We are the music makers - producers?

Posted on
of 113
First Prev
/ 113
  • This is not music making per se but I've got a new road tested running mix up. All 4/4 Techno.


  • Nice lane change into acid trance territory around the 10 minute mark.

  • I'd agree to a certain extent. I don't think the kick particularly cuts it in modern productions unless layered and treated with some tasty plugins. The ride is also extremely resonant in a really ear displeasing frequency straight out of the box

    Thism much of what we've heard tends to be run through hardware compressors, saturates etc to sound as we know it.
    If you have a wave folder, try it!

  • I can see how this becomes an expensive hobby very quickly.

    Stay away from modular stuff..

  • This guy does some incredible stuff. I don’t understand how he keeps track of what piece of kit is controlling which sounds.


    If you're into this check out, Steevio on Utoob.
    He does the modular thing but using predominantly Doepfer- the originators of the eurorack format- great for super affordable basic building block modules (less of the expensive computer in a module) to make some incredible mathematical tech music..


  • Recordings are still in post but here's a release from the label to catch a vibe.


    Isn't that Alan?! He's been doing the seminal Sunday night jazz sessions at the Haggerston for years...Cool dude.

  • Yes, the very same, great musician, player on lots of records like Sugar Minott and others.

    got 7inchs if you want a copy for six pounds

  • Just curious, are you talking about using samples or an actual TR-909? My point was that people tend to hold modern analog drum machines to an unrealistic standard by comparing their direct output to recordings/samples of more famous machines. Even "Clean" samples of the 909 benefit from some coloration/compression depending on how they were originally recorded.

  • I have an actual TR-909 & TR-808 so I'm talking about those machines and how awesome they are :)

  • Must be my ears then.

    Speaking of drum machines that are neither a TR-808 nor a TR-909:

  • Holy shit, sounds really good!

  • There are a lot of factors. Both machines have a lot of different sounds depending on the position of the pots and condition of the pots. As well as the swing introduced by 'poor' midi timing there's the slight differences between hits which come from the analog nature of the machine. You can build all that into a sample player but I wouldn't try to draw any conclusions about the machines in total from the samples.

    I've had 2 of each side by side in the studio and they had slightly different sound characteristics too.

  • I should add that if you sample the 909/808 with the SP1200 you get the next gen sound of at that time. So it's true that increased processing of the 909/808 sound has contributed to a range of more modern kicks.

    I'm not sure the 909/808 are that relevant to most 'new' electronic genres but they certainly help if you want to write electro, acid, detroit tech etc. since that was the sound at the time. The very early stuff was recorded to tape anyway so there was bound to be some compression going on there.

  • Right? Pretty different after listening to nothing but analog drum sounds for a long time.

  • was having fun with tape loops today

    1 Attachment

    • 48DD2E11-06BF-4975-BBB5-C39F3653B9D8.jpeg
  • I did that a few years ago. Found a Roxy Music cassette and took out a random section. Turned out I'd taken an almost perfect loop of Bryan Ferry singing Avalon.

  • nice. it was my first attempt and recording before cutting the loop does seem to work better. when I recorded afterwards, i can’t seem to magnetise the taped part so doesn’t loop seamless. maybe i’m using the wrong tape (just scotch?)

    the walkman can record and play at different speeds which is fun.

  • i’m no expert but this feels similar to the op-z, at a similar price point? I’d appreciate the physical channel volume controls but not sure if it matches the tricks of my op-z?

  • If you got a dead spot it's the gap between the erase head and the write head. Stick a bit of tape over the erase head or slide a folded bit of paper down if you don't want to risk glue getting on the head. You'll then get sound-on-sound infinite overwrites with no gap.
    If you use thin/less folded paper or tape you can gradually increase the erase effect. I use an old Fostex XR7 4 track for looping drones, put a chord or note on each track and fade them into each other.

    1 Attachment

    • _20210807_220430.JPG
  • Always loved tape work, wish I'd taken the leap before it got obscenely expensive.

    Speaking of tapes. I just finished the J-fold mock-up for my first cassette release!

    ... but unfortunately it looks like I still can't use the attachment function on these boards in any browser.

  • I made some weird Techno with a friend who plays cello


  • Does anyone have any experience with a Kaoss pad? quite fancy one for synth/drum machine stuff, but they might be a bit of a toy?

  • Had one of the first ones many moons ago. They are fun and some people use them a lot especially live/jamming but if you are using it on your main channels it can affect the quality as it's not that high end in terms of convertors.

  • Jon Hopkins uses them live, a lot. He's using three KP3s here:


    They are fun, and definitely a live kind of tool. "DJ" type effects, really, from before mixers all had a hundred digital effects built in.

  • Post a reply
    • Bold
    • Italics
    • Link
    • Image
    • List
    • Quote
    • code
    • Preview

We are the music makers - producers?

Posted by Avatar for mattty @mattty