/ Audio/ MC-505 Tips/ Live Playing Tips |
FILTER DISPLAYS HH FILTER TYPE WHEN R PART SELECTED [J]
Did you know that the filter TYPE display will always show the filter type set for the HH section of the R part when you select the overall R part?
BIG BOOM TIP [TheDividedSky]
Set yourself up with one of YOUR OWN patterns (no fucking presets) and get it pumping. Now here's the trick... select the rythym track and put the release slider all the way down (adsr) you should be hearing a very cool mute drum track.. now for the really cool part set the filter to pkg, tweak the cutoff to about 1 o'clock and the res. to about 11. play with the knobs slowly for a few seconds and get ready to set the cutoff all the way right, the res. all the way left, and the release all the way up. To make this effect even better make another track a more intense bass drum than in your rythym kit and un mute it right when you turn the release up. I love this!!
RETURNING TWEAKED PATCHES TO NORMAL [John H.]
Don't forget that you can also use that [selecting the next pattern, then the current one] to reset the patches in the current pattern, as long as you move the jog wheel to the next pattern and then back again. I like that for switching the drums into backwards mode for a moment and then having them snap back to normal when the pattern loops. Yeah, baby!
HOW TO TWIST A KNOB AND NOT HAVE THE KNOB TRANSMIT [rEalm]
[I think this is a duplicate tip from this page somewhere ...]
Ok, here's a little tip that might save some people some headaches. It's something I've been doing more and more often to help me out when it comes to playing with patches live. This is actually in the manual, but in a different context.
Ok, so say you want to play with the filter on a patch while you're doing your live thing. Right now, you have to just grab that knob and guess where the filter's at right? Of course with practice, you can get pretty good at listening to the patch and figuring it out. But you still don't know for sure. Well, try this. Decide what patch you want to play with the cutoff. Now PART SELECT it. Press PATCH under the display, then hit EDIT (by itself). Now hit EDIT again, but this time hold it down while you turn the cutoff knob. This display will now show you exactly what value the cutoff is set at. This works for all knobs and sliders too. Of course you still have to practice knowing where say 56 is on the knob, but it's a start at least. As long as you hold down EDIT, the knob moving won't change the patch. So just set it to where you think it should be, then release EDIT and tweak away. Press TEMPO/MIXER or PTN, whatever you leave your 505 set to when you're playing. This will help you to avoid those huge jumps in CC values that occur when you blindly tweak a knob.
Again, this is all in the manual in the patch edit section, but they use it for making patches, not tweaking them live. With a little practice, I've pretty quick about it, it takes no time at all to set up for modification. Just passing on some friendly advice on this beautiful Friday.
SONG MODE TIPS [PM Trance]
I noticed a cool thing about song mode this weekend working on a D&B track.
If your into the songmode thing. You can do much more with your FX modules or your EFX-500 then you may have thought posible. Or maybe you already know and i am just catching on.
First hookup one or both of your MC-505s extra outputs to your EFX-500 or whatever FX-Module you may have.. While in song mode you can change whatever part you want to play thru to extra outputs to so that you can more efectivly use your FX module. The output will change via whatever output you specify in that group pattern when your setting up a song so when you change patterns in your song. All you do is change what track is going to use the extra output and you can change the FX for that channal while the music changes. I hope this isnt to hard to understand.. This is REALLY COOL for EFX-500 users as it would be almost inposible to change outputs on the fly like this by just playing out the pattern manually.
Also EFX-500 users try using Delay on your beat track only take some time to adjust the timing for a bit.. You can get a REALLY GOOD double speed drum effect that sounds like you programed it.
Another hint on song mode for those of you who dont know.. The song mode section of the 505 manual is the worst part of the frikin book for sure. You dont have to create and save the same pattern with your mutes. Song mode remembers the knob positions that your use on your pattern when you press enter to go to the next track so all you really have to do. Find your track. Preview it by pressing play. Find your starting mute setup. Press enter and go to the next pattern or the same pattern for that matter. Tweak your knobs mute your mutes and slide your sliders and press enter again.. You dont have to go to save another pattern with just mutes or volume/reverb/whatever changes all you have to do is adjust them and press enter to go to the next pattern. Now i can't tell you how to do gradual volume changes in song mode yet. I wish i knew.. As far as i do know you have to make a seperate pattern for that. Unless someone has a trick.!?!?!
