If you by chance listened to
You will notice that it is based around most of the same sounds, only I jacked the tempo to 138 BPM and did, well, all different notes.
I'm not sure I could do much better than this new version, other than fine-tuning the filter cutoff automation, and maybe put some time into switching up the drums more in the last 2 minutes.
I'm really becoming a fan of Kontakt2 as a creative tool, once I figured out sample loops and such. It is really deep, and the things that were so painful on hardware samplers are really easy. It gives me a desire for something faster than a 2GH Athlon XP, because Kontakt2 chokes the CPU if you try and use it's highest quality sample interpolation.
I'm also getting kind of sick of being restricted to one guys sample set. Frankly I didn't find much I liked -- there are a lot of loops that sound like he took something pretty straightforward and then piled effects on until it's unrecognizable. I went through that phase seven or eight years ago, and I don't care much for it any more. You lose the clarity and presence of the original sound and everything turns into smeary, hashed up soup.
The other thing he did that was hard for me was put in loops that were way too sonically full to mix with anything else. The best loops leave a lot of space in both the frequency and time domains, so you can add it to something else without it either obscuring what you were doing or turning things into (again) smeary, hashed up soup.
That's one thing I always admire about Rich Devine's production. He may turn out tracks that aren't very emotionally engaging, but there's a sense of clarity and definition to everything that shows he has an amazing ear for production. When he does that and gives you something human to hang onto, he's right up there with the best.