By this I mean that we have to consider it's composite parts - the Korg M1 preset that apes Robyn S' never-improved-upon "Show Me Love", the rote percussion, the vocal sample snatched from Justin Bieber's "Fa La La" - and interpret them through the prism of the form they've been shoehorned into: generic chart-bothering shallowly deep house. The first of these involves us treating the track as an subject rather than an object. The track's divided opinion and we think there are two distinct ways of interpreting it. Grime producer and Young Echo collective member Kahn is usually more Radar than Radio One so it was a surprise when he dropped nu-house shuffler "Narcissistic Selfie-Stick Riddim" on SoundCloud late this week. I have reams of notes on this, and many, many, product specs.Every so often it's nice to remember that expectations can still be confounded and we're not all totally immune to the possibility of surprise. As you may be able to tell by my long reply I've thought about this, and worked on this, a lot. We did some baby steps in this direction with the TRIO+ and SDRUM, but a LOT more can be done by a company that wants to take on the work.
This is a basic Use Case that has been unmet. But if you can do it in a more transparent way, that has the machine syncing to the band, or the loop, or the tap, or whatever, and triggered by the musician, then you are on to something. Trying to get guitarists (further, the drummer in the band too) to change their entire workflow to sync to a machine is not going to happen. But there needs to be a way to integrate basic sync with guitar/pedalboard usage. All the software guys sigh at posts like this, because this is old hat in their world. We've been able to sync to samples and phrases forever, but being able to sync to performance delay-line looping is difficult. This is the Holy Grail IMHO, being able to sync drums/sequences to delay-line loops, or vice versa, on the fly.
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