Personal Hint! Don't be to much of a stud to use song mode.. You can do much more complex things that you just dont have enough hands to do manually.
HOW TO PLAY YOUR 505 LIKE A TURNTABLE [Drew]
Set the sliders to "keyshift", and mute everything but the rhythm part. Have a downtempo (90 bpm or so) drum loop, and have the "scratch menu" or just the scratch sound on the chicklets. Then, use one hand to do the "one-two one-two" scratch with the scratch sound, as in, hitting both chicks to get the "full scratch"- while you're doing that, manipulate the R-partr slider like a crossfader, and you'll get funky effects. Only good for playing at home while noone's watching.
ARPEGGIO SNARE ROLL [Drew]
I love to use the classic 505 list snare build tip. Arpeggio= 32nd notes, and you twist the accent knob all the way to the right, so it's doing those bouncy 16th notes, then slowly twist it to the left, and bring in the other notes, til you're in a 32nd note roll. That's nice.
Also, doing this with the resonance at 3 o' clock, and the cutoff all the way to the left, then twisting the cutoff to the right, can work to give you those weird "bwooooaaaaa!" snare builds that hurt.
Also- Mucking with the "harp" arpeggio is good. Interesting.
Alternately- Get a 32nd note arpeggio on "hold", then use the D-beam turntable to take it all the way down, then slowly raise your hand- a la Fatboy Slim's "praise you" snare builds.
MUTE CTRL - DO YOU KNOW WHAT IT DOES? [Loren]
Mute ctl is great.. just hit record once, select the mute ctl part (this is the only time you can select it), then hit play to go into real time record mode... then do all your fancy muting of the different drum parts and other tracks and it will record everything you do. Now when you play the pattern, it will do the muting like you recorded it. If you don't want to use what you recorded, just mute the mute ctl!
REMEMBERING WHICH KEYPADS TO USE WHEN CHANGING OCTAVES [Vitimin A]
Check it out... to all you EJ's and DJ's that like to perform live 505 keypad harmonizing in your set (in other words, play the keypads like a keyboard over the pattern) heres a lil easy reference tool i thought id throw at ya. when you wanna do a long escelated build up/drop down of notes and youve run out of keys (whether going up or down the scales)...hit the octave once up or down (- or +) depending on which way your going)) and use the #6 pad or #11 keypad as a universal referance point to ensure your scale remains in tune. so if your going up the scale and your at keypad #16, hit the (+) in the octave section and jump directly to keypad #6 and go up from there. or if going the opposite way and you end up at keypad #1, hit the (-) in the octave section and jump directly to keypad #11 and work your way down from there.. and you can keep going and going and going. so.. quick reference: going down? : 1=11 going up? : 16=6
SLIPPERY SLIDERS [Steve]
"Slippery Sliders" - thus far, I don't think the manual explains what happens to slider settings as you move from effect to effect. Suppose you select Part R. Suppose you put the volume level on the part at half way up. Then, suppose you switch to reverb and put that all the way up. Then, switch back to level. How do you increase the level on Part R when the slider is already all the way up due to the reverb adjustment you just made? If you select Tempo/Mixer you can get a graphical display of the "true" slider position. From looking at this it appears that if you move the slider about 25%, it will "wake up" to the current effect and you can make adjustments based on slider position from that point on. In the example of wanting to increase volume level on the R part after boosting reverb to full, when you switch back to volume level, move the R part slider down about 25% and it will wake up to its new location for volume.
TRANSPOSE FEATURE [i m A g e]
also, y'all, try out that TRANSPOSE function. the button is to the left of the chicklets. you can alter the mood and movement of your patterns with a few well-placed key changes.
