I'm not the most knowledgeable person when it comes to production.
There are obviously a lot of different ways of doing this, but this way was taught to me by Davide Carbone (who also had a helping hand in teaching TC what he knows today) and it seems to be working for me.
1) I usually start of with three breaks or layers.
Layer 1 - Old funk/classic break. Something with character.
Layer 2 - Modern/Live Break. Recorded using modern techniques.
Layer 3 - Single Hits for beef/weight.
Also within these three breaks you have chosen try to pick them for other qualities as well. ie one with good hats, one with good mid-range etc etc. This all depends on the feel you are going for though obviously.
2) Load each break/layer/kit into your sampler of choice (I use Battery 2) on a separate track and program the same pattern on each track. Maybe take some of the hits out if they are clashing/phasing/don't sound good (eg. the hats). Or alternatively you could EQ them to fit together nicely within Battery if you have it.
3) Roll of the bass on you hats in Battery. TC says in computer music this month 460hz or a bit higher is a good starting point. If you don't have Battery or similarly capable sampler you will have to think of a different method of doing this.
4) Pitch up each layered break to your desired effect. I usually find one or two semitones is enough, but it depends on the break your using. Use your ears.
5) Now load up a EQ on each track/layer and EQ each break separately. Locate any nasty frequencies by sweeping with a big boost and high Q, then notch these out. Then just EQ the break to sound nicer/flater if it needs it.
6) Select all the hits in each instance of Battery and adjust the decay and sustain on the envelope to shorten the hits to your desired amount/effect. This removes any excess reverb/tail on your beats to help them snap more.
7) High pass each brake/layer. I usually high pass either layer 1 or 2 to around 300hz depending on which one has the nicer hats/tops. I roll off the third weighty break to 80hz to make room for bass. Then the remaining layer (1 or 2) I high pass to about 140hz. The high pass amounts here are just examples/guide lines and you will need to experiment a bit here.
8) Compress each layer/track.
9) Send all three layers to a group/bus and compress again to help gel them together and make them sound like one coherent break.
10) ***Optional***. Put a very small reverb (ie 0.015ms) on your drum bus with a plugin such as Logics Space Designer. Can't remember why exactly. Has a very subtle effect of bring the hits out I think.
After a bit of practice you should be able to get you own fat/unique sounding break that no one else has.
Hope this helps someone

I lurk here quite a lot and don't always have the chance to post as I'm not the most knowledgeable person when it comes to production.
There are obviously a lot of different ways of doing this, but this way was taught to me by Davide Carbone (who also had a helping hand in teaching TC what he knows today) and it seems to be working for me.
1) I usually start of with three breaks or layers.
Layer 1 - Old funk/classic break. Something with character.
Layer 2 - Modern/Live Break. Recorded using modern techniques.
Layer 3 - Single Hits for beef/weight.
Also within these three breaks you have chosen try to pick them for other qualities as well. ie one with good hats, one with good mid-range etc etc. This all depends on the feel you are going for though obviously.
2) Load each break/layer/kit into your sampler of choice (I use Battery 2) on a separate track and program the same pattern on each track. Maybe take some of the hits out if they are clashing/phasing/don't sound good (eg. the hats). Or alternatively you could EQ them to fit together nicely within Battery if you have it.
3) Roll of the bass on you hats in Battery. TC says in computer music this month 460hz or a bit higher is a good starting point. If you don't have Battery or similarly capable sampler you will have to think of a different method of doing this.
4) Pitch up each layered break to your desired effect. I usually find one or two semitones is enough, but it depends on the break your using. Use your ears.
5) Now load up a EQ on each track/layer and EQ each break separately. Locate any nasty frequencies by sweeping with a big boost and high Q, then notch these out. Then just EQ the break to sound nicer/flater if it needs it.
6) Select all the hits in each instance of Battery and adjust the decay and sustain on the envelope to shorten the hits to your desired amount/effect. This removes any excess reverb/tail on your beats to help them snap more.
7) High pass each brake/layer. I usually high pass either layer 1 or 2 to around 300hz depending on which one has the nicer hats/tops. I roll off the third weighty break to 80hz to make room for bass. Then the remaining layer (1 or 2) I high pass to about 140hz. The high pass amounts here are just examples/guide lines and you will need to experiment a bit here.
8) Compress each layer/track.
9) Send all three layers to a group/bus and compress again to help gel them together and make them sound like one coherent break.
10) ***Optional***. Put a very small reverb (ie 0.015ms) on your drum bus with a plugin such as Logics Space Designer. Can't remember why exactly. Has a very subtle effect of bring the hits out I think.
After a bit of practice you should be able to get you own fat/unique sounding break that no one else has.
Hope this helps someone