People that I’ve worked with, you might know would be Björk, Depeche Mode, Massive Attack, Rudimental, Rita Aura. So quite, quite a wide range of genres.
I do, I like to work on pop music, especially at the, the kind of high end. what I mean by that is projects like Rita Aura, everyone on, on a project like that would be really good at what they do. So it’s nice to be surrounded by people at the top of their game. And then I make a lot of music of my own, predominantly in Ableton.
So I’m recording live stuff and manipulating the audio in our Ableton and then moving the timings around and adding electronic elements. So as you can tell, working with someone like Bjork, that would would be the case using a lot of electronic stuff. But you’re also using a lot of live elements, you know, bringing in musicians, anything from string players to, percussionists to one time we even had a guy, he was playing bottles so he would, he had a whole array of bottles in front of him.
He was filling them all up, different, different, levels and they all played different modes. Pretty record. Anyway, enough about that. So I am going to, let me share my screen with you guys.
So let me show you, how I went about this. Creating a groove for anybody to write to. Ah, you can hear the birds good. I was waiting to see if someone could notice that that isn’t actually birds that are outside.
So I’ve got this, this nice little app and it plays ambience. I quite like to have ambience in my tracks, rain, but we don’t need any rain, so I’m gonna leave the birds on. Okay. They’ll come back. yeah, I quite like to have some ambient noise in the back when I’m making tracks.
I think you’ll find there’s, quite a lot of music these days made with people inserting white noise in the back. I just saw someone on the chat there saying, anyone here from Brighton? I’m in Brighton, so hello Brighton, hello to you down the road, wherever you are. Ah, and Zach. Hey Zach, I’m Brighton too.
Alright, so what I wanna show you is something that I put together for you. and the idea came from many moons ago. I I was a, an assistant to a producer with Howie be, he was kind of known at one point as being the originator of trip hop. And, I assisted him on pretty much everything for nearly a decade.
And, we, I fortunately assisted him and was the engineer on one of the U2 records that he was asked to be one of the producers on. And it was, from the very beginning of the project, from the writing process all the way through to the mixing process, so writing, recording, producing, mixing.
And this was something I picked up from them. So they would come into the studio and, how we would be there with a load of records and CDs at the time and he would play them music that he liked to get a vibe going ’cause they were coming in off the street fresh and then they would start to play along to the music that he was playing and vibe and off of the grooves that he had there for them.
So after that, that project, I started doing the same for myself when I was, working with other people or working on my own. ah, someone just said he’s my neighbor. Ha. Hi.
Hi Liam. Sorry guys. Hi, Liam, my neighbor. so let me start by finding the groove or the equivalent of what we did with you two. And by the way, this isn’t exclusive to those guys since those working with them. I worked with quite a few people who did one I’m about to show you. So I got, I found this really nice. I I think it was really nice sample.
and if anyone can guess who this band is, we’re gonna have to, come up with a prize. So I found this sample, have a listen Now, does anybody know who that band is? I’ll play it again. It, the original was a bit faster.
It was around one 17. So the original sounds like this. So I’ll leave that one with you. No one’s got the the right answer. Oh, someone just said Sri polity. Now you are close, but it’s not the right answer, but you’re very close. It’s somebody in the band that made this track, did work with Scri.
I’ll let you keep going up the side there if you’re guessing and I’ll, and I’ll get on with what I’ve been doing. So I slowed the track down and I also changed the key a bit. So I, I changed, slowed it down, pitched it to the KFE and it ended up sounding a bit like this. And what I, and why I did that one, I quite like the tempo around 111, that kind of groo end of, of, disco and slightly fast funk.
And I mean, you know, 111 BPM, there’s a lot of space between each beat.
So you can afford to move percussive elements or base elements in front or behind the one which gives you the groove. So that’s why I slowed down. Now, can you see, I’ve got two clips here by the way. Sorry, I shouldn’t have said this at the beginning. I’m working in Ableton on this project. I know that you don’t all work in Ableton. but everything I’m doing in here you will be able to do in your chosen DAW, which the majority of people, it would be logic, right?
so you can do all these things in logic too, but I’m gonna be doing them enabled. So I looped up this particular clip before eight bars and you can see it once flashing. So I said after eight bars, play this clip for four bars and I pitched it up so that the groove changed.
Let me show you what I mean. You see that. So there’s not a huge difference in key, but there is a bit of movement there.
I I really love to work with repetition. I mean, I, I don’t think in modern music you can really get away from it very often. And I particularly love repetition with some variation and that that’s an example of that repetition. But then a slight variation, but not enough for you to throw all your, your ideas out of the, out of the bath, so to speak, every time it changes.
people that I’ve worked with, you might know would be Bjork, Depeche Mode, massive attack, rudimental, Rita Aura. So quite, quite a wide range of genres.
