He has to sway like that because he has to concentrate on getting his timing and groove as ‘on’ as possible. When you see any performer or dj doing something risky or intensive like that they move like fuck in order to make sure theyre in time. If youre rigid you arent loose and you will do things less in time.
He looks like hes concentrating so much as well because hes completely mprovising and has to work out what element to add next that wont overwhelm the loop with the limited headroom/space it has all whilst not being able to hear whats happening on the keys hes pressing
So yeah the fact that he even came up with this way of performing and did it is incredible to me
Yes it can. The delays are so impressive. Although there us only one, there are a number of ways to create deep delays with the LFOs, then retrig both the delay, and the LFOs, and finally, there is the trig function to fukwit the delay [Func + up/down]
Is this thing capable of a send amount to preserve the integrity of the composition as a usable flow, ir us it inly capable if destruction as in this example?
I’ve never seen a Boiler Room video that didn’t have a ton of comments about the crowd. Extremely critical and condescending comments at that. Can’t imagine why anyone would be so fussed about how someone else chooses to enjoy the music.
It does seem to me that you could do equally impressive improvs on an OT. It’s a very powerful machine
Yea, he’s just using a delay. No sequencer, just delay.
I’ve messed with this technique using a sp404sx, it’s a lot of fun.
Like someone states above, it’s a fully wet delay with long feedback, as far as I know the feedback should go “forever” that’s what makes it a continuous beat. Then you mess with, I think the feedback setting (I haven’t done it in awhile but almost positive it’s the feedback setting)…to get it to do that ducking in & out thing…turn feedback all the way down then right back up.
it’s not that deep, It takes very little effort to write a comment. It’s not only boiler room videos though, thats just the internet. I wouldn’t worry about it if it bothers you honestly
Apparently 1 bar delay with high feedback indeed. Max OT delay time is half bar, so you can use it with half tempo.
I’d use a recorder recording it’s track, with a rec trig, a Flex playing corresponding recording, +1/384 microtiming.
Disable fx 1 and 2 first (none), because with filter on with default settings, overdubs get muddy.
Increase VOL to max. Lower it if you want a decay.
Doable with CUE recording
True, but I precised 1 octave UP. So now you can be positive with OT!
nah,
you have to be careful
it is like painting… only one chance to do it right…
as usual it takes practice and a certain mind not to do anything perfect…
as bob used to say: happy mistakes…
Huh. Surprising. They do appear to be going for like $200-350 here in Japan. They probably didn’t make that many of them because they didn’t seem to really catch on at the time. Not the prettiest sampler, that’s for sure. Lol.
Perhaps, automatic Sampling/record, based on input levels? I’d like to know how to do this as well. I’m actually pretty pissed that the MPC Live does not feature a way to trigger recording
I have a Microsampler & on paper it sounds amazing especially for the price (bought mine 2nd hand 3 years ago for $220). I bought it after I got a sp404sx… I REALLY wanted an MPC, but thought hey, the Microsampler has keys, so I can have pads & keys, plus it’s A LOT cheaper. But for some reason I never REALLY gelled with the MicroSampler. When I use it I have fun with it, but I prefer MPC’s & sp404sx.
I’m going to try loving it again tho. It can do SO much (tons of effects, sequencer with track mutes, pitch, timestretch, auto chop, ect)… the workflow is just a little different than what I’m used to & sample memory isn’t much (not bad, but I’m used to being able to scroll thru 100’s of sounds). It samples really fast, so I think if used for 1 or 2 projects at a time it would be best. Like sample sounds into it that you know you want to use for a track instead of loading it with a bunch of random sounds.
record a sample you wanna use pitch in a wierd way
under BPMSYNC put that sample in pitch change
hit the tap tempo once to see it on the screen
hit your sample
mess with FX CONTROL 2
QUICK EFFECT RESAMPLE
choose a sample (like, PRESS IT)
add an effect you like
sampling mode (make sure resampling is on) (ORANGE)
choose either loop/oneshot/gate sampling mode
arm sampling (GREEN)
press on your sample key (same as 1)
your old no effect sample is now effected.
RESAMPLE PATTERN
create you pattern.
arm resampling, then press sampling (orange)
3: set your sample mode to loop
make sure that you set a threshold/note-on to trigger the sampling. set the leng to 4 bars (or how many you want!)
arm sampling button (green).
press play on the sequencer
KEYGATE SEQUENCER CHOP
alright so the microsampler lacks a mark button, and chopping by percent can be a hassle. the keygate is also not as cool as i thought it would be due to need for silences (it’s still pretty dope though.) here’s a workaround for mark-style chopping.
get your sample looped how you want
put sample into sequencer
put resample on, keygate on.
press play on the sequencer and the key you want the chop on
stop sequencer
press play, again, next chop, etc.
ULTIMATE 1 KEYBOARD PART WORKAROUND
alright so the 1 keyboard part can be a bitch. usually what is recommended is resampling the whole pattern and laying the next keyboard part on top, but as any SP user probably knows you can’t adjust levels after resampling. here’s a different method.
create your pattern, lay keyboard part on top.
mute EVERTHING EXCEPT keyboard part.
resample just the keyboard part
delete keyboard part off pattern from step one
now just start the pattern, push the key with the keyboard part on it at the appropriate time, and you have the keyboard part on the pattern, the keyboard mode is now free, and all levels remain adjustable.
yeah, I don’t get it. I like humanized timing, but this is just bad timing. much of it, anyway. I like the approach to more raw sounds though, and the inventive way he’s achieving it.
anyway, back to the question… others have already suggested ways of making the OT do this, which should work, even though it’s kind of outside the focus of what Elektron excels at (sequencing, which you’re basically avoiding here). but if it were me, I’d probably just use the OT as a sound source, never hit play, and just buy a cheap looping pedal. DL4 or Headrush or similar. just leave it in overdub mode if you want the guesswork-style that he has. or turn overdub on/off as needed, so you can at least play the sound a few times and get the timing/volume of it down before recording it to the looping buffer.
it’s not the exact same way he does it, but that’s good. don’t want to completely rip him off.
P.S. have you thought about just getting an OP1? leave the tape mode going and use the sampler for your sounds. should be able to really nail this approach (plus there’s LOADS more in there)…
The Op-1 could probably do this well, gonna try it out.
As long as the feedback can go a LONG time & it allows you to get that ducking type of “effect” by popping the feedback on & off it would be great for this. Think I’ll mess with it tonight.
To be honest I’m not a fan of the music, but there were certain parts of his set that blew my mind. I would LOVE to see him live, but wouldn’t just sit back & listen to it at home.
