IDM, breaks, Breakbeat A23P
SarDust BabyLon (eROTiek II) [From A23P Album: "XX 97 17"]

FROM A23P ALBUM XX 97 17:
acida23p.bandcamp.com/album/xx-97-17
Written & Produced by Alien Nesby.

Further detailed notproduction and process notes were originally offered via social network profile at:
joindiaspora.com/people/92fec0696071eca3

Gear:
Roland V-Synth GT (also acted as audio interface)
MacBook Pro running OS 10.7

Software:
Reaper (DAW)

Had come to sound checking the V after patching it in at a bands studio (Lee Harvey Cartel). There was a drumming and bass patch I'd made years ago while developing the "Erotiek" single (Acid All Stars Recordings) and there was also a pad patch I'd made some years ago. Out of these two patches I formed a new patch that was based off both the prior two and began playing some riffs to sound check. Odd moment where mere sound checking of an instrument immediately led to, "I have an idea".
I further refined the new patch which yielded a final result of a single patch with a rather odd amount of independent voice program allocations set across different regions of the key range. On my lower ends of octave range there were a number of different granular percussive/drumming timbres and/or phrase like things along with a bit more than an octaves worth of voices above them dedicated to a physical modeled bass timbre I'd made. These ends constituted basically ends of the patch that had originally been made for "Erotiek". Above these, I had about an octaves worth of range of voices dedicated to the original pad timbre I'd brought up, and above this I developed another timbre (sort of this guitar like sounding thing), and finally above that I set another voice allocation area dedicated to more of a lead type sound.
In it's entirety, I could play drum lines and a bass line with one hand in the lower register (granted I had to pull some odd finger stretches and the real reason I went with a simple two note bass line was due to the fact while thumb would largely be stretched one direction playing bass lines, the pinky and ring fingers were stretched completely the opposite direction to handle things drumming. Meanwhile, the other hand was free to deal with playing pads, leads, and occasionally dealing with modulation controls.
With this patch in place, record button was hit on the DAW (Reaper) to record both MIDI actions taking place on the V, the audio coming out of the V, and then I quite literally just made stuff up and improved spanning basically the time heard.

After this initial take, 3 more takes were taken individually. One take relating to a diversified voice allocation granular voice and "moan" patch I developed (this new composite was also based on past "Erotiek" patches), another that related to an "acid" like synth bass patch I'd made, and finally yet another patch that yielded a timbre that in someways was pad like and in other ways kinda piano like.
Like the original take, these further takes worked through a process of just recording the MIDI and audio data of a raw take.

Finally, just for future ease of production handling purposes, I split the MIDI data up from the original take into their own independent tracks rather than being held all in one.....
So for example, the key range that dealt with the drumming related voice allocations got it's own track, the key range that dealt with the primary bass timbre received it's own track, the pad key range was placed on it's own track, and so on. After breaking down the patch play into tracks that corresponded to individual voice allocation regions, I re-recorded each voice allocation region independently as it's own audio track.

There were some very minor edits done in the DAW after this, but suffice it to say the edits done were so minimal that one could see to completing them in minutes.
In essence, there was more time spent making sure the piece could easily be worked with in FUTURE audio and/or writing post production than there was spent actually writing or recording the piece.
*9 minutes per improved take=36 minutes total writing/recording time with the majority of the work having been done in the first 9 minutes. However, re-recording voice allocations independently for the main patch yielded another 36 minutes alone [doubling the time spent], breaking down the MIDI sections was another few minutes, etc. Basically, had IT NOT been for giving time to making FUTURE post production easy to conduct, the whole piece was written and produced to it's current state in just the better part of an hour. As I'd already done much of the sound design (and just modified it), there was probably about another hour done in that area, but once a patch is done (aka an instrument made) it's there for future use and does not need to be made again (if anything it may just need minor, if any, adjustment to accommodate any new acoustic or otherwise signal condition environments it's thrown into)

While this recording is not the full on original free hand played (there were no sequencers involved) take, outside of 3 additional takes that were added to the piece, the difference to be heard between it and what is being offered here are negligible.

There is a screenshot offering a glimpse of what the actual DAW environment looked like in general and a second screenshot of the two tracks that captured the MIDI and audio data of the original free handed play.