11/19/2023 0 Comments Ableton live demo![]() I remember hearing “Killer” and I thought “wait a minute! I know those stabs”.Īlong with the SQ80, I had a Roland R8 digital drum machine, which had 808 and 909 kits. I think Adamski might be the most famous person who used the Ensoniq SQ80. Through either faith or destiny, I ended up with it. ![]() But they would throw it away after a week and say, “how do you make any sense of the menus?.” But that was the beauty of learning how to program a synth which seems to be impossible to learn. When I told people what synth I was using, they would go out and buy it. ![]() The SQ80 wasn’t really a hands-on synth like a Roland Juno. I seemed to be gravitating more toward the minimal sounds of artists like Robert Hood or Basic Channel. ![]() I was just trying to recreate what I thought I might have heard on records or at parties. I was trying to learn how to program it before knowing anything about electronic music, really. The first synth I had was the Ensoniq SQ80. What synths and drum machines did you first lay your hands on back then? I came from the background of just having a sequencer and gear and trying to make something with those machines. I didn’t DJ, I didn’t collect records or sample them. And I would still say EBM was very much the early days of techno, without the melodic aspect. I’m not going to say I invented Detroit Techno. So in those early days, I was referencing the melancholic vibes and melodics of Depeche Mode and the energy of Nitzer Ebb and Kraftwerk. I definitely wouldn’t have heard of it because, in Jönköping, we just had a state-owned radio channel called P3, which would only sometimes play club music. So you were making Detroit Techno before you’d even heard of it? Eventually, they pointed out that the music I was creating was called Detroit Techno. But I did have a few friends that were regularly buying records. There was no internet back then, and hardly any magazines so I just learned to make music on my own. Growing up in a small city called Jönköping outside of Stockholm I didn’t really have other people to bounce ideas off and learn from. “Behind the Wheel” by Depeche Mode was the first track I clearly remember where there was a prominent kick drum. But it was always the electronic music that I liked. Well, I think he actually got the keyboard for himself but it was meant to be for me! By my early teens, I was mainly listening to ‘80s pop music on MTV. He gave me a keyboard when I was seven years old. My father was really interested in music. Before we dive in, can you tell us how you first got into music-making? Thanks for taking on this challenge, Aril. Please be advised: This Live Set and Note Set and included samples are for educational use only and cannot be used for commercial purposes. Alternatively, you can open the Note Set with Live 11 Suite or the free trial. *Requires Note, on an iOS device running iOS 15 or higher. *Requires a Live 11 Suite license or the free trial.ĭownload the Note Set to Aril Brikha’s remake of “Groove La Chord” here* Plus, he has shared a download of his Live Set and Note Set for a direct look into his process.ĭownload the Live Set to Aril Brikha’s remake of “Groove La Chord” here* In partnership with Ableton, we interviewed Brikha about the making of “Groove La Chord” and his experience recreating it-this time using Live and Note. He’s the man behind one of Detroit Techno’s most iconic anthems- ”Groove La Chord.” Deeparture In Time – Revisited by Aril Brikha The Iranian-born producer does, after all, know a thing or two about making hits. So what if we instead tried to recreate a record that was already a hit? If we endeavor to do exactly what was done before, would the results be the same? Can we capture lightning in a bottle twice? We asked Aril Brikha if he wanted to give it a try. Whatever the truth is, it’s clear there is no definitive answer to this age-old question. What is the formula for making a hit record? Is it a balance of talent, inspiration, and years of practice? Or is the process simply a matter of luck, or perhaps even the result of some higher powers at work? Romantic poets such as Coleridge and Shelley believed that in order to receive artistic visions, the soul had to be attuned to divine or mystical “winds.” The ancient Greeks believed that unconscious bursts of creative genius came from Muses-the goddesses of literature, science, and the arts.
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