JASON'S LIVE SETUP [Jason]
[I included this here instead of in the MIDI section even though there is mention of a sampler because there is enough 505-only information in this post for 505 users]
I've taken a pretty structured approach for two reasons:
I'm basically doing a live PA with 3 pieces of keyboard gear! I use a Korg Wavestation as remote keyboard for the mc505. The mc505 is my performance sequencer controlling both internal sounds and a e6400 sampler. I mix everything down on a Mackie 24x4vlz with a few effect units: Alesis Microverb 4, Midiverb 4, and a Digitech 100S.
I program most of the rhythm patterns using the Rhythm section with Kick, Snare, Hats, and Ride Cymbals directed to outputs 3, 4, 5, and 6 respectively. This allows me to effect and eq these sounds through the mixing board. The main outs often have a few blippy percussion noises that can handle being effected and eq with the rest of the sounds coming out of the 505 ... mostly pads, arpeggiated synth leads, etc... The EFX effect is usually set to the Slicer effect to allow me to chop up pads. Whenever I feel like it, I just toss the output for that track from main to efx and voila! Gated pads! I often run a slow flange on the main outs, so the pads sound pretty dreamy. Tracks 1, 2, 3 of the pattern are always used for mc505 internal sounds. The remaining tracks 4, 5, 6, 7 are used to control the e6400. Track 4 is always my bass sounds. (mostly sampled juno-106 patches) Tracks 5 usually plays multisampled percussion patches containing the sampled percussion bits or loops I need for that track. Track 6 and 7 are free to use for any other samples I need. These usually add the finishing touches or "shine" to the track. Things like some sampled noise (like waves crashing) or sine-drops or sampled vocals. With the number of outputs on the e6400 at 8, I have enough room to direct each of the samples to individual outs by type.
This allows me to set up the eq and fx for each type, so that it's pretty close to what I need from track to track. This way I don't get any "suprises" when it comes to level and eq when switching patches.
So that's how it's all set up. All of my tracks are recorded as 3 to 4 patterns. Each pattern represents a "part" of the song. Usually an intro, build, etc... So, I just go from pattern to pattern, working each pattern by muting/un-muting parts. Or fading in/out melodies and chord progressions, etc. Working the effects and eq on the board... Finally, I use the RPS feature for drum fills, usually long cressendo snare rolls (no, not the obvious 16th note fill :). The 505 really shines in live performance. There are so many options to work with!
GROOVE QUANTIZE [Ras]
I did this once.... Mute R - turn up the groove quantize (choose one that's right), select R, slap the pitch right down, on the beat unmute R and as you bring the pitch up take out the level of groove quantize.... Interesting.
MEGAMIX / PATTERN-BASED LIVE PLAYING TIPS [rEalm]
[Stuff prefaced by >>> is rEalm's reply to Brendan's post]
Interesting. But if you just run one pattern (and megamix it), then aren't you still stuck with the 8 patches programmed in the initial pattern? Does that really carry you for that long?
>>>Megamixing doesn't just change the sequenced data, it changes the patches too. That way i can megamix from one pattern to the next for hours if need be.<<<
>>>Watch out putting your patterns that far apart, it can be hard to megamix that far before your pattern is over (and all of your patches change). I find it best to mix to the next pattern ie from 13 to 14 to 15 to 16 etc. I put all of my patterns on the card, then pull the ones I want to use live and store them in the proper order in the User area. That way i can create a new set everyday if need by (hopefully not).<<<
My problem is that I'm fairly stuck with the rythm part.
>>>Use RPS sets to add new drum sounds. By pressing the RPS sound you want, and then pressing HOLD, you can keep RPS's going even if you hit stop on the 505. Work well to help smooth out transitions between paterns when it comes time to actually change the pattern over to the next one.<<<
MEGAMIX / PATTERN-BASED LIVE PLAYING TIPS [Brendan]
[rEalm:]
> When I play live, everything is pattern based. I never have even used
> the Song Mode on the 505. I also use an sp808 for builds and vocal
> samples (used in a manner similiar to RPS on the 505), and a CS2x for
> those really wicked sounds. Then I just start playing a pattern and use
> megamix to keep it going for a couple of hours. It's all pretty simple
> to use, and the 505 makes it really easy to improvise on the fly. If you
> have any specofoc questions, let me know.
Interesting. But if you just run one pattern (and megamix it), then aren't you still stuck with the 8 patches programmed in the initial pattern? Does that really carry you for that long?
