I got it as a kindle book for free as part of their Prime Library thing. I’m in the US, maybe you’re not? 
Yup. Use your ears. Tracks that sound too harmonic, aren’t interesting to me.
I was thinking exactly this same point to myself last Saturday night. Too funny!
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Damn I hate regional restrictions.
Such bullshit.
**Hi ! Do someone know how to stay structured or anticipate note which result when I use this process ? :
Im playing in a definished scale some notes and I’m ressampling live the sequence, then I play some chords of the sample : So It’s creating original sounds but I never know in which key the sample become…
Maybe you have the solution ?
Maybe some can play accordingly to a normal scale even if changing…
Please help !
Thank !
Another vote for use your ears
Once you get deeper into theory you can justify your ‘out of key’ chords as being harmonic planing, borrowed chords or modal interchange.
Theory is just a way of analysing the music, it comes after the sounds not before.
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Not always. If I’m searching for a way to create a particular shift or feeling, then I can use theory to help me get there. Simple stuff like knowing that the V chord will create a strong pull back towards I is very handy.
It’s also a good way to take, say, a really nice chord change in another artist’s song, and reuse it yourself.
Theory doesn’t take anything away from your ear. It just adds new tools that augment it.
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I think he meant that music theory is just a description of principles that apply to music, not the root of it.
First came the music, then the theory described observations and principles.
It tells you how things work, but not why certain things work. Or maybe I missed that part^^
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@Citizen I did see that the Kindle book I mentioned shows up twice on Amazon: once for $25 and once for $6. I bought the $6 one
Thank you.
I’ll have to check on my actual Kindle - but on the Amazon sure it was not available to me.
(I’m in Australia)
Not read through the whole thread yet, but…
I’d bookmarked this
And this
This from 4:16
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I’ve always thought orbital used sampled chords . Many older tracks have weird chords which I think gave them a unique sound ( as did pentatonik from the same period )
Same with lots of rave tracks . A single chord but pitched up / down to get slight weird notes.
Thought you guys might appreciate this.
Or you could just play the synth that’s right there, behind you, on your shelf.
You assuming I have a synth with keys, right there behind me in my enormous studio…
Edit. Found it, it was hidden by the full drum kits (multiple) and the full Orchestra.
I meant the guy in the video 
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I know my theory fairy well and studied jazz harmony so I can give you a few tips. The easiest one ever is - sample a minor and major chord when you sample chords.
that will basically take care of you for about anything basic. It’s rare you will used a diminished chord, but if you have the time to sample that - do it.
Another trick if you only want one chord - sample a dominant 7th chord. You can use them all over the place like a madman. Rules go out with the window with dominant 7ths, and whenever I see one coming up on a chart, I know it’s party time.
That said, we are making electronic music here and for standard sounds, you should just build a minor and major variation of each chord that you want to sample.
the other tip I would tell anyone is to study the major scale. Not just the notes in it, but every chord and it’s extensions. You may be pleasantly surprised when you do because suddenly you will hear a min7 chord and realize you can layer notes over it that you never would have thought of before. the #4 comes into play once you really know the major scale, and substituting that note over a natural 4 can give you some fantastic melodic ideas.
Just some stuff to consider while you go on the journey.
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My most helpful suggestion for versatile chord samples is an idea I stole from the Carillon Audio blog: Make a sample (or find one) that starts in a major key and then shifts to the minor version of that key.
That way, if your composition requires a minor instead of major chord, all you need to do is flip the playback direction (i.e. use a p-lock). It also makes it really easy to see which sounds better (minor vs major) because you’re just toggling one knob to switch back and forth.
These “bidirectional samples” are really powerful once you pair them with the Circle of Fifths:
Edit:
Another way to do the same technique might be to use a sample that has a major key followed by its minor key, or vice versa (I’m thinking of a song like The Veils’ “More Heat Than Light,” which is almost all A major followed by Am and back). Then you could pitch the chord up or down, and use Start Point to change the tonality as needed.
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Or if you are in Dorian, i, ii, v
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