I haven’t posted anything on this forum for a few years now.
I was wondering how many people are using the analog four to make deep house…
On Youtube most people seem to use it for ambient, tech house, dub techno or techno.
I found that you can get a lot more dynamic pads and chords with the env. and lfo of the A4 than the generic juno 106 deep house. You can also make fantastic basslines with the arpeggiator.
This is an example for deep house track made with the A4.
The analog four was used for the chord and for the note that fades into the track.
My question is who is making deep house with the A4 and what you use it for in the track.
Don’t worry… with Analog Four and ambient, tech house, dub techno or techno… it’s just because it’s the club scene reflection of the heavily played music genre at the moment. But electronic music genre always turn at some point (in term of majority and reflections because dj always need everything for the different moment of a party…)
It’s usually a bit more techno than deep-tribal-house rather for a certain period of years then people get tired about the RAW noises sounding and want to smell again Flowers and it came back at some point on more Melodical stuff. Like the Chilean/Romanian/German period with Luciano, Villalobos, Loco Dice, Raresh etc… now it’s a bit more techno but at some point percussions, funky baselines and soulful melody will come back. it’s cycles
Anyway a synth can do it all, after that it’s just polyphony limitations for chords when you only have one synth.
Yeah I was just wondering if i am the only using it like this. haha
I do also make ambient, down beat stuff etc.
The house music I make is a bit more abstract i would say.
Yes, it is also good that the sound is evolving and developing into something new.
In fact I am bored of deep house and think the analog four is perfect to create a new sound.
It’s not an easy task to reinvent the wheel But at least with sound synthesis you can find some unusual sounds and it gives to your music some fresh air that’s really one the advantage … also at some point, I find it more self-gratififying when your music is yours from the ground up.
Another good point of Sound Synthesis is designing in the context of a track. So everything take place better (as you start by the design to mixing sounds with each other)
Oh, very nice. There’s a lot to love here. The ambience and atmosphere, as well as the harmonics and structure. It shifts and moves in a way that keeps me interested.
thanks for all the nice feedback for the track.
I didn’t make this track alone there were two friends involved and one of them is a well known producer.
The track should be really just an example for what you can do with the analog four and please feel free to share your tracks
@William_WiLD yes you can’t reinvent the wheel but by using different equipment not the usual 909 juno 106 etc. you can create a new sound within the same genre.
true…in the 90s and early 2000s new sounds were invented more frequently. it seems to me there are more hardware and software inventions (adding to already existing sounds but not necessarily creating fresh ideas)…But I agree its a circle but this feels a bigger circle.
Nice. I’m a big fan of the Smallville releases when I’m in the mood for house. I wish I knew what stuff more of their artists used because I’m often curious how this sort of stuff is constructed. Something about more straight music like this is so intoxicating to me because it’s so complex and difficult to make while seeming so ‘easy’. Always pondering that puzzle
You are right that most of the things were invented in the 80’s 90’s and 00’s but I think with so many hardware and software options nowadays we are still trying to recreate the sound of a 909 and all the other vintage Roland gear.
I think especially Elektron gear is perfect for creating a new sound.
Yes I really see what you’ve mean I have more or less the same thing in mind. Kind of our challenge, between initiators who established codes (based on sounds, gears, chords …) for what we felt in love for this music genre… evolving as a person, listener, dj, promoter, producer or whatever for years… seeing fusion between genres to try to create new things…
And personal quest also (for few, there’s people where’s it’s not a priority or a challenge to making things evolve or trying to find their own sound signature…)
I feel personally to having a quest like that. it’s kind of a pressure too. But I can’t see things differently copying is not interesting to me (sure it’s nice to learn but meh… nope)
So then it takes time. And need a personal investment to keep the pleasure in what we do also.
it’s not new, not underground anymore (not like in the first place, because everything new is scary… for us it’s was damn FUN like another planet on earth), it’s kind of well established now. But there’s magic in music, even in rock today so no reason that’s not be the same in the electronic music for the next years or decades.
That is true.
There is a certain concept that works like the sound of an 808 in trap or hip hop.
I actually got the idea from Oskar Offermann when I met him here in Asia.
I tried to buy some different equipment and besides a tr626 (the one that nobody wants)
I don’t own any of the vintage Roland Gear.
that’s really one the advantage … also at some point, I find it more self-gratififying when your music is yours from the ground up.