Very cool hearing Asec drop the knowledge, especially encouraging the PERFORMANCE aspect of electronic music, be it in the studio or onstage. So many folks try 'safe' (boring) programmed recitals and that is a real disservice to the audience. It requires a lot of dedication and practice, and it really is not something anyone can do well without putting in the time and effort. There is no substitute, no fast path to making original music that sounds good. These tips and tricks can help get things going, and are very useful when one has learned where each works and where it doesn't, but the only way to really learn that is by doing it, recording, and listening back with honest ears, deciding for oneself if it was good or not, and refining what was best, over and over and over again. This is the way.
I just want to thank you for the good content. I just started with modular and really look forward to build a compact live setup my own. I just heard your live set at Hör and couldnt stop listening. Keep it up.
Great video, more like this please. Always great to see how dawless performing musicians utilize their gear. You listed the gear used, except for the case, what kind of case was that?
Love this series. I'd love to know more about how to go about creating a long set. How to approach/design it and eventually the mechanics of performing it live.
@@_DRMR_ This was one of the major struggles I had when designing my first hardware live. I think the key for me was great mixing and having enough sound sources to make each transition sound smooth. I used multiple VCO's with very different but complimentary sounds to make the sets feel a bit more organic and smooth Example here: ruclips.net/video/CnwXwfhSn2o/видео.html
@@asecmusic I find with modular sets (even mixed with other gear) it usually ends up more as a very long jam then that I can really 'prepare' much if anything for it. Quickly going over your set I have to say I would've liked more variation in the drums. But I guess this was very much a "berlin techno" kind of set ;)
@@_DRMR_ I feel 100% the same way as you - I want to make more use fo the pattern / kit switching on the Analog Rytm. That said, I've only been doing live techno for about a year so I'm slowly learning how to get this right, like everyone else :)
Thank you Felix for presenting this talented man to us, ASEC I was sitting there thinking what to buy first Digitone,Analog Rytm, DFAM and you answered my question easiest way: BUY ALL OF THEM, make a salad and watch speakers burn with a sudo smile on your face :) , jokes aside thank you for inspiration.
Really cool! I have a groovebox, but I love the idea of adding modular elements to add more randomness and texture (and it just looks fun). What would you recommend as a bare minimum to dip my toes towards this direction without breaking the bank?
@@asecmusic super insightful! So cool that you are sharing your approach. I‘m also really into the DFAM and will hopefully be able to integrate it into my setup soon! I was wondering if you have run into the challenge of making your live set sound similar to mastered tracks being played by djs before or after you? In your experience, has the RNLA been enough for you or do you also use some kind of mastering chain? Thanks again and keep making great stuff!
@@nano_pax The issue of competing for loudness up against mastered tracks and DJs was definitely a concern for me too. 1/ I spoke to my mastering engineer about this and his advice was to ensure that the sound is well mixed in the room. In order to do this, try to get a long-enough soundcheck and make sure you work with the Sound Engineer to get your EQ set up nicely. 2/ If you want to use mastered samples you can potentially load in mastered drum loops to the sampler of your choice. I never found the need for this though 3/ Reset the room with a long enough break (potentially an ambient intro) for the audiences ears to acclimatise to your sound. 4/ Try a hardware / software compression solution. When I played Tresor last, I simply used a bit of Ableton's Glue Compressor, it worked fine. The RNLA also works well to give a little dynamics to the top. 5/ The real key, honestly, is mixing and EQing. Great EQing can help you turn sounds that aren't dynamic into punchy interesting mixes. Hope this help :)
In case you are using Ableton live: They will be adding a probabilities feature in Ableton Live 11. Otherwise you might wanna see if there are some vst plug in's that have functions like this
At this point I think Ableton's random feature is out, but if anyone is looking: Audiovitamins Stochas. It's a midi sequencer with probability and other conditional parameters, totally free. From the same people who made Surge
some might call this an 8 bar loop, as myself, but how can one make variation from this point with elektronic gear I!n electro music, I mean next level variation, what others might call it arrangement in Ableton
@@asecmusic Thanks for your reply. From the depth of it i assume it’s in the dj case category.... i’ m planning to use a similar case for my gears but still can’t find a better solution than using 3m dual lock to keep everything tight to the bottom. Any advice ? Thanks in advance
@@pttvgesoif Ahhh, no it's actually a pedalboard (the biggest) and I managed to make the gear fit pretty nicely! I think for keeping everything secured in place you can go for the taped velcro solution :)
Yes, I just learned the difference from a RUclips video the other day and now I’m waiting for people to make the mistake so I can correct them I come in jest 👽🖖
if i can't play any real keys and any notes, i'm ending with this scratchy setup and knobs. 13 minutes boring amusement of blops, bieps and fizzles, with almost not really cheap gear if i overview - chapeau!