I do, I like to work on pop music, especially at the, the kind of high end. what I mean by that is projects like Rita Aura, everyone on, on a project like that would be really good at what they do. So it’s nice to be surrounded by people at the top of their game. And then I make a lot of music of my own, predominantly in Ableton.
So I’m recording live stuff and manipulating the audio in our Ableton and then moving the timings around and adding electronic elements. So as you can tell, working with someone like Bjork, that would would be the case using a lot of electronic stuff. But you’re also using a lot of live elements, you know, bringing in musicians, anything from string players to, percussionists to one time we even had a guy, he was playing bottles so he would, he had a whole array of bottles in front of him.
He was filling them all up, different, different, levels and they all played different modes. Pretty record. Anyway, enough about that. So I am going to, let me share my screen with you guys.
So let me show you, how I went about this. Creating a groove for anybody to write to. Ah, you can hear the birds good. I was waiting to see if someone could notice that that isn’t actually birds that are outside.
So I’ve got this, this nice little app and it plays ambience. I quite like to have ambience in my tracks, rain, but we don’t need any rain, so I’m gonna leave the birds on. Okay. They’ll come back. yeah, I quite like to have some ambient noise in the back when I’m making tracks.
I think you’ll find there’s, quite a lot of music these days made with people inserting white noise in the back. I just saw someone on the chat there saying, anyone here from Brighton? I’m in Brighton, so hello Brighton, hello to you down the road, wherever you are. Ah, and Zach. Hey Zach, I’m Brighton too.
Alright, so what I wanna show you is something that I put together for you. and the idea came from many moons ago. I I was a, an assistant to a producer with Howie be, he was kind of known at one point as being the originator of trip hop. And, I assisted him on pretty much everything for nearly a decade.
And, we, I fortunately assisted him and was the engineer on one of the U2 records that he was asked to be one of the producers on. And it was, from the very beginning of the project, from the writing process all the way through to the mixing process, so writing, recording, producing, mixing.
And this was something I picked up from them. So they would come into the studio and, how we would be there with a load of records and CDs at the time and he would play them music that he liked to get a vibe going ’cause they were coming in off the street fresh and then they would start to play along to the music that he was playing and vibe and off of the grooves that he had there for them.
So after that, that project, I started doing the same for myself when I was, working with other people or working on my own. ah, someone just said he’s my neighbor. Ha. Hi.
Hi Liam. Sorry guys. Hi, Liam, my neighbor. so let me start by finding the groove or the equivalent of what we did with you two. And by the way, this isn’t exclusive to those guys since those working with them. I worked with quite a few people who did one I’m about to show you. So I got, I found this really nice. I I think it was really nice sample.
and if anyone can guess who this band is, we’re gonna have to, come up with a prize. So I found this sample, have a listen Now, does anybody know who that band is? I’ll play it again. It, the original was a bit faster.
It was around one 17. So the original sounds like this. So I’ll leave that one with you. No one’s got the the right answer. Oh, someone just said Sri polity. Now you are close, but it’s not the right answer, but you’re very close. It’s somebody in the band that made this track, did work with Scri.
I’ll let you keep going up the side there if you’re guessing and I’ll, and I’ll get on with what I’ve been doing. So I slowed the track down and I also changed the key a bit. So I, I changed, slowed it down, pitched it to the KFE and it ended up sounding a bit like this. And what I, and why I did that one, I quite like the tempo around 111, that kind of groo end of, of, disco and slightly fast funk.
And I mean, you know, 111 BPM, there’s a lot of space between each beat.
So you can afford to move percussive elements or base elements in front or behind the one which gives you the groove. So that’s why I slowed down. Now, can you see, I’ve got two clips here by the way. Sorry, I shouldn’t have said this at the beginning. I’m working in Ableton on this project. I know that you don’t all work in Ableton. but everything I’m doing in here you will be able to do in your chosen DAW, which the majority of people, it would be logic, right?
so you can do all these things in logic too, but I’m gonna be doing them enabled. So I looped up this particular clip before eight bars and you can see it once flashing. So I said after eight bars, play this clip for four bars and I pitched it up so that the groove changed.
Let me show you what I mean. You see that. So there’s not a huge difference in key, but there is a bit of movement there.
I I really love to work with repetition. I mean, I, I don’t think in modern music you can really get away from it very often. And I particularly love repetition with some variation and that that’s an example of that repetition. But then a slight variation, but not enough for you to throw all your, your ideas out of the, out of the bath, so to speak, every time it changes.
