Four Tet In The Studio With Future Music

By: FutureMusicMagazine
Source: http://www.youtube.com/watch?v=QEUGilncRJs

In 2010 FM dropped into the studio with Kieran Hebden, aka Four Tet to talk about the making of his tracks Sing and Love Cry from his album There Is Love in You. This record is simple amazing and we play the hell out of it on here at BbHQ. This is a fascinating look into the tools and techniques of a seriously talented electronic music producer.

Octatrack Pro Tip #3 – Sampling and Crossfader Transitions

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By: ElektronHQ
Source: http://www.youtube.com/watch?v=ZBANTG8lWVw

Try it out for yourself! Download the Project file for this Pro-tip here:
http://files.elektron.se/pro-tip/Transitions.zip

A Machinedrum is being MIDI slaved to an Octatrack. The Octatrack samples the Machinedrum using one shot recorder trigs. The sampled loops are used for making smooth transitions when changing Machinedrum patterns.

[quote style=”boxed”] A Machinedrum is being midi slaved to an octatrack. The Octatrack samples the Machinedrum using one shot recorder trigs. The sampled loops are used for making smooth transitions when changing machinedrum patterns.The one shot recorder trig is being armed.  Now the Octatrack is sampling. When moving the crossfader the Machinedrum will fade out and the sampled loop will fade in allowing you to switch patterns on the MD. Changing the Octatrack tempo will change the tempo of the sampled loop as well.[/quote]

Octatrack Tip Video #1 : The Amp page and Amp menu.

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By: SecretMusicUK
Source: http://www.youtube.com/watch?v=oncL3sAiV44

Secret Music has created a great series of videos to show off some of the cooler features of the Octatrack. Here is the first in the series.

[quote style=”boxed”]Today we will focus on the Amp page and it’s setup menu. We will use the Octatrack as an advanced synthesizer to get acquainted with the parameters in these two pages. First we need some single cycle waveforms, they are sampled from synthesizers or other noise making devices of all sorts. They are ideally suited to samples as they take very little space yet allow you to achieve infinity sustaining sounds. [/quote]

Octatrack Pro Tip #1 – LFO Designer

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By: ElektronHQ
Source: http://www.youtube.com/watch?v=SKZCMjXxJM8

Download the project used in this Pro Tip here:
http://files.elektron.se/LFO_Bassline.zip

The LFO designer is used to control the filter affecting a sawtooth waveform sample. By using different parts and the part reload function, obtaining various bass line grooves is easy. The beat is made using the Machinedrum.

 

Octatrack How to Slice, Part 1

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By: Catabolicdj
Source: http://www.youtube.com/watch?v=GngBvMRlSJ0

Here’s a turbo-start to using one of the most powerful (and fun) aspects of the Octatrack, the slice function. This video is for those who are looking to get started on the Octatrack as opposed to established users. The Octatrack is quick to work with once you get a few basic ideas nailed down. After watching you should be slicing within minutes. HD video available so you can get a detailed look at the screen.

Elektron Machinedrum Song Mode Tutorial

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By: David Nordentoft
Source: http://www.youtube.com/watch?v=IVNhnCDDQ_w

How to use song mode creatively on Elektron machines – in this case the Elektron Machinedrum, but these skills/techniques are directly transferable to the Monomachine – I guess for the octatrack too, though I don’t know for sure, as I haven’t tried it.

This piece mainly deals with tempo changes, odd meters, some mutes, and a lot of manipulation with the offset and length of patterns.

The track is called “Lad Dance” and can be found here:

– Home Surgery

Elektron Analog Four meets Anushri Basic CV demo

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By: darenager
Source: http://www.youtube.com/watch?v=WAqdO413DTs

CV A is set to 1v/Oct, CV B is set to Gate, CV C is patched to Pulsewidth, CV D is patched to VCF. I have the LFO set to modulate CV C and CV D. Notice how the LFO can go into audio rate. Also the Arp also transmits to the CV and Gate. The A4 is just doing the BD, clap and hihats. The Anushri is doing the twangy acid sound. It seems that the CV outs on the A4 are pretty flexible. So don’t think that this basic demo is all it is capable of as I did not spend a lot of time setting it up but hopefully you get the idea. Also remember that the CV values can be modulated or locked and you can configure any or all of them as triggers, gates or CVs as you please, with lots of options to set the ranges, offsets and polarity etc.