Here's what I'm thinking of doing for really long live playing: (any comments?)
Now when I play live I start up with Pattern 10, megamix in various parts from 11-19, then when I want to really change the song, I slowly bring it down to just the rythm part, and switch to my next base pattern. Was that clear?
This way I can play for a long time, while still being able to change patches (by switching to a new base pattern) and changing up the notes (by megamixing).
My problem is that I'm fairly stuck with the rythm part.
OCTAVE BUTTONS CHANGE RPS KITS [Chris]
This is probably something most of you know already and its probably in the manual (which I've read a million times) but I just noticed it so for the benefit of those who don't know: you can use the octave buttons to change rps set while you are not on the rps set screen. Of course you must know where you want to go without looking at the names but it can be very useful while in megamix or while on the tempo/mixer screen etc. Although while i'm on the subject i would recommend putting all of your RPS for a song in one set if possible.
SONG MODE TIP [Mark P.]
tip for performing with song mode: if you hit BWD before you hit play, you get a count of pattern position through the song instead of just the number of the current pattern on the left LED display- the number of the current pattern now appears on the right (or is it the next pattern?). Anyway, this is REALLY USEFUL for knowing where you are in the song and anticipating the next thing you need to be ready to do when tweaking live over a song.
e.g. I know that I have a drum break at pattern position 15, so I can build my way up to it as I watch the pattern position change.
CHANGING EFX WHILE MEGAMIXING [Ras]
You keep all the original pattern settings. (pattern length, tempo, general FX settings, general Rev and Delay settings (not individual mixer levels) just the general ie Large Room)
To take on a new effect you have to go to a new pattern (not megamixing) or select a new FX (not good to do as you normally have to flick thru several different ones - which is not smooth.
What I like to do. Pattern A has EFX A and Pattern B has efx B. Megamix from patern A to mostly pattern B. Then select pattern B, this will bring all pattern B's settings incl. EFX. Smoothly.
PLAYING WITH THE RELEASE [Steve]
Still haveing great fun with the machine. One effect I like is to take a repeptitive sequence and push up the last of the 4 sliders in the amp section, I think its called R for release. It causes the notes to start bluring together, you can then mess with Cutoff and Resonance to get some great sounds. At times this reminds me of the Orb's Huge Pulsating Brain Ruling from the Center of the Universe (Loving You) or whatever its called. Thanks for all the info on this list - very informative!
[A Huge Evergrowing Pulsating Brain that Rules From the Centre of the Ultraworld]
DREW'S "I'M A DJ" TRICK [Drew]
Here's my cheesy 505 tip of the week.
Here's how you can get a "i have the drums in this pattern coming off of a turntable and now i'm gonna fuck with it like a cool Dj" effect. It sounds good in slower patterns, especially hip hop/trip hop, 90 bpm or so patterns. First, put the "turntable/vinyl noise" effect on your drums, then have your pattern playing. Have sliders 1-7 all the way up/however you want your levels to be. Swith the function of the sliders so that the sliders will be controlling "Pitch Shift", then, here's where you get your "fucking with the record" sound. Set the R slider halfway between all the way down and all the way up (don't touch the other sliders at all, and their pitches wont' change), so that it's halfway, or "normal"- if you move it all the way up, the patch plays in reverse, so you get that "backwards spinning the record" sound. So, while the pattern plays, grab the slider and move it from the middle to all the way up, so that it reverses (you're spinning the record backwards), then immediately drop it down so that it's just under "perfectly mid way", and move it back to "midway", so you get that sound of "scooting back up to normal" (nudging the record a little so that it "catches back up" with the other record- the other seven parts). If done correctly, the whole process gives you the sound of "the drum loop was coming off of a record, and i grabbed it and spun it backwards real quick, then gave it a little nudge so that it "caught back up" with the "other record" (the other seven parts.). Everyone will love your Dj skills.
QUICKLY MOVING SLIDER VALUES 2 [Rob]
I think you can do this without pressing shift. Its basically a standard Roland thing, where if you press the opposite button, you go faster. EG want to go from 1 to 127 quickly? Press and hold INC, then press DEC. And also vice versa.
