 Hello, oscillator sync here. To call the dig attack a drum machine feels like an extreme oversimplification, almost to the point of nullifying what makes it such a wonderful instrument in my eyes. But stripping everything away, that is what it is at the core of its DNA. You put a trig on a step and as a sequencer gets to that step it plays a sound like almost every step-based drum machine under the sun. That being said, I've really been enjoying a technique recently that intentionally avoids the idea of playing a sound on a step, but rather manipulating an ongoing sonic event. Although there are many ways that you could make use of this idea, I potentially rather predictably really love it for establishing evolving ambient textures from loops. So in this video I'll demonstrate the idea from that perspective in the hope that it'll spark some inspiration for you to draw from and run with. So for this technique I'm going to make use of some piano loops just because I'm into piano loops at the moment for some reason. So here on step one I've got a piano loop. Now at the moment it's not looping and there's two reasons it's not looping. The first is that it's not set to loop in the source page. So we want to make sure that the play mode is one of the looping modes. I have to say it's maybe a little bit cliche but I do rather like backwards piano. So that's what I'm going to go with here. Now at the moment when we play that sound it's beholden to the amplitude envelope which by default if we're starting with the initialised patch it's going to have a release on it which as you can hear when I let go it's going to fade it out. To fix that if you want our loop to play in depth indefinitely all we need to do is up the decay time to infinite and that means now when I touch this step it's going to loop forever and ever and ever and ever unless I adjust the decay time or double tap stop actually. But we don't need the sequence to be playing for this sound to be looping forever and ever and ever. Okay so I'm kind of borrowing a vibe from the Montreal assembly count to five pedal. If you're not familiar with that pedal go and look up some demos. Nobs almost definitely has one I don't know for definite but it's definitely a sort of pedal that Nob's already done a video for. Go and watch their video if that's the case. And what that pedal does is it kind of takes a sound and it kind of plays it back a delayed version of that sound at different speeds reverse forward and so on. I'm going to kind of steal that vibe a little bit. So what I'm going to do is I'm going to go into the sequencer. Now as I said at the start of the video I don't want any of these steps to actually play this sample. If we put down normal steps every time we get to one of those steps it's going to restart the sample essentially. We don't actually want that we just want the sample to be playing constantly. So instead what we can do is make use of what I think are now officially called locked trigs or I know them as trigless trigs. Anyway the trigs in the sequencer which will allow us to do all of the parameter locking that we like on our electron gear but without actually playing the sample. To lay down one of those all you need to do is lay down a step while holding the funk button like so. Now when we hit that step nothing happens the sample isn't restarting but all of our parameter locking stuff will still work and it will apply to the sound as it's currently playing. So what we can do for example is we can come into our sample page here and we can set this to go at half speed by going down to 12 here and our tune and when it hits that step it's going to switch to half speed. We might then want to have another trig laid down here where it goes back to normal speed and you can hear that it's not restarting the sample it's just wherever we are in the sample currently it's going to alter the behavior. Perhaps we want one here that goes up a perfect fifth so seven and then maybe back down to an octave down. Oh that's not a dubious trig. Then maybe one towards the end here where it goes back to normal play speed. And we're starting to get this texture which is evolving it's evolving rather too fast for my liking so what we'll do is we'll come into the page menu here we'll set it to per track so that we can have stuff running at different speeds and different lengths and we'll drop our scale down maybe down to an eighth there and while we're here we'll just put our master note to it as well. Now other things we might want to do from this perspective is we may want to implement a trig where we switch the play mode to forwards looping. Again that should be a trig one. Maybe back to reverse here. Again actually remember to do trigless loops here. Maybe one going to forwards there back to reverse maybe make sure that we're always on reverse by the start here and now we've laid down a lot of these instructions because they're not actually triggers. We can maybe make use of the global probability for this track so that these changes don't happen every time so things don't constantly loop and loop and loop. Now one thing that we can do here to make this a little bit more vibey I think is to a slightly reverb on it always but also I've got my delay set to very very long here and so if you put in some delay it's not going to sound like delay so much rather than some of the other ideas still going on so now we've got reversing forwards at the same time and vice versa and things start to sound rather pleasant I think. Now what I think is quite fun with this particular technique is if we pan this one off to the side and on track two I have the same sample again and we can start to apply the same things but pan the other side now with our and we can start to put down our tricks in the similar sort of vein here or do similar sort of ideas maybe some different tunings and we start to build up these clusters again we'll have this one move more slowly maybe change the number of steps so things don't overlap so much we can always bring that probability down as well and we can start to build up these sound clusters that I think are rather nice we can maybe do a little bit of panning maybe with our alofo nice slow alofo get the same with the other one maybe filter them a little bit to make a bit more lo-fi maybe you had some vinyl crackle which I just happened to have prepared here I love it where it flips back to being forwards in this track I've got samples as well maybe with this choir sample we can have octave jumps in there perhaps with filter movement and without ever actually playing a sample in the sequencer we can start to build up for the basis and bed or something else I hope that maybe sparks some ideas for you to go and try out with your dig attack I think I'm just gonna stop recording and just sit and listen to this for a little while so if you enjoyed the video like and subscribe and all that stuff otherwise until next time