Uhm yeah dnb - jungle was pretty much born from looping and pitching up funk breaks.
The biggest influence was probably the digital sampler itself lol
I did the same thing. Script got me 40 but maxed out at that; jdownloader got me the rest
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I was just re-reading these couple posts and realize that my earlier message might appear to be sarcastic. Just want to clear that up now as I’m seeing it - I do genuinely think it’s cool that you posted a script to grab all those files at once. That’s the kind of high-effort posting that I genuinely love. Yeah it’s too bad that it didn’t work for me, but the original thought and effort counts for a lot! Take care 
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I used to use a program for this site (perhaps another site, I can’t remember) which was called I believe “download them all” or something
But honestly, you only need a few breaks. 800 is a bit overkill, to say the least
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I agree that this number of breaks is not necessary. It’s really fun though! I like to “throw a dart” at the big bucket of breaks and try to make something new out of whatever I hit.
Some of them have proven to be hard to work with, especially when trying to time stretch too far with the Octatrack – it starts getting super grainy really fast. Working with more challenging breaks can be a fun exercise, for honing the skill of breakbeat choppage.
Also, I find the task of manually slicing breaks on a sampler to be monotonous, yet soothing. It’s like meditation. Maybe that’s a weird take 
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if you have a mac or linux type this in your terminal:
wget -r https://rhythm-lab.com/breakbeats/
This will download the whole website. Find the biggest folder and you’ve got yer breaks, and more. 8.2 gigs.
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And then just loop over the files with a mv command to rename all the weird filenames
Coincidence that the IDM sequencing thread quickly gets in computer programming and Unix utils?
Probably not 
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Yep, like meditation.
I used to sample vinyl into a Roland S-760, and then spend hot/humid summer days inside, in the air conditioning, finding the pops and scratches in the waveform editor, and editing them out by drawing over them using the mouse, until the sample had no more clicks/pops. Finding loop points was also meditative.
Maybe part of the sequencing theory in IDM is to put yourself in the right place to have happy accidents
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Ha wow, it’s funny how often what I think is virtuoso drum programming is actually just a break sample
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Yeah “chopping breaks”. Fun stuff, except on devices like the MPC60. every time you sample a new bit of audio, the memory gets cleared. And it used floppies of course. Great sounding sampler, but dear God did it take long to chop some drums
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Just chime in to say thank you to everyone participating to that thread. So many answers, great stuff 
I didn’t find time to get to read all answers yet (nor playing much music) but I’ll!
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Depends what youre going for, stuff like autechre/rdj/amon tobin/squarep, etc. earlier stuff is mostly meticulously sequenced but with some subtle(or not) tweaks on the synths/textures/ambiance as the tracks progress, if you dont mind spending some time on the googles you can find bits and pieces of most of these guys studio tricks, workflows, etc …
some fun links, around gear and process.
(Syrobonkus interview afx-2014 parts 1 & 2 )
https://web.archive.org/web/20141103131334/http://noyzelab.blogspot.co.uk/2014/11/syrobonkers-part1.html
https://web.archive.org/web/20141110102633/http://noyzelab.blogspot.co.uk/2014/11/syrobonkers-part2.html
Aphex twin, use of Hockets and Counterpoint in melody and harmony
http://disis.music.vt.edu/eric/LyonPapers/AphexTwin/
(Autechre talking sequencers)
https://www.soundonsound.com/people/autechre-techno-logical
http://notebook.zoeblade.com/Aphex_Twin.html
http://notebook.zoeblade.com/Autechre.html
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To me IDM can be composed… i don’t see why IDM need to be 100% generative. I really do think the idea of harnessed Chaos is the key and the course from Noah Pred is great in that regard. I try to keep a ratio where i’m still the master of what i’m doing. For sure Experimentation and Sound Design will be the nerve center while Tools will just give me pieces of unintended ideas (and welcomed if it’s tasty to me, strange or interesting). I don’t let the groove to be generated by an AI i have to drive it the way i feel it and not the way it’s offer to me like click i like that clic i don’t like that… because then, what’s given is not thinked on what i already have. So i still come to my idea of a ratio like 60-70% Harnessed and Driven by me while 30% is giving me that extra. I also use sounds that i’m not too familiar with and Modular Mind Set is important.
But then i considered the construction like free jazz.
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