Later, I’ll sit with those recordings and listen for details – something rhythmic, weird, or just textured in a way that catches my ear.
Once I find something usable, I bring it into Maschine and start slicing. I don’t try to clean everything up too much. I like the mess, the irregularities.
Sometimes I’ll chop based on transients, other times I’ll just grab random bits and load them onto pads. From there, I start jamming and see what sticks. I don’t overthink the process – it’s about feeling it out.
Pro tip from LUM: Use Transient Slice Mode. It’s the fastest way to turn messy field recordings into playable rhythmic material.
