By Erik Mamberger & Alexis Pryds Parra
Fieldrecordings from Museum Insel Hombroich re-recorded at Raketenstation Homboich.
Performed at Kunsthalle Düsseldorf for Open Source X Resonanzräume, June 29th 2012.
resonanzraeume.com
open-source-festival.de/de/news/147/open-source-x-resonanzraeume
kunsthalle-duesseldorf.de/newsletter/images/opensource.pdf
(In)BASS.KICK.SNARE.
(DEEP/TECH)HOUSE/BASS/UKFUNKY
mit
Fr., 15. Juni 2012, 23.00h
ROTUNDE – Alter Katholikentagsbahnhof, Bochum
Mit dabei sind auf 3 Floors:
Klangbausteine [ audio´fi:l]
Lxstxs [InBass]
Karmaboy [BASS.KICK.SNARE]
Synthie& Roman
Kamanji [Ein Hertz für die Bassline]
Und zur Einstimmung eine kleine Nummer von Erk_Membran, meiner Wenigkeit und einem an einen Zaun langgehenden Toast:
Danke an den Meyer für das Mastern dieses Tracks! Ich muss gestehen, dass ich zunächst eher skeptisch war, einen meiner Tracks von jemanden mastern zu lassen, der eher dem Punkrock zuzuordnen ist.
Aber er hat drauf bestanden. Gut so, denn das Ergebnis kann sich wirklich hören lassen!
(Wer sich über die Überschrift des Artikels wundert, hier gucken.)
Well thats why i use a mpc sampler.
But until samples are put on my mpc to trigger it (and yes many – mostly my new songs – are based on 1 bar) there is a long process of finding samples, recording them etc.
I wrote a ‚how to do‘ for myself:
1) record (noisy) sounds (from records, circuit-bending, fx-feedbacks, fieldrecording etc.) and cut it into short one-shot samples (only the best! – in long record sessions you’ll find a lot of crappy shit you won’t use anymore) and tweak them (with compresssor, eq, pitch, rev – all you can get – and what makes SENSE 
).
2) Now the funny part: I Put these samples on my mpc sampler and trigger them. I will have some different sequences but there will be no arrangement, yet.
3) Drums: Often I use the short samples also as drums but in most cases i fatten them up by bd snr and hh samples (this is the only part where I sometimes use Library samples – apologizing!)
4) Time for bass! also sometimes made by my own recordings but also synthezised sub-basses mostly from abletons operator. Then I play 2-3 versions to see which fits best in the end.
5) Longer (ambient) samples: they don’t come from my mpc (because of few memory) but will be lopped in ableton. (most of them tweaked)
6) Appregios with longer samples. I’m lovin it to trigger longer samples while changing start/end/loop time with midi controllers. sounds real nice! This is onlyn a ’side-effect‘ but no elemantary part of the song – most of the time!
7) Sequencing: If I get a idea of the song (sometimes I have it already when recording things in 1) but most of the cases after triggering the samples on my mpc) and have the other main elements recorded, I will make a seguence out of it in my daw.
the rest is enveloping, mixing and all this stuff which I whould see as a second part in the process of the art making music.
I think the mpc gives me the possibility to play with my sounds much more intuitive as i could do it with any software-sampler! It’s just so easy! Once i finished the sequences on the mpc, the song is almost done – at least the idea. the other points are neccesarry, as well – no doubt! But i found it to be the most important to get this workflow you DON’T have in a DAW where you have to hook up every sound you want to use and to route your midi and to klick and klack! i want to play electronic music with an instrument – not as a ‚constructor‘.
This means not that I don’t spend a lot of time in front of my computer to let the music sounds like I want. It only means that I found a device to build up songs in a very fast way, so I have more time to spend on letting it sound right. But this is another question….
Another thing is that the mpc is absolute perfect for live performances – more than perfect in combination with a kaoss pad 
.
Ok, that’s all. I hope you could understand my bad english and the way I’m working on my flow .
Any comments?
Track-Mute ist eine tolle Option bei den Samplern der MPC-Reihe, mit der man Tracks anhand der 16 Pads an- und austriggern kann. Ich denke, diese Art des intuitiven (semi-)jammen wird einen festen Platz in meinem Live-Set haben. Vieleicht auch die End-Version des folgenden Songs, an dem ich Track-Mute mal demonstrieren möchte (und nein, nobody’s perfect) :
Gerade die schnelligkeit und die vielen kombinationsmöglichkeiten finde ich super bei dieser Herangehensweise. Denn manche Tracks muten bei der Programm-Einstellung „Mono“ bestimmte Noten von anderen Tracks und somit mischens sich diese Tracks zu einem neuen zusammen. Man kann sozusagen durch verschiedene kombinationen verschiedene Rythmen und Loops erzeugen.
holtadipolta 