Dude I really have problems with doing grooves. for example, i just listened to some hypogeo and i just don`get how i could come up with such intricate grooves. what really impresses me is how it seems to be evolving all the time and sounds switching around but it just grooves. i really have a hard time getting into that. the second example actually gets into something related. i dont know, often darkprog to me sounds like a mad clockwork, where i can`t really get how its made
well now i am at the last example and i wonder: maybe it`s jsut a way longer groove and some of the sounds are modulated heavy... so 8 or even 16 bar loops instead of 2 or 4, and maybe they just switch out some elemts so groove component 3 is same rythm wise, but the sound changes
I agree with @leiffang55 it's just a lot of experimenting in knowing how to arrange stuff but also which sounds go well with each other for this kind of groove stuff...
I like the techniques you show and thank you for the breakdown, but why do you call this “grid synths”? isn’t it just a call and response pattern for the bass and main elements on top of the groove (drums and sub)? Like I can hear what you’re doing clearly in the video, but I don’t completely understand your vocabulary. I wish you’d give more context
Generally speaking these synths are refered to as grid synths in psytrance production because they tend to get arranged on the grid (as in, in the playlist, not inside a midi clip). The way you arrange them (call & response or otherwise) doesn't really matter here...
@@Projektor_music oh I see! thanks for the response, I was wondering bc sometimes I like recording a session by looking at a midi controller instead of having a look at the DAW grid and making patterns. I guess we think of music different depending on if we can see what’s happening in arranging the synths vs making them blindly by ear thru improvisation. of course they’re correlated: a well thought out recording will look close to a methodically produced beat after the fx and tracks are flattened
Cool sound man!
Thanks!
Dude I really have problems with doing grooves. for example, i just listened to some hypogeo and i just don`get how i could come up with such intricate grooves. what really impresses me is how it seems to be evolving all the time and sounds switching around but it just grooves. i really have a hard time getting into that. the second example actually gets into something related. i dont know, often darkprog to me sounds like a mad clockwork, where i can`t really get how its made
well now i am at the last example and i wonder: maybe it`s jsut a way longer groove and some of the sounds are modulated heavy... so 8 or even 16 bar loops instead of 2 or 4, and maybe they just switch out some elemts so groove component 3 is same rythm wise, but the sound changes
just try out stuff and try to make patterns within the phrase. the more you break things downs and zoom in the more success you’ll find
I agree with @leiffang55 it's just a lot of experimenting in knowing how to arrange stuff but also which sounds go well with each other for this kind of groove stuff...
I like the techniques you show and thank you for the breakdown, but why do you call this “grid synths”? isn’t it just a call and response pattern for the bass and main elements on top of the groove (drums and sub)? Like I can hear what you’re doing clearly in the video, but I don’t completely understand your vocabulary. I wish you’d give more context
Generally speaking these synths are refered to as grid synths in psytrance production because they tend to get arranged on the grid (as in, in the playlist, not inside a midi clip). The way you arrange them (call & response or otherwise) doesn't really matter here...
@@Projektor_music oh I see! thanks for the response, I was wondering bc sometimes I like recording a session by looking at a midi controller instead of having a look at the DAW grid and making patterns. I guess we think of music different depending on if we can see what’s happening in arranging the synths vs making them blindly by ear thru improvisation. of course they’re correlated: a well thought out recording will look close to a methodically produced beat after the fx and tracks are flattened