Bitwig became my weapon of choice for more complex productions. There’s something about the workflow and its set of tools that just works. So far, I haven’t found myself in a dead-end where I didn’t find a number of ways to achieve what I’ve had in mind. No matter the complexity.
Did a little Dub Techno experiment with a fixed setup, based upon heavy use of velocity and modulation allowed for recording these three tracks quickly:
Only the sequence and a maximum of 5 parameters changed between the takes. Then recorded the result, no automation, no external control. Download the project file for Bitwig 2.4 and above here.
Ableton Live
Nonetheless, I’m still faster doing things in Ableton. Habits. Having shared a few cents of expertise with Matt/Ableton during the development of Wavetable, I was very eager to see how it turned out. I think the result is stunning, versatile, simple allowing complex, moving sounds with ease. Also digging the refined user interface. The new echo is a great addition, too.
I first used Live 10 for a challenge called by Voidloss at the subsekt community: Make a track only using instances of the same bass drum sample. Spicing it up some more, I set myself a timebox of 90 minutes:
Grab the Ableton Live 10 project here. Wish I had more time for fooling around with Live 10 so far.
On the topic of subsekt, it’s been another great year of knowledgable threads. If you’re a Techno-minded producer looking for advice or exchange, you should check it out. Having been part of the tribe for many years, I’m delighted the subsekt label finally surfaced. Debuting with Belgium-based member Amygdala, kudos to everybody involved!
For those wondering how to murder a bassdrum in such a fashion using only Live 9’s internal resources: I’ve got an effect rack for you. Based on stacking AMPs and doing all kinds of things ‘wrong’.
Examples
This dropbox folder contains all the files mentioned above. And some more.