The Four Tet Sampling Trick That Changed Everything

When I first got into music production, I started with Logic Pro. I got a few tunes finished, but the workflow always felt clunky, especially once I got into sampling.

Back then, Logic didn’t have warping. Chopping samples was a pain. Every time I wanted to get creative with audio, I felt like I was fighting the software.

Then I stumbled on a random YouTube video from Four Tet.

Ten minutes that changed everything.

The Video That Made Me Switch to Ableton

It was one of those “10-minute beat challenge” clips. At first glance, it looked messy — random even. But halfway through, I paused it, downloaded the Ableton Live trial, and I haven’t looked back since.

So what was this “magic trick”?

Sequence First. Sample Later.

Most producers do it the other way around:

1. Spend ages hunting for the perfect snare

2. Drop it into a drum rack

3. Start building from there

But Four Tet flipped that on its head. He sequenced a beat before loading any samples. Just raw MIDI patterns, kick, snare, hats. Then he’d drag in completely random audio and scrub through the sample live until something hit.

What looked chaotic was genius.

You’re not waiting for inspiration to strike — you’re creating a structure first, then scanning until you find a sound that fits (or surprises you).

Step by Step: Rebuilding the Trick in Ableton Live

Here’s how I do it now, following that same approach:

1. Build a Basic Groove with MIDI

Start with a one-bar clip. Program in your kick and some open hats. Add a few offbeat variations — nothing complex.

2. Drag in Random Audio

I’ve got a folder of found sounds — field recordings, weird textures, whatever. Drag one into a Simpler. Now use the start marker to scrub through and find something usable.

It doesn’t need to be a hi-hat. It might be a radio static burst, a squeaky door, or some wind chimes. If it grooves, it grooves.

3. Shape It with Filters and Drive

Once you land on something interesting, shape it with filters. I like the MS2 filter in Ableton — turn up the drive for extra texture.

4. Add a Backbeat

Same deal. Draw in snare hits with MIDI, then drag in a random sample and scroll till something works.

Transpose if needed. Filter it. Resample if you’re feeling fancy.

5. Randomise Velocity for Human Feel

Select your MIDI notes and press Command A, then right-click - Randomise Velocity. Bring down the range to keep it subtle.

You can also map velocity to volume or panning in Simpler’s controls — adds even more movement.

6. Layer It Up

Once your beat’s grooving, add another layer. I used a weird sample labelled “bassoo” and it somehow worked. That’s the fun of this workflow — you’re not aiming for perfection, you’re reacting to what you hear.

Why This Works (Even If It Looks Messy)

This isn’t about randomness for the sake of it. It’s about putting structure before perfection.

You stop getting stuck on finding “the right” sound and start making actual music. The results often feel more alive — imperfect, textured, interesting.

It also speeds up your workflow. You’re not spending 20 minutes auditioning snares. You’re already in motion.

Try It Yourself

Next time you’re building a beat, flip the usual process:

• Sequence the MIDI first

• Drag in any sample

• Use Simpler’s start point to scan for gold

• Shape with filters and velocity mapping

• Embrace the happy accidents

You’ll be surprised how much faster and more creative your sessions become.

Watch it in action here