I really enjoy seeing how much they squeezed out of the Monomachine.
Heard a cool stereo sound going on and found it was coming from a reverb track, with high value distortion p-locks on certain steps to produce the sound I was hearing, which sounded very different from its source. Never thought to try that before…
If I ever sell the MD + MNM I’m leaving these as the “factory” patterns.
hey brother i need some help … would you mind specifying which samples in the MPC1k collection those are, and why you loaded them to MD ROM slots 1-4 in particular?
i just looked through the collection and I find only two samples that begin with “SPS” about halfway down (SPSKikA and SPSKikB).
i also glanced through the patterns – not carefully i admit, i may well have missed something – and i only came across kits that use ROM 1 and ROM 6.
the setlist notes don’t say anything i saw indicating specific samples that are for use in the MDUW, so let me know if i’m blind or something here 
You may have crossed some of the info.
Re MPC:Theres a grip of samples in the mpc folder. But those are for the mpc. Look at files by type. Theres a BUNCH in there.
Re MD samples: (clap, clic, clik, hh01) i was just showing the only samples that showed up in the MD when i loaded the MD sysex. There was only four, and thise were they.
Re set list: ya i never said set list had anything to do with samples. But it did specify when to use Ram machines for some freestylin’
I did see some ROM machines, but it was calling on sample slot 6 that was empty. BUT because you have me checking this out…i now see a bunch of samples in there way down the list. 1-4 have samples, 21-38 have samples the rest are empty. Perhaps when i loaded the sysex over my existing stuff, the samples that came with the Ae sysex went in gaps?
Im gonna factory empty reset, to see where those samples get placed. Perhaps they are stock and they just use those? But that Rom i saw used slot 6 like i said, but it was empty.
So, again, MPC are MPC only, nothing to do with MD, but maybe try them 
Lots of Ram machines in there (to use em you gotta initiate them), check E12 for example. Tracks M1, M2, M3, M4.
And the set list doesnt say anything about what samples go where.
(MPC samples i got)
Hope that clears up some of what i meant. Im not the best typist.
ADDING: i just wiped my MD, deleted all the samples, then loaded the Ae sysex. looks as though they either used the stock samples that were in the box for their ROM machines, or did not include them for the MD. cuz when i loaded the sysex in again with ALL wiped…it was empty.
ADDITIONALLY: a werd of warning…much to my dismay…samples are not part of the sysex. you need to dump those on their own it seems. SO that said, the backup of my sysex pre adding the Ae sysex is fucked, as my samples are gone and i have no idea what those were. NEAT!
[i need to be more diligent about RTFM [idiot]]
LESSON LEARNED!
[im gonna chuck in some of their MPC for fun]
thanks, and yep … samples have always been something you need to load separately from sysex data.
i went back and checked more carefully: the kits used in the patterns only use ROM slots 1 and 6. some of the unused kits (there are quite a few) might use other sample slots but i’m too lazy to look through those.
my suspicion is that the samples they use in these two slots are the ones i mentioned previously. these appear in the MPC1k sample collection, which is ordered alphabetically … i don’t know where else the .wav files would be found, unless they simply aren’t included at all. who knows if i’m right though.
one thing i notice is that the only patterns where the samples are used are in G13-G16 and H bank. i suppose it might be possible to listen to that section of their live performance and try to make them out.
all that said, i’m way more interested to dig into what they’re doing with RAM machines … probably a lot more enlightening.
It just says in the set list (not in front of me) something like “freestyle a bit with ram machines for x loops” or something on certain tracks.
Its probably just just goofing to fill.
Theres a couple patterns with the Ram machines live.
I’ve just built virtual video-synth in recent months and by the looks and sound of this, it seems to use similar principle. Basically, if you convert video data to arrays of RGB values, you can make wavetable out of it and interpret it in different ways too (like using HSL instead of RGB or converting to CMYK even). I’ve done some tricks to make more kinds of sounds out of this, not just harmonic noise.
So it sounds like a typical wavetable generated from video, but the way it looks may suggest that they might used depth camera (Kinect probably) instead or they just manipulated 2D to look like this (like extreme bump mapping with indirect color projection to distorted 3D plane). But that’s just a guess.
Here’s few examples how my prototype worked:
Can someone with a monomachine please explain what’s going on to create those elasticy sounds in this vid?
The sound is produced by two MachineDrum UW RAM machines.
Earlier in the pattern, most of the work is being done by the R1/P1 machine. Two LFOs (tracks 15 and 16) control P1’s RTRG and STRT parameters. This accounts for the “elasticy” and “zippery” sounds.
