_             _ _         _   _          
 ___| |_ _   _  __| (_) ___   | |_(_)_ __  ___
/ __| __| | | |/ _` | |/ _ \  | __| | '_ \/ __|
\__ \ |_| |_| | (_| | | (_) | | |_| | |_) \__ \
|___/\__|\__,_|\__,_|_|\___/   \__|_| .__/|___/
                                    |_|       

                                         ____
         _____                         - ___-
        /_____ -                       / /
         \. . \ \                     / /
        \\  , |  \                  /  /
        / \   /   \____   ____     /  /
       /  / \/   /      ---   -__-   /_____________
      /  /___\\ /          \        /     ________ \
     /_______  /  /_________\_____-'___---        \_\
              /  /                                 
          ---' _/     __________________
  _     ///---- ___  |\ \\\\\\\\\\\\\\\ \      _________
 / /////////////  /\ \ \ --------------- \    /     __  \
/ -------------  / /  \ \_________________\  /     /__\__\__
________________/ /    \|_______________._|  \___  \\\      \
\_______________\/                      \        \  \\\......\
              \                          \_______/  / \\......\
               \___________________________________/   \\\\\\\\\
                                                        \\______\

Some alchemical concoctions for further advancing the arts of
electronic music production


HOW TO GET COOL ARPEGGIO SEQUENCES
Record or program a pad/string sequence, making sure you have the MIDI 
notes recorded.  Make it 4 bars or 8 bars, vague melodic elements, 
polyphonic, no lazy shit. You can do long notes like 4 counts or more 
each. Now just put an arpeggiator over the recorded MIDI sequence and 
change the  pad/stringto a sound that is more fitting for an arpeggiator. 
Short bass/polysynth sounds. A lot of times this will
result in a cool arpeggio line, or at least something that will inspire
you to work a bit further from. You can use the original pad/string 
sequence recording to layer with the arpeggiator occasionally. And there 
you go...almost a finished track ha. Eazy does it.

MAKE EXTRA FAT SNAREDRUMS/CLAPS
Layer snaredrums and claps with other snaredrums/claps and synthesized 
noise sounds to get extra thick fat sounds. Move the layered sounds a 
bit, either forward or backward so they are not perfectly on the count. 
A few milliseconds or whatever works, use your ears. You can do that for 
each snare/clap count differently so you get authentic grooves that are 
not too boring and tight. Layer at least 2,
change the volume of each sound to control the dynamics of the total 
sound. Add some compression, filter envelope or discrete bitcrusher to 
the layered sound group to make the sound more 'wholesome'.

Just an example:

1 . . . . .    2 . . . . .   3 . . . . .   4 . . . . .  
| | | | | |    | | | | | |   | | | | | |   | | | | | |
-               -             -            |-
BD             |SD1           BD            SD1
              -|                           -
              CP                           CP
               -                             _
               SD2                           SD2


REVERSE SNARE/CLAP BEFORE THE COUNT
A little rhythm trick made famous by the late Edwin Birdsong on the 
Rapper Dapper Snapper beat. Reverse a snare/clap sound and place it 
before the normal snare/clap that comes on the count, like 1 count, a fw 
milliseconds, hear what works. You get this cool 'sucking' sound that  
announces the main snare/clap sound with some extra intensity. The 
reversed sound doesn't have to be the same as the snaredrum/clap that 
follows, experiment with different sounds!

              ||   ||
            ||||   ||||
    .....||||||| | ||||||||.....
            |||| | |||| 
              ||   ||
 reversed snare       normal snare
 1 . . . . . . . 2 . . . . . . 3 . . . . .