This is amazing stuff-I don’t think you could do a Tech Tip on it but it might be worth having a look at how the early pioneers put together tracks:
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I know there are some excellent resources on this stuff-but few people in the modern community know how groundbreaking this stuff is
Cheers
Those clips are VERY Avantgarde and experimental. Alot of those sounds are samples with alot of stuff created from modular synthesizers. This stuff can be done with Sylenth and other soft synths, but it’s easier with modular synths.
Love the Pierre Schaeffer tune
I would also agree probably hard emulate with vsts alone not impossible - the whole reasoning IMO with that avantgarde electronic movement is/was to experiment with sound as much as an artist may experiment with paint and canvas
Think it would be pretty impossible to show people in a tut how to be avantgarde but would be fun tut nonetheless 
I might add that as interesting and ultimately creative these folks in the avant-garde were and still are, taking on that style is a musical “kiss of death” that has claimed the careers of many talented musicians throughout the decades.
Everything can be considered avant-garde to some degree, especially 20 years down the road when you look back and see how NOT offensive some of the newer music was at the time. Now, music has a strange way of retaining the effect dissonance has on one whether the piece was composed yesterday or 30 years ago. I say this because relatively, Picasso was considered an avant-garde painter! Now his works don’t seem so shocking. But music and your audience’s aural receptors are very sensitive to the consonance/dissonance relationship, and will let you know quickly when you’ve gone too far.
Anyway, Stockhausen and Varese and Penderecki and to an extent Toru Takemitsu have kept their status because their sensitivity to sound and process was steeped in the logical, not the chaotic as most people would describe the works of some lesser composers in the avant-garde realm. Even Reich is avant-garde despite the fact that his music is very evolution-based when it comes to “time” as a musical factor. In the jazz world, I still maintain that Cecil Taylor’s piano playing is some of the best jazz even though he is rarely known because he is a true “avant-garde” artist. Ornette Coleman and John Coltrane (later in his life, of course) were also testing the boundaries constantly.
But Miles Davis never subscribed to the avant-garde. In fact, he avoided it to the best of his ability. When comparing these names, we of course recognize Miles Davis more often that the others, and I completely believe it is because of the stigma attached to the avant-garde. Personally, I love it! But if I were to use it to ANY extent in my works, I’d be sure to treat it like a fine, expensive wine…Little sips over a LONG period of time.
Jamie
Some great points Jamie-listening to the Delia Derbyshire track you can almost hear a “dub-step” structure or texture in there-that bass sound would not be out of place from a Virus or Rephlex artist.
I also think that the technology we use today made the artists " moribound". I gather the BBC Workshop was closed down in the 1990’s because the BBC could outsource studio work.Funny that a show like Top Gear uses Aphex Twin/Autechre to reproduce that spooky techno feel.
The same I think could be said with the early glitch movement. Much is said about “glitchy” basslines etc, but the early 2000’s movement was all about the space between the granular sounds- Thomas Brinkmann’s Klick Cd is amazing to listen to because of the space in the sounds-it sounds so brittle and yet there is a density in there as well .You can equally apply that to Basic Channel,Pole or Kit Clayton.
Thomas Brinkmann live clicks and cuts:
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The glitch movement was so interesting just as techno, house and hip hop were in danger of becoming stale at the end of the 90’s.Listening to early microhouse or early glitch-hop like MRI, AFG, Techno-Animal or even Anti-Pop Consortium was interesting-even if I was not taken by the end result.
Its a shame in my opinion that what started out as an as aesthetic (although a rather academic one) has now been reduced to a technique…although I am not complaining that loudly as I glad there are amazing tutorials on found sounds and granular sampling.
Funny your talking about granular - on the rmx I am doing as I type since I not that keen on the melody or quite alot of the the original source material, I have been bunging the samples in a granular messing about and then bumping out to audio and then putting loads of effects on it - actually it what I usually do to get my own sound 
Since I (and I know isoprophex) was brought up on industrial elctronic bands from the 70’s and 80’s with the likes of Coil, Nurse with Wound etc etc I do and try use some of those tecniques in my productions but nt to be avantguard and I am certainly no academic in any field - but just to push the boundries alittle more which has been always my take on what techno should be about
Totally agree slender!
My musical knowledge comes as a consumer…I still have to google chords and scales (tut tut tut).
Pushing the boundaries and not playing by the rules is what its about-although I am interested in the more " esoteric" side of production.
Techno I guess has an “ideology” behind it-afterall it was pioneered in Detroit (the home of Motor City and now urban decay) and Berlin (which was divided for most of the later 20th Century). Funny I picked up Mille Plateaux Manifesto (UR/Dopplereffeckt/Drexyia had a menifesto as well-and each production was considered propaganda and live shows “actions”-so I guess it appealed to the punk in me:
http://edition-mille-plateaux.de/a-mille-plateaux-manifesto/
So I guess I equally like the subvert/cause and effect in the techno scene, rather than the more polished sounds as you find in Trance or House…
Put it another way- I doubt that the average trance fan would get into this:
Kit Clayton:Nele
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Coil: Dark River
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And more up to date:
Murcof: Maiz
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Murcof: Unison
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Deaf Centre:Limn
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Wonderful use of space and echo…