QUICKLY MOVING SLIDER VALUES [J]
If you want to quickly move the slider values from one side to the other (and I don't really know why you'd want to do this without using the sliders though ... :) ) but you can hold SHIFT and then press and hold the direction button and then press the OPPOSITE direction you want the values to shift.
So if I want to LEVEL from maximum to medium I'd do: HOLD SHIFT, PRESS AND HOLD DEC, then PRESS AND HOLD INC.
TIP ABOUT REVERSING SAMPLES & OCTAVE BUTTON TIP [J]
Doug, you're mostly right about non-looped samples being able to be reversed, but A096:Wah guitar 2 cannot be reversed, neither can A106:Brass Fall (hmm I wonder why?) Anyway it's no big deal, just something that I found a little strange.
I don't think this is in the manual, and it's common knowledge for those people who've owned other synths that do this, but it comes to mind because I used it a lot today. That is that if you press both OCTAVE buttons at the same time, you jump back to octave 0. Anyway enjoy
DELAY BUILD 3 [rEalm]
I use this little trick all the time (it's actually on Roland's webpage as a user tip, check there for more info.), although I usually just leave the delays set at 1/8th notes. another way to build on this, is to get the loop going as mentioned below, then raise the RELEASE slider all the way, or close to it. You'll have to watch the part volume as it will get louder, but it smoothes out a lot of the zipperyness of the loop. Now, once the you're building it, increase the feedback time to infinite (all the way right). if you mute the part, the delays will still sound for quite awhile, so you can switch pattern without loosing the feeling of the pattern your currently on, and you don't have to worry about any annoying patch changes. Or, once your build drops, slam the RELEASE down all the way at the same time as you crank the feedback level back to zero. This can sound pretty cool if you drop in the drums at the same time. Just some variations on what R Mize said.
DELAY BUILD 2 [Nkdms333]
i have found the delay feedback useful for builds as well when used in the right (and only the right) situations. i have used it on the rhythm part set on a delay time of a dotted eighth note. it can be a good build if you gradually bring in the delay on the part mixer. then twist the feedback knob to 98% it may do a perfect build (this depends on the type of music you are playing) by raising the volume at an almost exponential rate getting louder and crazier. then at the start of a new measure throw in a break as you quickly mute the rhythm and turn off the feedback. also, don't forget if you already have the effect tied up with another track (or maybe even that one) a cool flanger type effect( is that the correct name?) can be created by putting the rythm part on a short delay (less than 2 i think) sometimes this gives a cool but higher pitched sound that can be keyshifted down. hope this helps.
DELAY BUILD [Rob]
Here's a little trick you can use for doing a 'build'. It's a little tricky to master, and doesn't work with every part, but it's a lot of fun. (and you can make extreme weirdness too). Ok. Take a part that has notes all the way through, and apply an effect that doesn't alter the sound too much (like 4EQ or something). Crank up (to the right) the delay (time, feedback, and level) and Reverb(time, damp (set to taste), and level). Depending on the patch used it should start increasing in volume and sound rather 'looped'. adjust the volume down so it doesn't overpower everything else. Now you can turn the level of the part down and hear it keep repeating (some parts will do this for quite a long time). Now mute/unmute it, screw with the volume level. You should hear a nice echo following the unmute/mute, play around with the reverb time to get different echo styles. The feedback is what keeps it echoing but if it creates 'too much' turn it down a little. Experiment!
Now for the 'build'. Get a suitable part and get it repeating like above. Sweep the delay time backward (to the left) and the pattern (delay,reverb loop sound) will speed up into infinity. Mess around with this for a while on different patches/parts as some are better than others. Granted this isn't very aesthetic sometimes, since you get some zipper noise(?) in there on the delay sweep. Given the right patch/part and enough practice you can do some neat tricks with it. Anyone have any other tricks/tips for doing 'builds' or other tension building effects??
USING TRANSPOSE FEATURE (was: R PART PROGRAMMING 5) [drK]
A variation on Chaz's tip about KEYSHIFT.