A few loops later, R2/P2 is enabled and records more internal noises. This is the more filtery sampled-sound; track 16’s LFO now controls P2’s lowpass cutoff filter (FLTW).
This may make no sense if you don’t have a MD, but there’s the explanation, anyway!
Hello gyus,
So we had something about a month with AE sysex files. I listen to them now and then and the music is beautiful, but Let’s talk technicalities. I am wandering what have you learned about using MNM and MD from them?
For me the main paradigm shift was with arranging songs in multiple patterns (though perfectionists inside me HATES when song doesn’t start on 1, 4, 9, or 13). In terms of synthesis Dpro wave morning and hold LFOs on everything.
What was your discovery?
If anyone is interested in playing around with these patterns in a regular DAW I’ve made a tool that extracts the pattern data from the MachineDrum sysex dumps, resulting in 128 patterns contained in separate .mid files. Of course, the MIDI representation loses a lot of data like all modulation for instance, but it can nonetheless be fun to play around with the raw sequences. Anyways, the tool along with the MIDI files are available to download over at github: https://github.com/carrierdown/elektron-sysex-to-midi
Hi,
I worked on a replication of the Ae Echoplex live. Using MD, MM and MPC1K - no Nord G2 part, but others have gotten in touch and are working on it.
You can listen to it here:
I’ve been listening to your recreation for a wee while now since it was mentioned on WATMM and I really enjoy it. Good effort!!!
As an aside, I finally got around to loading the MNM sysex in the last few days and it’s fascinating to examine the patterns and individual tracks in isolation. What stood out for me is how simple it is at times. You just play a few notes and it’s bizarre how simplistic it sounds… but then you look at the sequencing data and sound programming and it’s still noteworthy that it isn’t some absolutely cacophony of trigs and LFOs going bananas. Often having just a few components cleverly layered with one part being more complex is enough to give the overall impression of huge complexity that is more readily understood. Or they have trigs in unexpected places or layering ENS machines with other machines that end up creating quite odd chords that my limited understanding of theory doesn’t quite get.
So, hugely inspiring for doing more with less… I’m going to try to learn from that.
They create variations of pitch sequences on the Monomachine by employing a very slow arp (x96):
If you set the speed to x96, type to RND, and plot, say, three notes on a single trig, the arpeggiator uses these notes as an “array.” For instance, place a C, E, and B on a single trig with the aforementioned settings; hit play and you’ll find that the arp will randomly choose a note among the three. It becomes more apparent if you copy/paste the trig a few times.
This is a much more musically-interesting method of “randomness” than assigning an LFO to pitch, for instance.
That’s one of my favourite things to do on the Monomachine, it’s a really easy way to get some semi-aleatoric stuff going!
That’s a great tip, thanks!! Now, I’m just new to my OT journey but it’s got me wondering if the same thing would work the OT when using midi loopback? Something to investigate soon I fear…
You could do something similar by using the LFO designer, and assigning it to pitch using the HOLD mode. If you get the depth right, the numbers in the LFO designer will correspond to the whole numbers in the pitch parameter. It’s a bit more fiddly, but could in fact get deeper than the monomachine’s arp, as you could also go into microtonal territory…
So… I’ve been playing about with the MNM and MD sysex from Rochdale’s finest which has been fun. But whilst I was at it I decided to make a bunch of one-shots from the MNM and then a bunch of sample chains from the MD based on this sysex. Just really for my own use in my DT/OT as they don’t sound immediately AE-ish when played on their own - the sequencing is key to that. Anyway, it amuses me to play about with them and I thought others might be interested if they don’t have access to the original silver boxes.
So, was thinking of uploading them to the Files section but I don’t know what the etiquette would be… cool? Or not cool?
As an aside, for some reason I can’t download anything from the Files section - the download link is unresponsive - am I missing some bobby-basic thing I should be doing?
as they gave those sysex out to the public…im sure its fine. Ae gift
Yes. In some cases the patches output their audio on output ports 3&4.
Testing random patches from the Nord G2 without considering the larger scope setup (connecting & playing elektron boxes into the Nord G2 while, I presume, the MPC triggers midi&automation on the G2 itself)
prob won’t be a perfect set recreation
but I dabbled along the patches the 1st night I got the g2 and started to recognize (maybe) inter-slot communication and what I come to expect as always re-using feedback mechanisms to cause bright, dangerous breathing in the synth patches (whether its Max/MSP NTS, G2 reverb/breathing patches, or Machinedrum self-sampling feedback pitch-shifting and so forth)
Playing around on the NMG2 patches gave a sense of being in that environment, at least.
