Mark has the method down. Not slagging him in particular, since I've
not heard his tracks, but the fact that there is a formula leads to all
manner of boring formulaic tracks.
In other words he left out the step where you throw away 95% of what you
do because it sounds shit, and then listen to the other 5% and only keep
the bits that have some soul to them.
On Fri, 26 Jun 1998, Mark Stevens wrote:
quoted 21 lines Here's my method:
>
> Here's my method:
>
> Sample a couple of bars of a drum loop. Chop it up it about four
> pieces. Give each sample a fast attack and a medium decay. Start
> recording a bar in your sequencer, using the samples, but have them
> triggered in random combinations -- some on the beat, some off-beat.
>
> Depending on the length of your decay, you'll get all manner of
> strange rhythms overlapping one another. Play around with the tempo of
> the track, trigger some samples faster than others. If it gets a bit
> incoherent, just lay some bog standard loops or programmed rhythms in
> the background.
>
> Try playing one sample at half-speed and trigger normal/faster-speed
> variations of the same sample over the top.
>
> Using this method you can put one single drum loop to no end of uses.
>
> http://www.sonance.demon.co.uk/
>