The Transpose button is also useful as a tool for shifting the entire sequence up/down in pitch, except the R part. This can be used to good measure to create some tension or relief in the music by changing the "tone center" of the music. In classical composition this is known as a "modulation" and it is not typically found in dance music, at least that which I have heard.
Its easy to do this in real time. Press and hold TRANSPOSE down and then use the wheel to adjust the number of semitones you wish to transpose. The actual effect will not occur until you *release* the transpose button so this lets you get just what you want and then drop it in at the right beat. To undo it you simply have to hit and release the TRANSPOSE button again, returning the tone center back to zero.
The manual talks about using the chiclets to do this which also works but I actual find the dial easier.
My personal favorite is to drop everything a 2nd (-2 semitones).
R PART PROGRAMMING 4 [drK]
The <SHIFT> key also forces the part fader to jump in octaves if you use that to adjust the KEYSHIFT. I sometimes use that when I need to blind adjust KEYYSHIFT back to 0.
R PART PROGRAMMING 3 [Chaz]
Less of a tip than a reminder...
The KEYSHIFT function is often overlooked, but it's great for tweaking with patterns real-time. Especially useful is the ability to jump an entire octave at a time by pressing <SHIFT>+{<INC>/<DEC>}. Try it with the rythm track!
R PART PROGRAMMING 2 [nico]
and if you shift the Coarse Tune slowly down, your R part will sound like if you slowly stopped a vynil... interesting effect to create a break.
but i noticed that after tuning up or down, if you tune back to normal pitch, the sound is not the original one, it sounds different (depending on the drum set, more bass, or more treble). i know it was discussed before, and my tip is to mute the R part, go to patch page and press undo/redo to switch back to the original drum set. not very practical but it works.
R PART PROGRAMMING [drK]
Nothing too original here, just something of a reminder.
The R part has the interesting feature that if you shift the Coarse Tune up beyond 24 it will start playing the sample in reverse. Standard stuff. What I encourage you to do is to poke around in the non drum sample areas of the ROM, especially some of the more far out waveforms. You might find an interesting effect. And since you can have a bunch of "samples" assigned to the R-part's key map at a time you can afford to be generous with using these types of things.
R part patching is probably the most powerful feature in the MC505 synth. Give it a try for things other then "boom boom boom-boom"
RPS TIP [charge-E]
Hey I dont know if this is old news to alot of you but I thought I'd post it incase anyone didnt know.Some of this has been posted before.If you hold down RPS and push the PART MIXER SELECT button you can use those options.And if you push RPS and the PATCH button you can change the patch.
ADJUSTING RPS VOLUME [drK]
A somewhat hidden feature of the RPS section is the fact that the Part Mixer works for it too. Simply press and hold the RPS button and then the TEMPO/MIXER button and the Part Mixer switches over to RPS mode. When you press an RPS from 1-8 the mixer controls RPS 1-8; pressing any of 9-16 switches the mixer over to RPS 9-16.
While in the RPS mixer mode the LCD will reflect this (if the mixer is being displayed. see below) and the selector LED on which thing is being mixed will blink.
You can use the mixer select button to switch to pan, reverb, etc. Only Megamix is unavailable.
Tweaks done to the RPS's using the part mixer can be made a part of the RPS set by simply writing the set to one of the RPS locations. So you can have your RPS's all set up and good to go with the simple recalling of the set.
I stumbled upon an undocumented (I think) way of doing this. You can go into RPS Part Mix mode simply by holding down the RPS key and then pressing the mixer select button (the one that makes the mixer switch from volume, to pan, ...) *even when the mixer is not being shown in the LCD*. With this you can be in say the Pattern mode and instantly tweak an RPS mixer parameter.
RPS TIPS [drK]
I've been screwing around with the RPS feature and have "discovered" some interesting things that were either not obvious to me or worked better in practice then when read about. This may be old news, especially to those of you who use the MC505 in performance. Here goes...
Octave Buttons. When the RPS button is lit the Octave buttons act like a INC/DEC for the loaded RPS set. Thus if you press OCT Up you will load the next RPS set. This seems to be redundant with the normal way of INC/DEC but is actually useful if you have the display mode set to something other then RPS - like say the RPS Mixer screen.
