Berlin-based techno titan BEC, real name Rebecca Godfrey, has stunned discerning crowds with her hypnotic, stompy grooves. Rebecca has just released her latest EP titled Pleasure Seeker on Pan-Pot’s Second State, so we caught up with her to find out how she created the tranced-out Trusting the Mystery, and find out more about her favourite music making kit.
You seem to have a rather unusual workflow where you’ll start mapping out the arrangement of the track with Live’s markers very early on?
“I do arrange as I go, but basically it always starts with the kick and the bass. Then once I’ve got those, I’ll lay them out so that the track goes on for as long as I want it to, and I’ll arrange from there. I don’t get a ‘full loop’ then arrange it afterwards.”
So you’ll have the kick and the bass going for the entire duration of the track, and then add the other elements into the arrangement?
“Yeah. So, I layer things and roughly arrange as I go. It’s much quicker for me, I just got into that habit!”
Why is starting with the kick and bass so important?
“It sets the sub-bass frequencies, and those are probably the most important ones when you’re in a club. It just gives it feeling and vibe. I think if I have a great kick and bass down first, it tends to be a much better track, a much better idea. It’s just a lot more full and you can vibe to it a lot easier while you’re making it.”
There’s a section in the track where you change the pitch of the kick drum, how did that come about?
“I was just playing around! At the start I was trying to find the right pitch for the kick, and had decided on that, but then sometimes I’ll tweak something and if it sounds good, I’ll just follow that. I’m more of a creative producer. I just like to go with my intuition. It sounded interesting to slightly change that pitch, so I thought, ‘why not’?”
You use a tom sample for the bass line in this track. What is it about that kind of sound that appeals to you?
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