Elektron Octatrack DPS-1: How to slice an Amen break

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By: Arjen Schat
Source: http://www.youtube.com/watch?v=FpkwuM8PkNI

Tutorial on how to slice an Amen break quick and easy.

//

Octatrack: How to slice an Amen break
Audio and video by Arjen Schat

First set the Machine to flex, then add the Amen sample. In this video I use the traditional sample which I’ve rendered in Renoise (my DAW) to fit exactly 3 bars.

Make sure the lock is on the original tempo. You do this by pressing Enter/Yes when the the focus is on the BPM. To add slicepoints just press Enter/Yes when you’re in the Slice menu. Set the amount of slices to 12 to make the trigs 1/16th note.

Now turn on SLIC in the Playback Setup and you’re ready to set the parameter lock which will trigger the slices. Hold the Scene B button and turn STRT to 22, this will allow the crossfader to switch to each slice.

Place some note trigs in the sequencer, none of the slices are looped so make sure you place plenty of them.

Let the breakage begin!

Thanks for watching and thanks to Elektron for the Octatrack.

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Hecq forges music from noise

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By: AbletonInc
Source: http://www.youtube.com/watch?v=2ThUpt1ggHo

Whether under his artist moniker Hecq or as in-demand sound designer for film and tv, Ben Lukas Boysen has made a career out of transforming unusual sounds into compelling music. We visited Ben in his studio for a fascinating look at how he gathered and transformed the unconventional audio material for his latest endeavour, The Forge – a hugely versatile Pack that’s part of the exclusive sound content in the upcoming Ableton Live 9 Suite.

Sound and music are not necessarily separate things. A very nice sound could have a high musicality and a very noisy piece of music could be mostly sound. What’s interesting for me is to explore the borderlands in between these two worlds.

I write music for feature films and commercials. I’m also a producer for myself and other bands, and a live act. In each of these fields music and sound design are very, very closely connected. There are a lot of projects that allow you to just do sound design and just to work in every idea you want. But the focus should be to write a wonderful piece of music that you refine with sound design.

The reason I am recording most of the sounds myself is most of the time it is the fastest and most efficient way. I use a variety of different microphones, like contact microphones, or normal stereo microphones, to coil pickup microphones. Also underwater hydrophones. And then of course I use stereo microphones and shotgun mics to capture environments in general. Especially the hydrophones, contact, and coil pickup microphones are wonderful to create entirely new sounds. For example you could record underwater with the hydrophone. Or you can capture the inside of a laptop with certain coil pickup microphones, which pick up the voltage field of any machine. In combination with decontextualizing the source material, it’s a wonderful way to create something completely new.

Some of these sounds I recorded with a coil pickup microphone also went into the Forge pack which is now a part of Live 9 Suite. You can listen to the plain recordings that I took, or to already processed versions of these sounds. And very easily and fast process them yourself and take them to a completely different place. Let’s listen to a few sounds contained in The Forge. This melody is only triggered by the resonators, and you can adjust the notes by editing the midi clip. This percussion sound is modulated by a Max4Live effect. By altering the parameters you can shape the notes and articulations. I often feel inspired by just hearing a certain rhythmical sequence or melody in combination with a certain sound, and what I wanted to have is a couple of synthesizers, effects, textures, loops, so that it can build new things on top of these. So, The Forge is not really a construction kit in the classical sense, it’s meant to trigger ideas and to come up with something unique and something very individual.

There is no such thing as a finished track in my mind, or a finished song, or a finished sound, it is really a very, very living creature. It is self developing with little help of my humble self.