Distorted Dancefloors covers as many aspects of the outer reaches of dance music as possible including germanic minimal techno, glitchy downtempo electronica, electrobreaks, grime, breakstep and much more, and all in pristine 24bit audio. This library will help and inspire the seasoned or rookie producer to go beyond the norms of dance music and get twisted.
The techniques used to create some of these sounds range from the lowest of lo-fi, circuit bent kids toys, audio files spat out by crashing programs, all manner of overdrives, distortions, bitcrushers and downsampling, to the cutting edge of sound, spectral displacements, morphing, granular synthesis and extreme uses of the highest end reverbs, compressors and delays.
Veteran producer Si Begg has been releasing cutting edge electronic music for more than a decade. His body of work has included Peel Sessions, high profile remixes for bands from Lamb to Leftfield, as well his own catalogue for labels including Novamute, Tresor and Ninja Tune. He has also toured worldwide performing live and DJ-ing. More recently he has turned his hand to award winning music and sound design for television and radio.
The techniques used to create some of these sounds range from the lowest of lo-fi, circuit bent kids toys, audio files spat out by crashing programs, all manner of overdrives, distortions, bitcrushers and downsampling, to the cutting edge of sound, spectral displacements, morphing, granular synthesis and extreme uses of the highest end reverbs, compressors and delays.
Veteran producer Si Begg has been releasing cutting edge electronic music for more than a decade. His body of work has included Peel Sessions, high profile remixes for bands from Lamb to Leftfield, as well his own catalogue for labels including Novamute, Tresor and Ninja Tune. He has also toured worldwide performing live and DJ-ing. More recently he has turned his hand to award winning music and sound design for television and radio.
- 600 Acidized WAV files
- 420 Stylus compatible REX2 files
- 27 EXS24 Instruments
- 27 Kontakt Instruments
- 27 Reason NN-XT Instruments.
*When ordering the download product from Big Fish Audio you will be given one or more links for each of your product purchases. The links will be active for 24 hours. During this time you should download the file and expand it. You can return to your Big Fish Audio account at any time and download your products. You will find your products in the "My Products" area of your account page.
- 420 Stylus compatible REX2 files
- 27 EXS24 Instruments
- 27 Kontakt Instruments
- 27 Reason NN-XT Instruments.
Download Sizes
| Version | Compressed Download Size |
| Logic Sampler/NNXT/EXS24/Kontakt/REX/WAV/Acid Download includes | |
| Distorted Dancefloors: 1.22 GB | |
| RAR Unarchive Instructions: | |
*When ordering the download product from Big Fish Audio you will be given one or more links for each of your product purchases. The links will be active for 24 hours. During this time you should download the file and expand it. You can return to your Big Fish Audio account at any time and download your products. You will find your products in the "My Products" area of your account page.
License Agreement
The Following End User License Agreement is included with Distorted Dancefloors. This License is only valid for the individual who has purchased an unopened, new and lawfully made copy of Distorted Dancefloors from a dealer or distributor authorized by Big Fish Audio.
"ZERO-G LICENSE AGREEMENT 1. The sound samples included on this product remain the property of Zero-G Limited and are licensed, not sold, to you for use on your sampling software or equipment. 2. A right to use the enclosed sounds is granted to the original end-user of the product (Licensee) and is NOT transferable. 3. The Licensee may modify the sounds. and MAY USE THE SOUNDS FOR COMMERCIAL PURPOSES WITHIN MUSICAL COMPOSITIONS, subject to section 7 below. 4. This license expressly forbids resale, relicensing, or other distribution of these sound samples, either as they exist on the enclosed discs, or any modification thereof. You cannot assign, lease, lend, rent, upload or download to or from any database or server, or transfer any or all of the sound samples to another user, or use them in any competitive product. 5. Licensor will not be responsible if the sound samples do not fit the particular purpose of the Licensee. The sound samples are licensed 'as is' without warranties of any kind. Neither the Licensor, or any distributor of Licensor's products, can be held responsible for any direct, indirect, or consequential loss arising from the use of any sound samples licensed from Zero-G Limited in whatever form. 6. The Licensee may use these sound samples for Foley and sound FX in TV or movie soundtracks, video game soundtracks, gaming machines, or toys, but Licensee may not re-distribute the sounds as sounds, multi-sounds, samples, multi-samples, programs or patches – meaning the Licensee cannot re-sell them as part of a sound sample library of any kind thereby effectively competing against Zero-G. Note also that use of the sound samples in isolation in video game soundtracks, gaming machines, or toys where they appear in isolation or as sound effects as part of a music game or remixing game is not permitted without first obtaining a separate written License (subject to availability) from Licensor. 7. Use of the sound samples in 'library music' (also known as 'music libraries' or 'production music'), which is intended for commercial exploitation by relicensing to multiple third parties, is permitted PROVIDED that the samples are used within a musical context and are not presented isolated or 'solo-ed'. The sound samples must be used 'in combination' within musical compositions. For such usage, any rhythm loop samples (which Zero-G regards as being musical clips in themselves) must also be combined with other types of samples or sounds to effectively form a new composition, rather than simply being looped in isolation."
"ZERO-G LICENSE AGREEMENT 1. The sound samples included on this product remain the property of Zero-G Limited and are licensed, not sold, to you for use on your sampling software or equipment. 2. A right to use the enclosed sounds is granted to the original end-user of the product (Licensee) and is NOT transferable. 3. The Licensee may modify the sounds. and MAY USE THE SOUNDS FOR COMMERCIAL PURPOSES WITHIN MUSICAL COMPOSITIONS, subject to section 7 below. 4. This license expressly forbids resale, relicensing, or other distribution of these sound samples, either as they exist on the enclosed discs, or any modification thereof. You cannot assign, lease, lend, rent, upload or download to or from any database or server, or transfer any or all of the sound samples to another user, or use them in any competitive product. 5. Licensor will not be responsible if the sound samples do not fit the particular purpose of the Licensee. The sound samples are licensed 'as is' without warranties of any kind. Neither the Licensor, or any distributor of Licensor's products, can be held responsible for any direct, indirect, or consequential loss arising from the use of any sound samples licensed from Zero-G Limited in whatever form. 6. The Licensee may use these sound samples for Foley and sound FX in TV or movie soundtracks, video game soundtracks, gaming machines, or toys, but Licensee may not re-distribute the sounds as sounds, multi-sounds, samples, multi-samples, programs or patches – meaning the Licensee cannot re-sell them as part of a sound sample library of any kind thereby effectively competing against Zero-G. Note also that use of the sound samples in isolation in video game soundtracks, gaming machines, or toys where they appear in isolation or as sound effects as part of a music game or remixing game is not permitted without first obtaining a separate written License (subject to availability) from Licensor. 7. Use of the sound samples in 'library music' (also known as 'music libraries' or 'production music'), which is intended for commercial exploitation by relicensing to multiple third parties, is permitted PROVIDED that the samples are used within a musical context and are not presented isolated or 'solo-ed'. The sound samples must be used 'in combination' within musical compositions. For such usage, any rhythm loop samples (which Zero-G regards as being musical clips in themselves) must also be combined with other types of samples or sounds to effectively form a new composition, rather than simply being looped in isolation."