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Ez people

What's the most obscure, messy or downright unconventional production technique you've ever used???

Maybe you beat the cat for your snare sound etc etc??

When I played in a band I used this old marshall amp and if you kicked it you got some weird spring reverb... 'Ekaj'

I once had some fun putting the output from a set of decks through a guitar multi efx pedal to get some nasty basses

making FUCKED UP TUNES!

that and ketamine

The cutlery draw in the kitchen yielded some good results, as did an old oil drum washed up on the banks of the thames when I hit it with a lump of wood! Also the sound of a broken escalator! Having a mini disc recorder is great for sourcing sounds & hits.

Putting a dynamic mic in a big cardboard box and kicking it as hard as I can yields some interesting kick drum sounds.

Recording a bait box full of wriggling maggots, looping the sound and layering it and gating it with the drums.

Mixing an entire track worth of stems backwards.

Sending entire mixes or stems out of the box, through shitty hardware and back in again.

Re-amping synths in a nasty sounding bathroom.

Setting up really insane sidechain compressor routings until almost everything in controlled by something else.

Using headphones as a shitty makeshift mic.

Taking a pocket recorder everywhere I go just in case something catches my ear.

Recording a bait box full of wriggling maggots

eeewwww! ha ha

two oh one wrote:Using headphones as a shitty makeshift mic.

guilty

if it was unconventional when u did it, posting it in here for all to clone will make it very, very conventional in no time, believe me

Oh cheer up.

u have some kind of special ability to read the tone of voice of a post on the internet or something?

use real time lfo modulating parameters of another real time lfo , multiple LFO outputs summed by means of mathematical formula

£10 Bag wrote:making FUCKED UP TUNES!

that and ketamine

im sorry, but ket is not unconventional!

tudniillik wrote:use real time lfo modulating parameters of another real time lfo , both outputs summed by means of mathematical formula

I did something similar -I used an lfo to modulate the cutoff filter of a bass synth.

yip, you can control anything you want, but the basic LFO thing is quite dumb imho.

two oh one wrote: Setting up really insane sidechain compressor routings until almost everything in controlled by something else.

Been getting more into this lately, ducking compression is so cool in a mix. Autofilter in Logic is cool sidechained too, and using sidechain as a mod source in the EXS24.

For me, I like using convolution reverbs for non-reverb purposes - try using a drum loop to give rhythms to pads, voices through synths, etc. 100% wet signal, record and reuse.

Things I've tried recently (although probably not that unconventional to be honest...):

- Making percussion loops from sounds of ice breaking

- Finding really shit quality samples from websites (film quotes etc.) and pitching them down like fuck, and using the first few milliseconds to make weird hits...

- Recording anything and everything outside with my mp3 player, and trying to make loops from it. I highly recommend old bus engines idling - I heard a bus the other day that's engine was knocking like mad, and it made a really crazy swung beat. Unfortunately, didn't have recorder at the time... doh

use a reel-to-reel deck that has totaly fucked heads, recording an entire tune on it. Putting the tape backwards, and playing it at the wrong speed all slowed down. Record that to hard disk, filter out some nice pad/ambience sounds.

Putting my then 8 month old nephew infront of the midi keyboard, pressing record and letting him smash the keys. Take out peices that are roughly melodic.

playback sample through speakers, swing condensor mic past it like a pendulum = filter enelope

making precussive sounds from little tiny slices of random static noises, dirty vinyl needle drops etc.

lots of found sound, from using seagulls pitched down to sound like monsters to childproof caps on aspirin bottles sounding like breaking bones.

i like using drum midi patterns to trigger synths to see what happens - you get interesting atonal loops that match perfectly with your drums.

i nailed my penis to an altar at a local church and said 3 hail mary's...the acoustics were excellant

i nailed my penis to an altar at a local church and said 3 hail mary's...the acoustics were excellant

eeewww ha ha

made my dog attack a rope and recorded it low pass it and i had myself a nice like sample.

other then that no. but i stole all ur ideas so shame.

































only joking