check out 2:24 for the bridge section ‘solo’ - the workflow I used for this was straightforward and brutally simple. I took the sample pack and loaded the entire thing up to the flex sample slots of my project (about 71 primarily 1-shot samples) and then started out with a few simple manually sequenced patterns. I proceeded from there by primarily smashing out and playing the accompanying parts, with a bit of copying and tweaking to make variations. I ended up using only 3 patterns for this performance, 2 very similar patterns for the primary theme/variation and 1 pattern for the bridge. I employed scenes extensively as performance controls for variation, with a bit of beat repeat usage for extra expressiveness and performance control during the bridge. A strong backbeat predominates the rhythm, introducing a distinctly boom-bap element, but the tempo is a bit higher so we get a heavy stomping bounce instead of a more ‘swaying’ or ‘bobbing’ feel. The chiptune-esque lead/arp lends almost a trap style vibe at certain points. The ‘arabic’ scale I used for the lead line I derived from the previous samples I selected, which I did not re-pitch very much and had an unusual and fairly strong harmonic identity I wanted to emphasize. I went pretty aggressive and carefree/emotional with the mixing here, lots of heavy-handed compression and saturation/distortions. Recording this track kind of reminded me of hooking my electric guitar up to an amp, cranking it waaayyy up, smashing on a distortion pedal, and just wailing away!
recorded directly from Octatrack stereo output, with only mild post-production EQ and limiting
logo in the center on on side and on the other it’s a portrait of Cenk with a maniacally toothy grin 