This recording is part of a live set played a couple of weeks ago, it was mainly played on the Octatrack (one pattern, drum samples from the Digitakt, pad samples from the Digitone), and a midi sequence for the Roland D-05 passed through the Strymon Timeline and Digitone delays. The build-up and drum breaks were done live on the Octatrack.
Hope you’ll enjoy!
Title drew me in. I’m a fan of mind and consciousness theory/philosophy 
Sounds good! I could listen to more of that.
@dtr thanks a lot man, those type of questions are of interest for me too 
This title is inspired from an audio conference of Alan Watts that I’ve sampled and played back through the track, perhaps you know him…
I’m used to play ambient music with my modular system but I’d like to dig more into this type of ambient-idm-rythmical things, in adding the Elektron box, so we’ll see if it makes sense in the next few months… plus I’d like to improve my recordings/mixing requirements too, because right now I start my portable recorder, push on record, play live the track on the machines and it’s done, ahaha… I confess it’s quite a tough thing to figure whole the recording system out! But anyway, so work in progress here…
Only superficially. I m a fan of Daniel Dennett s writings on mind and brain science/theory.
Re: recording. I work the same. One take live recordings. I ve worked in DAWs a lot before and for various reasons now work on hardware, only using the PC to record the stereo mix, and I like the immediacy of it a lot. Of course possibilities for post-editing are much limited but I m willing to pay that price.
Very nice! i really like the digitone delay.
Another one take live recording practitioner here. I record straight from my mixer into my field recorder. It captures a feeling that is almost impossible to get otherwise.
@Microtribe thanks a lot for listening and you kind comment!
@dtr @Microtribe sorry for the delay,
You’re right, recording the stereo mix when playing is immediate/straight forward and a good way to keep things human, alive, and globally consistent, but each recording is unique, and it’s really difficult to improve it (if I can say that) in re-recording several times, and when your mix is a bit approximative (for example: basses or drums a bit behind the mix, especially when it’s charged with pads and lush atmospheres, or when the individual track’s volumes could be more balanced), unfortunately you cannot come back to it and adjust it.
So ideally I would like to keep the same immediate recording process, but with multitracks recording, in order to keep things adjustable lately…
There’re things like the Soundcraft Ui24R that could permit this, but it deals with a tab/computer, or the Soundcraft Signature MTK serie mixers (multitrack recording on the USB port)… but perhaps you guys are right in willing to keep things simple. This gives me headaches! ahaha…
You’re completely right about the down sides of this. For now I’m keeping to it and seeing each jam and recording run as practice for live gigs. And recording this way forces me to train my mixing and analytical listening skills. I also have a medical reason for keeping screen time to a minimum, which plays a role in this. That said, I agree that simply being able to balance the channels mix after recording would be useful, though it could also be a rabbit hole to start post-editing in greater detail, which I choose not to do.
That’s for sure! I have to balance the pros and cons, hum… anyway, thanks for your thoughts!
thanks a lot for mentioning the name of Daniel Dennett - really interesting man obviously …and might also be some great source of wisdom and for sampling!
About two years ago I bought 20 channel audio interface so I could live record all my instruments straight into abelton then mix and treat later.
To be honest, I was never satisfied with the results, and yeah, that post editing realm is one I dont care to visit anymore.
To my ears the recordings always sounded better when I just recorded a stereo mix straight from my mixer. Maybe its the analogue circuits, maybe its the natural saturation I dont know. What I found, is that I can record. Then leave it a day before listening with a notepad and make mix notes. Then I fix the mix and re record. Simple things like, bass down a bit, hihats need less top end. Reduce compressor ratio Etc. This approach has trained my ears, and I can usually get a quality mix recorded in three attempts.
Everyone has their own path, but once you find the right one, the whole process becomes a joy.
Lovely mood!