Dubstepforum.com

static_cast wrote:

Hircine wrote:How do you compose your atmospherics and incidentals?

i'm not sure i really played the right set for the crowd to be honest, they seemed to REALLY want banging 4/4 techno at >132 bpm - which is a shame seeing as that's mostly what i play these days, haha.

Do you pitch your tracks up or do you play lot's of older stuff as well? There's so little 132+ BPM Techno being made these days that it seems rather hard to me to play a set full of more recent 132+ stuff.

static_cast wrote:

Hircine wrote:How do you compose your atmospherics and incidentals?

you mean how do i make the sounds, or how do i arrange them?

Both. I'm fascinated by ambiences. How do you set up the mood for a track?

Thanks for answering, btw! big up.

ever used max msp?

given this is dubstepforum - what relationship do you feel you have with the genre? how do you see yourself as fitting into the dubstep scene? and do you still listen to much dubstep in its more traditional forms, and if so, which artists?

massive big ups for all your work - needless to say i am a huge fan

First of all, since I got into dubstep in 2005, you are my favourite producer by a wide margin, and 'Unglued' is literally a masterpiece.

...anyway

You mentioned Reaktor, layering up drum samples and processing them. When you're working on sounds, how do you push beyond something being 'good enough' without going too far and getting bogged down with the intricacies? And how long do you work on a track (from inception to completion)?
I actually stopped using Reaktor because I ended up just making instruments and sounds instead of music!

what's it like in berlin is there a lot of techno is that why you make techno

What's your top 3 plugins and top 3 pieces of hardware and why?

How long have you been producing for and what's your favourite part of it?

What's the best acronym you can come up with for your name? Hopefully something involving unicorns.

jrisreal wrote:What's the best acronym you can come up with for your name? Hopefully something involving unicorns.

theres no "u" in objekt- that might be tricky

how do you make your drums and sub sit so well together? (Goose that got away)

do you make any other types of music? drone stuff, drum and bass autonomic type stuff

ufo over easy wrote:what's it like in berlin is there a lot of techno is that why you make techno

maybe ben should do a dj q&a

Yo Objekt, big fan over here

Saw you play not too long ago in manchester and your set was epic (from what i remember)!
On the subject of playing live what are you favourite tunes to play out at the moment? Do you have any go-to stompers which you find yourself playing in every set? I remember there was one banging techno tune with like some cheesy vocal chants in it, can't explain it any better but i was loving it.
Also, when you dropped cactus the second drop blew me away, had so much weight. Any tips on replicating that low-end power which really sets it apart on a club system?

Nice one for doing this, I'm sure i'll be back with more questions.

Favourite drummers? I see you've already mentioned Steve Gadd.

Favourite drums in a tune? How about favourite drums in a non-electronic piece of music?

1. Do you feel it to be essential to have certain equipment when producing tunes e.g. do you find having decent monitors essential or dual screens (all the basics you see studios having etc...)

2. Continuing from that, what piece of equipment could you not work without (apart from obviously a computer/software)

3. Do you produce your beats off-grid/hand play them in anyway, the beat in Cactus always gets me doing this odd shoulder shuffle in clubs where I can't quite pick up on where its hitting hahah

Only a couple of questions: Cactus was a fucking awesome, unique and incredibly strange tune - one of my favourites - so I'm wondering how long did it take to get such a complex rhythm sounding so perfect?
Also, if you had to choose between (electronic) German music and UK music which one would you choose?

as i recall you mentioned that you worked alongside emika at NI at one point. Did you guys ever feed off each other for sound design ideas or collab in an advice sense?
also where is the best place to start learning how to do plugin programming and audio algorithms? always been fascinated with that stuff and never looked into in spite of being a coding geek for longer than i've been making music.

figured it was about time with you being a somewhat active poster here

can't think of any real production related questions at the moment for some reason, although i know i have a ton sitting in the back of my mind from listening to your tunes, so i'll go with this:

how do you feel about vinyl culture? do you think it's important to release on that medium? what do you think about very limited releases? do you think exclusivity adds something special or that it's better to give more people an opportunity to own the music?

static_cast wrote:
ha, awesome. how old are you now?

felix nicetry and martin heron - felix was one of the first people i met in berlin. i played triptychon once in 2010 and then the second room of sputnikhalle at one of the schaltkreis birthday parties. i'm not sure i really played the right set for the crowd to be honest, they seemed to REALLY want banging 4/4 techno at >132 bpm - which is a shame seeing as that's mostly what i play these days, haha. but at the time my DJ sets were a lot more noodley.

20, not sure if i've seen you play cause '10 i definetly was going to schaltkreis somewhat regularly.

people in münster definetly are into faster (and harder/darker) stuff lately, we have a lot more CLR type stuff going on since the last year or so. i kinda like it but its not something i can take for a whole night especially when they start playing 'pure' hardtechno. thats music made purely for your legs, not your head. niereich is cool tho.

didnt know you made the tape saturation in kontakt, been using that just a couple days ago!
though to be honest i have no idea what tape saturation is actually used for by professionals i just use it to catch harsh transients and make stuff sound a bit more fuzzy.