Sampling German toddler cartoons with my boy and manipulate till they sound Greek (ish).
Or vice versa.
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me too
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Nice inspiring thread 
My favs:
- Random LFO on sample start, sliced or not. On beats, but also on other samples.
- Set a track to allways (trig) record output. Set a scene to fade between that recorded track or normal output. Play with freeze delay: keeps recording all over it on the recording track.
- Sequencing my G2
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I’ve just found this out recently. One of the most noticable and exciting discoveries was the unexpected rythmic varieties you uncover when doing this method. I never would have intentionally programmed these patterns on individual trigs. Unexpected flams and ghost notes/hits have arisen as well.
The sample I used was a 45 sec field recording of my rewarming coffee pot.
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P-lock scenes? I.e. set a trig with a scene? How does it work? I just knew that i can set a scene in the arranger.
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I think it comes down to slices and pre-sliced recording buffers and playing them plus or minus some extra details. mlr has this interesting “choke-group” feature which while one could emulate with NEI TRC, can’t (afaik) playing slices.
Plus of course you don’t have access to all the tracks at all times like you do on a “grid”.
I have yet to try it all out but I’m concerned about non-zero pops as it’ll be presliced and thus recordings wont be on zero-crosses. I’ve never heard any mlr popping so will have to investigate further…
AH! That’s my favorite thing to do on the OT: emulate gear in order to quell the GAS. Next up: Morphagene. 
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Single favourite thing is probably just sync’d sampling of whatever’s at the end of the midi out
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I meant plock parameters to scenes, but with midi loopback, it is very easy to plock scenes, sending the right CC 55/56, values 0-15.
In live recording mode, you can record them while changing them, and record crossfader movements if you want. This is also possible in Arranger mode, for several patterns.
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Ahh ok thanks for explaining that to me.
Yes I live for multisampling (thats what i call sampling from disparate sources lol) and each day im scratching my head wondering why nobody seems to chop up records any more. I listen to a lot of new electronic music daily and never hear it openly
My favourite thing to do with the octatrack is to work samples from different records into overlapping sequences. Using P-locks to shape the sounds and the sequence until it all fits
One might imagine a history of ruinous lawsuits could be to blame.
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I get it but i just don’t get it… if thats really created this sampling void then im very disappointed by how boring everybody is
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And there is a bit of bizarre irony in the fact that many of the most sampled drum loops were written, performed and recorded by people that can’t even afford basic necessities in later life.
The industry is a joke, man. But yeah, this is the reality and why you do not hear sample based music much anymore. It’s too risky to produce and try to monetize. Do you want to release an EP that you earn a whopping $5000 on only to be sued for $1M by Led Zeppelin? You can’t even begin to mount a legal defense for 10 times what that EP made for you.
I’m all for fair use and I don’t particularly care if someone uses some of my output in a commercial release, provided I get a nod for what I created.
I hear a lot of interesting chopping going on in underground hiphop (https://www.youtube.com/watch?v=fvuTZhY4UxE) and “vaporwave” (https://www.youtube.com/watch?v=ARSRV9ON6AU)?
Is it just me or does anyone else think these lawsuits tend to occur within particular genres only? I mean Iggy Pop could probably sue the whole of Brooklyn if he wanted to…
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HAVE THEY ACTUALLY SUED SOMEONE? That would change my entire relationship with them if they have. They thought of LED ZEPPELIN suing someone for copyright infringement would be the height of absurdity…
Honestly it seems to me these lawsuits happen either because the infringers didn’t ask / give a heads up first or the plaintiff is thirsty.
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It’s not the band though is it? It’s the publishers / record companies. They’ll sue anyone if they smell money.
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I guess that’s true.
If you mangle these things beyond recognition no one is going to take notice. But that’s not how a lot of lazy producers do.
Besides, it’s probably a good thing it’s going on: I personally don’t want to hear the Amen break ever again.
This is going off topic so I’ll not post on this again. There were a number of high profile cases like this in the 90s. Look up what happened with the Verve and the song Bitter Sweet Symphony. They had to give up 100% of their hit song royalties to The Rolling Stones.
And let’s be honest here, how many samplists are going out and asking for permission before they release a track? What is more likely is someone underground wound up with a run away hit and the sampled artists send a cease and desist, etc. There’s a pretty well established precedent for labels and artists suing others that have used material without permission. We can argue about history if you want, I’m just saying I think it’s perfectly clear why this stopped in mainstream releases years ago. There’s a reason you have to confirm sample clearance when you shop a release to labels.
**no heart burn if the mods move this. I didn’t expect this to generate so much discussion.
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i don‘t think it has to be laziness if the sample is still recognizable. guys like shadow or tobin took whole sections from records, several bars long loops, but they used so many layers of samples of different origin per track, it‘s like a collage. an art of it‘s own. you have to have very good ears and compositional talent to fit these all together. especially back in the days when time stretching wasn‘t really available
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Well that’s different: they suck anyway, so I couldn’t care less. But unlike Led Zeppelin they didn’t make a career from blatantly ripping off blues artists. But that just proves my point: before Bitter Sweet the Verve were big enough (and they probably knew they had a hit on their hands) that they should have said something first.
Have you taken a look at the credits on Beyonce’s “Lemonade”? They probably could have gotten away with a lot of the things they did without having to get anyone’s permission but they did it anyway.
I don’t not believe it but I would like to see a case where an legitimately underground artist was sued by a big name. All I see are big names after other big names and little artists after big names.
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I would never put Tobin or Shadow in that camp. I’m talking Kanye (http://www.factmag.com/2018/06/02/pan-label-boss-bill-kouligas-claims-kanye-west-sampled-music-without-permission/) or Drake’s camp.
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