@@mynameistechno If you think so, feel free. But not every little thing on yt what is called "music" is really cool, sorry. Unfortunately enough untalented bullshit between all interesting contributions. jm2c.
Thanks for your feedback - I'm sorry that the video wasn't to your liking. Hopefully, you can find what you're looking for in some of the other videos on this web site :)
The Focus in this Video was on explaining technical aspects, not on the musical output. So listen to what he explains and to the changes of the sound. It's obviously not a performance. So please don't complain.
Thank you again Asec, Felix and thomann for this series! 💯
and thank you too for watching along! :)
Thanks to the interviewer this time it was uninterrupted stream of interesting ideas.
Very cool hearing Asec drop the knowledge, especially encouraging the PERFORMANCE aspect of electronic music, be it in the studio or onstage. So many folks try 'safe' (boring) programmed recitals and that is a real disservice to the audience. It requires a lot of dedication and practice, and it really is not something anyone can do well without putting in the time and effort. There is no substitute, no fast path to making original music that sounds good. These tips and tricks can help get things going, and are very useful when one has learned where each works and where it doesn't, but the only way to really learn that is by doing it, recording, and listening back with honest ears, deciding for oneself if it was good or not, and refining what was best, over and over and over again. This is the way.
Asec is an inspiring teacher, thank you both!
I just want to thank you for the good content. I just started with modular and really look forward to build a compact live setup my own. I just heard your live set at Hör and couldnt stop listening. Keep it up.
Hey Gianluca, thanks for those kind words.
I'm also pretty new to performing live with hardware so this feedback really mean a lot to me :)
Asec you have such a good vibe great taste and the skill to kill!!! Really good synthesis lecture!!!
The constant slow zoom in on the wide really made me feel like somebody's gonna die by the end of the video :P
gotta keep it engaging right? :D
😂 Plot twist!
Knowing *when* to move the knobs yourself. The ultimate humanization!
Great video, more like this please. Always great to see how dawless performing musicians utilize their gear. You listed the gear used, except for the case, what kind of case was that?
Love this series. I'd love to know more about how to go about creating a long set. How to approach/design it and eventually the mechanics of performing it live.
Especially switching between tracks when they may have completely different setups.
@@_DRMR_ This was one of the major struggles I had when designing my first hardware live. I think the key for me was great mixing and having enough sound sources to make each transition sound smooth. I used multiple VCO's with very different but complimentary sounds to make the sets feel a bit more organic and smooth
Example here: ruclips.net/video/CnwXwfhSn2o/видео.html
@@asecmusic I find with modular sets (even mixed with other gear) it usually ends up more as a very long jam then that I can really 'prepare' much if anything for it.
Quickly going over your set I have to say I would've liked more variation in the drums. But I guess this was very much a "berlin techno" kind of set ;)
@@_DRMR_ I feel 100% the same way as you - I want to make more use fo the pattern / kit switching on the Analog Rytm. That said, I've only been doing live techno for about a year so I'm slowly learning how to get this right, like everyone else :)
Keep these Videos Coming!
This is sick. Thanks a lot!
Thank you Felix for presenting this talented man to us, ASEC I was sitting there thinking what to buy first Digitone,Analog Rytm, DFAM and you answered my question easiest way: BUY ALL OF THEM, make a salad and watch speakers burn with a sudo smile on your face :) , jokes aside thank you for inspiration.
Very inspiring, thanks for sharing this wisdom
Love it! More pls
Great inspiration, thanks dude! Now I need more LFOs 😆
Thanks for watching :)
Haha every modular rig needs more LFOs.
lovely video! :) cheers
nice work
Really cool! I have a groovebox, but I love the idea of adding modular elements to add more randomness and texture (and it just looks fun). What would you recommend as a bare minimum to dip my toes towards this direction without breaking the bank?
seriously have been wondering this exact same thing. glad someone else aske dit
Try VCV Rack. Free modular rack software with real modular firmware for many modules
Dreadbox Chromatic series are some of the best bang for the buck modules I’ve tried. Nifty case is a cheap case to start as well.
good stuff
Very interesting stuff and good tips! What are you using to mix these sound sources? Is that an Erica drum mixer module in the rack?
Felix Fleer is the man
Thanks Asec amazing stuff! Could you talk about the other modules in your rack that arent the wasp, quad lfo and dfam? Thanks!!
Go check out his performance video on our channel from a few weeks ago. There he does an entire breakdown of the whole setup
Hey there, thanks for such kind words :)
This video might help but let me know if you have any questions: ruclips.net/video/w7z3IMmOdFg/видео.html
@@asecmusic super insightful! So cool that you are sharing your approach. I‘m also really into the DFAM and will hopefully be able to integrate it into my setup soon! I was wondering if you have run into the challenge of making your live set sound similar to mastered tracks being played by djs before or after you? In your experience, has the RNLA been enough for you or do you also use some kind of mastering chain? Thanks again and keep making great stuff!