Changing RPS Sets while RPS's playing. This one isn't normally too useful but maybe... Anyway if you press and hold one or more RPS's (or just lock them down with the Hold button) and then switch RPS Sets the loops continue to sound - sort of. After some pretty weird disruption while the new set is loading the held keys continue to play but using the new set's patterns.
Using the Hold feature. One side benefit of the Hold button is that you can continue to press new keys and get those RPS's to fire off but without locking on - they don't hold too. But what about the other way, pressing an already held RPS key. Well it does not turn off which at first bothered me but it does provide a very cool way of quickly grabbing and RPS and then tweaking the sound - say filter cut off. Simply press the already Held RPS key and while holding it tweak away! "Discovering" this one made my use of RPS's much more fun and interesting. (BTW if you do not already know this any RPS key pressed down will allow you to modify the panel parameters for that sound).
Key Shift. Place the display into RPS Mix Mode (hold RPS key and press MIXER/TEMPO). Now change the keyshift parameter. This causes the RPS to transpose by the amount of the shift. Great for adding variety and even melody modulations. BTW you can cause octave only jumps by pressing the shift key while adjusting. Try this with some of the percussion RPS's. This again was something I had read about before but never sounded quite as useful until I actually tried it.
Stutter Effect: Just thought I throw in that you can manually do a stutter effect on an RPS by repeatedly pressing and releasing an RPS key to cause the stutter and then play and hold until the loop finishes. This does require some practice to get right.
Real Time Transpose - OK this isn't strictly speaking an RPS hint but it was something I found out while doing some RPS work. If you press and hold the Real Time Transpose button you can then use the dial or INC/DEC buttons to select the amount of the transpose - without having to sufferer through hearing the sequence transpose through all the intermediate values. Once you have the right amount dialed up simply release the Real Time Transpose button and the sequence will then transpose. Not only is this useful for getting the right amount but also it allows you to control the timing of the transpose to occur where you want it. This of course works with everything currently sounding - RPS as well as patterns. Also you can quickly return to the root position simply by pressing and releasing the Real Time Transpose button.
MUTING MULTIPLE PARTS WITH THE D-BEAM [Tam/Ger]
Here's something i stumbled across last night:
The Dbeam will mute and umute selected parts from a pattern, just select the
parts to be unmuted while holding your hand over the dbeam. Now when you remove
your hand those parts that you just unmuted will now be muted. It helps if your
rhythm section is called from an RPS (that way you don't get a total mute)
This allows you to mute more than one part at a time, with the hand visuals it could be great for a live performance.
I am probably the last person to discover this :)
ARPEGGIO SUBMISSION [OnusOne]
First Arpeggiator Submission:
Choose Pattern P:001 Psy Trance 1
Mute all parts
Select part 2
Press [PATCH] and dial to "TB TRA BASS" P: A017
Press [SHIFT]+[Pad 1] (Arpeggio)
Go thru the pages and make following settings:
Style: Sequence C
Motif: Single Up + Down
Beat Pattern: Seq-A 6
Shuffle Rate: 50%
Accent Rate: Accent to Taste
Octave Range -2
Now press [OCTAVE - ] two times to go to octave -2
Turn on the Delay for part 2 - (The delay setting already chosen for Psy Trance
1 is perfect)
Press [HOLD] Hit note of choice - Ahhhh. Allow the sound to cycle through. I
love the way the sound chases itself. Combine pads and drums. Mix lightly.
DRUM EFFECT [Ras]
By selecting the R part and using keyshift you can use the INC and DEC buttons to create a simple but interesting effect. (raising and lowering the pitch of the drum sounds -- sounds almost like changing a filter).
DRUM AND BASS STUTTERING, AND A VOTE FOR THE SAMBA 2 GROOVE TEMPLATE [David H.]
