Well, it WAS the only way before Izotope’s Stutter Edit plug in. It’s gonna be a pain in the ass, but it’s the only way to make the robot orgasm you hear in your head. Don’t forget that you need at least 300 million rotary encoders. Grab your calculator, open Ableton and just go ahead and drop 18 instances of beat repeat on the master fader. If you want to ride Skrillex’s “Oh My God” wave to the kind of superstardom that will have you summering in Ibiza you’d better get a lab coat on and start planning that part of the song where the bass eats everything else in the mix, chews it up and spits out some bizarre digital face melting bass that makes the floor go nuts. It really is the only way to get some of the chopped up, altered and mangled sounds that are so prevalent in the “dubsteppity,” electro-house-ish, glitchy, “what the hell is a complextro?” world of today. In the wake of Skrillex and that Mau5 fellow, the process of creating one’s own floor filling masterpiece has been confronted with some deep expectations with regards to device building or deep automation editing. So, that’s another Saturday rotting on the hard drive. The good news is, you’ve built a beat repeater matrix that ties to a delay and uses loop recording functionality to make an infinite pile of, unusable, musical garbage. Before you know it it’s ten til midnight and the four bars you had at noon are a distant memory. You can be in the middle of inspired riffing, open a menu, discover some new widget or control function and you’re off on a tangent. Modern EDM programming is filled with rabbit holes.