@@nano_pax The issue of competing for loudness up against mastered tracks and DJs was definitely a concern for me too.
1/ I spoke to my mastering engineer about this and his advice was to ensure that the sound is well mixed in the room. In order to do this, try to get a long-enough soundcheck and make sure you work with the Sound Engineer to get your EQ set up nicely.
2/ If you want to use mastered samples you can potentially load in mastered drum loops to the sampler of your choice. I never found the need for this though
3/ Reset the room with a long enough break (potentially an ambient intro) for the audiences ears to acclimatise to your sound.
4/ Try a hardware / software compression solution. When I played Tresor last, I simply used a bit of Ableton's Glue Compressor, it worked fine. The RNLA also works well to give a little dynamics to the top.
5/ The real key, honestly, is mixing and EQing. Great EQing can help you turn sounds that aren't dynamic into punchy interesting mixes.
Hope this help :)
is this also a Thomann Case? Which one is it?
when u don't have a 'random' mode. Tryna place stuff on random places is tricky :D
In case you are using Ableton live: They will be adding a probabilities feature in Ableton Live 11. Otherwise you might wanna see if there are some vst plug in's that have functions like this
@@ThomannSynthesizers ye should look for the latter..
At this point I think Ableton's random feature is out, but if anyone is looking: Audiovitamins Stochas. It's a midi sequencer with probability and other conditional parameters, totally free. From the same people who made Surge
Hey ..Nice stuff ..how do you glue/compress your sound together for live set? !
It looks like a FMR RNLA near the Blackbox sampler
@@mamaxopr FMR RNLA is exactly right :)
some might call this an 8 bar loop, as myself, but how can one make variation from this point with elektronic gear I!n electro music, I mean next level variation, what others might call it arrangement in Ableton
I already know the answer but I d like to see and hear more on the subject
Yeah I also use very slow modulation for the very same reason :)
Is it worth to get an analog rythm mk1 or should you just save money for the mk2?
if you dont need the the sampling option + the updated design > go for mk1 and save some for effects fects fectssss
MK1 works just fine for me although I think I would enjoy the performance mapping options on the MK2 :)
that constant trackin/trackout on the main shot is very annoying
Yo man think you need to change that polo neck ?
Which flightcase it is? Thanks
Looks like a guitar pedalboard
It's of the Thon cases from Thomann :)
@@asecmusic Thanks for your reply. From the depth of it i assume it’s in the dj case category.... i’ m planning to use a similar case for my gears but still can’t find a better solution than using 3m dual lock to keep everything tight to the bottom. Any advice ? Thanks in advance
@@pttvgesoif Ahhh, no it's actually a pedalboard (the biggest) and I managed to make the gear fit pretty nicely!
I think for keeping everything secured in place you can go for the taped velcro solution :)
@@asecmusic Thank you for the advice. Loved the sounds by the way. Great work 😊
How do you power this rig?
Definitely electricity
It's simply just power cables running to a power splitter. I hope some day to mount a power supply in the case though :)
@@Claidheambmor Hahah - bingo! :D
Coal
I think he means polymeter and not polyrythm*
Yes, I just learned the difference from a RUclips video the other day and now I’m waiting for people to make the mistake so I can correct them
I come in jest 👽🖖
@@jrcenina85 This kind of little thrills that make my life so precious ^^
@@ThierryEtchepipidessus haha yeah
3:25 What the fuck was that?
Damn I'm fed up with modular 😂
Right! You can achieve good results and better with any tool of your choice. In the end every musical instrument is just a means to an end :D
@@asecmusic no shit? 🤪🍿
@@onkelberra3166 chill out
if i can't play any real keys and any notes, i'm ending with this scratchy setup and knobs. 13 minutes boring amusement of blops, bieps and fizzles, with almost not really cheap gear if i overview - chapeau!
you dont need to know any key to make cool music on whatever gear you have. freedom of expression
@@mynameistechno If you think so, feel free. But not every little thing on yt what is called "music" is really cool, sorry. Unfortunately enough untalented bullshit between all interesting contributions. jm2c.
Thanks for your feedback - I'm sorry that the video wasn't to your liking. Hopefully, you can find what you're looking for in some of the other videos on this web site :)
The Focus in this Video was on explaining technical aspects, not on the musical output. So listen to what he explains and to the changes of the sound. It's obviously not a performance. So please don't complain.
LOL it was more a lesson than a performance. Chill
nauseating camerawork, absolutely unnecessary.
The best bit was when he turned the volume down.