Tim Lawrence has done a lot on disco into house/techno in terms of scene histories and sociology, but mostly 70s-80s stuff. Simon Reynolds for UK-centric Cultural Criticism stuff - rave/jungle/d’n’b/dubstep focus a lot of the time - Retromania/Futuromania probably quite thread relevant. I quite enjoy his stuff but for me I feel like it takes wading through 20 pages of takes to get to one really good point. But he does make some really good points when he gets there. I like David Toop a lot, tends to be focused on sound art/ambient type stuff but crosses over into house/techno a bit, I can also see why some people don’t go for his schtick. Techno Rebels by Dan Sicko. Last Night a DJ Saved My Life by Brewster/Broughton. I think there’s probably a gap for a Tim Lawrence type history of Chicago in the 80s/90s, although maybe there’s something out there that I’m not aware of.
If you’re into max msp there are a few packages (MuBu, Catart)
Great tip, thanks. This patch is basically cheating for this kind of stuff.
not sure this is categorized as micro sampling but i was blown away by GOTYE´s sampling on his hit “somebody that you used to know” i always thought it played by actual instruments.
That may be the single illest video illustrating the art of sampling that I’ve ever seen. What a great channel 
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incredible
arpeggiator → sampler with bits of whatever → trial and error until you like
check this then:
when its about sampling, no one comes close to the prodigy or daft punk. and by no one I mean no one.
…nice…apart from that little site note, there was no ableton in the mid 90ies… 
oh, @MichaalHell , it was a sad day for me, somehow, when i realized, that global uber hit was actually NOT played for “real”, too…
We had OctaMED on the Amiga though 
Well obvious answer is using a DAW and investing a lot of time. It’s simply just chopping very small snippets which any DAW can do.
How he found those ideas though - he could have used a sequencer or Arp. Or once he had a lot of slices he liked, he could have just thrown it onto a drum rack or MPC, so he could jam ideas on the keys or pads.
Thats how I would do it at least.
I actually appreciated it more. The sampling is so discrete and refined that it masked as real instruments, I think that is quite a feat!
Super cool video, thanks for sharing. I think doing something like that on my DT2 is gonna be my project for tomorrow.
So quick and easy to do this akufen type stuff in koala sampler. Just randomly grab stuff from the radio and play it back. I was briefly into this sound in late 00’s but soon found it really annoying
I listened to this album a bit growing up. Sonically it was refreshing when compared to something like Daft Punk or the really mushy house songs.
Akufen’s My Way is considered to be a seminal album in electronic circles. There’s a lot of ideas and moments on it. It edges on micro, minimalism, maximalism, glitch, dub, leftfield/commerical and it has a recognizable timbre (like, hey this is probably a Sophie track). At points it captures that 2000 Luomo - Synkro “Vocalcity” kind of a vibe. I’d argue help lead the way for artists like ‘Girl Talk’. Yeah sure the technology was available but not sure if anyone else had tried to create this type of discordant sonic mental space in music at the time within the ‘house’ genre.
Exactly.
As above, you can save a lot of time now by using something like Coalescence or the max patches further upthread to pull a load of similar fragments from a long recording (in practice I’ve used rings mode on Coalescence), then drop them in a folder and use Ableton or XO or one of the other machine learning tools to sort them and go through to find the right/best ones to use.
I still feel that probably it would get better results to deep listen and identify the interesting bits by ear and just intentionally chop the one you want, but if you don’t have unlimited time to spend on music then at least this way provides a predictable way of generating a bunch of samples to use. Still can’t cut corners on judgment of which will work and how to put them together, which is why I feel like arpeggiating slices won’t usually do it unless you get really lucky.
I think there’s a reason - aside from just copyright - that artists who got big with sample heavy stuff like Endtroducing or the Avalanches first record tend not to make their follow up records that way. It is a lot of work when you could just generate the sounds to use yourself, but imho it’s also pretty special when done right.
Cogent analysis. I might add Panda Bear’s “Person Pitch” to this phenomenon, too.
Wave editor software like Sony’s Sonic Forge, or Steinberg’s Wavelab used in conjunction with a sampler and DAW is a good workflow.
Wave editors can get really up in a piece of audio to fade in/fade out snippets to eliminate pops.
The ReFill audio format was introduced by Propellerhead Software in 2001, alongside Reason 2.0. That was 24 years ago.