The basic idea for our playback is simple: we find four chords that serve as the melodic basis for the complete track and various instruments. Load any polyphonic sound and switch from PAD MODE to CHORDS. For the sake of atmosphere, we‘ll go for Minor Chords, but proceed here according to your taste.
2 Electro basics
After some testing of different chord sequences, we record a pattern with pads 1, 6, 11 and 7, which stand for the chords C-D#-A, F-G#-C, A#-C#-F and F#-A-C#; a sequence very similar to spacey Electro Tracks, especially when played by a flat sound, as in our case with the Massive preset AIR CONDITIONED.
3 Chords to arpeggio
We use the given notes as repertoire for further melodies and sequences. So, we duplicate the track and load a Thorn Solo with the SEQ Trajectory preset. The crucial point is its arpeggiator, which puts the given note sequence in a different light. We shorten the chords here to three quarters of a length each.
An arpeggio playing throughout would otherwise be too much of a good thing. But we go one step further: switch to SAMPLING, select Internal as SOURCE and the arpeggio track at INPUT. On Page 2 of the settings we also set 8 Bars as LENGTH so that the recording covers the pattern exactly and then press RESTART.
5 Reverse arpeggio
Once the arpeggio is in the box, we switch to EDIT, where we NORMALIZE the sample and then SLICE it into four equal pieces. Once the slices are spread across four pads, we reverse each of them so that they play backwards. Thanks to the long delay in the original, this creates a good tension builder. Definitely more interesting than before.
Following this principle, you can now add more sequences and instruments. Copy the original chords, split the notes, change the sequences, build new arpeggios, and so on. Thanks to the identical basis, everyone moves in the same sound universe. It can also be appealing to use more than just four chords as a base.
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