Here's a fine tip for getting that groovy "drumnbass" style stuttering bullsh*t that everyone loves (oh, myself included, how do you think I'm giving this tip!) ...a fine tool, the ARPEGGIATOR. Use that KNOB on the arpeggiator, the Accent Rate knob. Set your Arpeggiator quantize to 32nd notes. Begin with the Accent knob set all the way to the right. When you press a button, you'll note that it almost sounds like 16th notes, with very quiet ghost notes going by very quickly in the background. Note what happens when you turn the knob to the left. Gradually it becomes a 32nd note roll! Neato! I use this strategy to great effect in my hihat patterns, it's quite useful. It's not so great, however, if you intend to quantize your grooves to Groove Templates, as they often completely destroy 32nd note runs.
And while we're on the subject of Groove Templates, allow me to voice my support for the SAMBA 2 groove template! When judiciously applied, some quite appealing results can be obtained! Quantize only one part of your sequence with it, preferably one with a lot of 16th notes. Feel it push and pull with the other parts of your sequence! Tasty!
SNARE ROLLS [Drew]
using the arpeggiator is a great way for starters to make rolls. Try the 32nd note arpeggiator- kinda crappy, but a good idea. What type of rolls are you looking for? Bass rolls on the 4th beat (such as in trance music?)- do good w. different arpeggiators. I recently used the "Harp" arpeggiator pattern w/ the 909 snare patch for a good "drill-n-bass" track- reminiscent of the "Richard D. James" album by Aphex twin. I put it on the harp and then twist it away, after the apex of the roll- it usually ends up on a better arp, but it sounds good in the context of the song. Also, try step programming for the really fast rolls- jungle or whatever.
DELAY FUN [?]
'Course then you should start foolin' with the delay length (5), feedback levels (6), try leaving the drums playing with no delay, use the beam to adlib into the loop etc.
******Note****** When the delay loop gets to noisey... just back the delay feedback dial down to zero and you'll empty it out.
By adding "snippets" of sound into the delay loop, you build from silence to a wall of (peaking!!!) sound before dropping into an appropriately bangin' pattern (getting levels right here is the big challenge).
PLAYING LIVE IN RECORD MODE [J]
Try playing in record mode, slipping into rehearsal mode when you don't want to record what you're doing.
RPS REAL-TIME MODIFICATION [J]
You can edit RPS parameters while playing them. Just hold down the RPS button and tweak. If you want to have RPS 1 and 5 play while you tweak 9, then you'll have to put 1 and 5 on hold, then hold down 9.
Note: the tweaking RPS part is the LAST PUSHED RPS so if you push 5 (and hold) then 9 (and hold), you'll tweak 9 - and if you let go of 9 you WON'T TWEAK 5!
Another Note: If you want to change 2 RPS, or the held RPS and the currently selected part, you're out of luck.
I notice the RPS works with the envelope control too. I just created a whole stack of new sounds by using all the controls in combination. Even better, the RPS settings stay after you let go the key!
SNARE DRUM BUILD [?]
Set the arpeggio to 1/4 while you hold down a snare key. As you approach the end of the pattern, turn the arpeggio to 1/8, 1/12, and finally 1/16
Alternatively program that into an RPS to free up more hands
While the build is growing, try twisting the course tone knob up until it begins reversing (about 3/4 clockwise).
DELAY BUILD [?]
Here's a tip. When playing a pattern, drop out the drums. Now slowly add delay with a low feedback. Slowly increase the delay's feedback amount until you get this huge sounding build. Now at the same time, kill the signal to the delay and slam in that bass drum.
SNARE RATTLING [?]
Another fun thing: set a 505 track to a noisy snare pattern (jungle snare works well) and give it fairly high release time. Now link it to the ad lib on the d-beam. OK, loads of snare rattling. Now run that through some delay and the EFX slicer and you have an instant hand-controllable techno atmosphere.
KEEPING D-BEAM VALUES EVEN WHEN HAND REMOVED [J]
If you turn the d-beam on/off button off while keeping your hand over the d-beam, it will continue to play the value of your hand position after you have moved it
NOTE: not for all settings (doesn't work for TURNTABLE mode)
QUICKLY GOING TO BACKWARDS BEATS AND BACK [?]
the way i'd do this is with the keyshift lever, not the pitch knob.... I'll keep my finger under the lever before I throw it up for reverse beats, and hold my finger in the original position, so that when I bring it quickly back down after a reverse fill, it'll be pretty close to the key it was at before.
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