 Hello, Oslate Sync here. As we rapidly approach the end of a year, which we can charitably describe as being suboptimal in a number of ways, I thought for what is possibly my last video of the year, I don't really have a schedule. I might do something that's just a little bit of fun, but hopefully also highlight some sound design and workflow aspects on the DigiTact, and that is to do a one sample challenge, that is to use one sample to make an entire track or pattern. So on the DigiTact, it's quite easy to do a one sample challenge, really conceptually, because you can create a sample chain, which is just a single sample with multiple samples inside it, and then you can parameter lock the start time of the samples. It's really a useful way of getting a lot out of fewer samples if you're trying to show space in your sample pool, for example, for a particular project. Well, I didn't think that was really in the spirit of this challenge. So instead, the sample that I have chosen sort of at random, but I've subsequently kind of thought about how I might be able to use it a little bit before I started recording is this, three, which is three being said by a speaker math. So what I'm going to try and do is get a kick snare hat, some kind of other percussion base, up probably a lead sound, and then that leaves us one spare to see if there's anything else that we need by the time we get to the end. So without further ado, let's get going. So I'm going to start by doing the most important aspect, which is not the kick, it is the up, of course it's the up, which I'm going to put on to track six for reasons. So for the up, what I thought I would do is basically just turn this sample into a single cypher wave form. So that's going to be set to start somewhere in here, set the length to zero, and if we set our play to one of the loopy ones, ask a reverse, we've got a little oscillator sound there, we can start to shape that into something that's going to be a bit sort of plucky and you sort of nice for an up. And I'm just going to start by just laying down a bunch of stuff. As you do know what, let's make this, so per track length, let's make this one 12 steps in length. So we kind of get that rolling six is kind of feel, I'll have two patterns of six or rather the pattern of six repeated twice with the variation the second time. So just a single note there, which is fair enough. We'll put the notes in just a second. So the nice thing when you are working with a sample and you're just pulling out a single sample, single cycle rather, waveform from the sample is that by moving the start position, we get all these different timbres because really when you are just sampling a tiny little slice of this waveform, you've kind of got a wave table, which is cool. So what we could do to get some instant timbre variation from this sound here, there's just so many nice timbres in here, it'd be a shame not to hear a few more of them. So let's go into our LFO, we'll do one of my favorite tricks. We're going to set our destination to be the sample start position. I'm going to set my mode to hold, so per step it's going to hold the position of the LFO and we'll just set the waveform to random. So we've got a random sample and hold per step on the sample start position, which is essentially going to give us a sample and hold on the timbre of the sound. And so by up in the depth, some quieter ones out there, there might actually be quite cool types of quieter ones. So we get some volume variation in there for free as well, which is cool. So we've got this cool little sort of formant-y waved-table-y kind of sound here. Let's give it a little bit of filter, just for a little bit of pluck as well. Something like that's very cool, resonance. Gives it this cool, almost string-like plucky sound to it with a little bit of resonance, that's nice. Let's give it some reverb. Might shape the reverb in a second, give it some delay as well. And we'll set the delay to ping-pong. Just darken the delay a little bit and send it to the reverb a tiny bit so it doesn't sort of stand out so much. Cool, let's just give this just a C, let's maybe not make it minor or major so that we have it more scraped for other stuff, so maybe the major one. Something like that. And then if we copy-three, paste-three, copy-three, paste-three, and maybe just change the octaves on one or two of these so we get a pleasant little arpline, got some nice character to it, reacts well to changing our filter cutoff as well. Nice variations with the decay time there as well, so we've got some nice performance elements there if we wanted to do that. And I guess the other performance element we would use maybe is just making it less busy because we've got the delay there as well to hold things out by turning down the global probability. That's cool, nice, okay, okay. That'll do for our arp certainly. So let's move on to the kick because we really should get a kick sound in here. So what are we gonna do? Well, let's start by tuning it low, I think that's gonna be a given. And let's find a section with like a natural, which is too long at the moment, natural thud to it. Somewhere around there kind of works, let's just show on it so we have a cool, okay. Another way you could approach this actually is by taking a single cycle waveform again and just doing the standard trick with a low-tuned oscillator and doing a pitch bump at the start. I think this is gonna give us a more interesting sound. Let's, nevertheless, let's do the pitch bump at the side to get the start just to give it a bit more attack. So we'll go into our LFO, we're gonna do one cycle on the LFO, we'll go for the exponential. We will send it to tune. So we're going to give a sudden pitch up at the start and then rapidly back down. We'll set this to, let's try 64. So just giving it a bit more attack at the start. So without, it's like that. And then by adding in, and it's always about balancing how much bend you've got and the speed that you're doing the bend. It's probably still a little bit too. Okay, let's try some bit reduction to see if we can get more grit into it, maybe overdrive it a bit. And then I think we're probably gonna need to filter out so that maybe give it a little bit of a filter tweak at the start. Okay, with that going, with that kind of framework happening, let's just try some different start points to find any other areas that work for that. That slight back up isn't gonna work. We hit on a fairly good, a little less pitch bend, maybe a bit of reverb on the kick. Cool, let's not just have straight to four to four there, four to the floor kick here. Let's add a couple of other little kicks in there and maybe just give them some velocity and some probability. So let's do that. Okay, we do sound like that, but let's think about the timbre of this extra kick here. Let's try putting the start position of the sample somewhere else to give it a different feel. Maybe darken that one. It's pitch bend or no pitch bend. Okay, we'll copy that one. Lower their probability. So we just get them sometimes. Okay, let's just try a little bit more overdrive on that. Bit meaner. I kind of feel like we can make it shorter as well. Just wanna get the, just the last little bit of that sort of growl sound in it, but not too much of it. Cool, yeah, that's the serviceable kick, I think. Okay, let's have a look at the snare sound. So one thing with the snare sound is you've got the three at the start of the sample. Three. And maybe you've got the thr- So maybe if we go from the ur and then reverse it back into the thr- So you get the ur, which is the hit of your snare and the th, which is the noise. And then we'll try and make it more sort of noisy and snare like from there. Three, three. So if we set our play mode to reverse and we set our start, set our end rather. Okay, sounds sort of like a beat, almost like a beatbox you kind of snare. Something like that. Maybe if we pitch it down and then bit crush it. Shorten the envelope again. There's something to that I think. It's kind of a tonal element to it so we don't want it clashing with the C key that we're in here. I think that's something. Maybe if we let with a resonance, let's just stick down it. That's kind of working. Let's maybe do a little bit of a pitch bend at the start of that to add a little bit more attack. Why don't we try with the filter? Actually we have a tight filter here. So a tight filter envelope there, really fast. Just give it a bit of a ping at the start. Some acoustic space to live in. Yeah, yeah, yeah, yeah. Let's try the pitch bend at the start as well for some more attack. So same thing as our kick. Go for the exponential. We want a one time LFO, tune, we want some note a little bit more attack. So I think that's a little bit longer. Yeah, yeah, yeah, okay. Let's throw, okay, here's a crazy idea. I think we can do this, should be okay. Let's try and turn one of these steps. Let's add another step in here and let's turn it into a clap instead of a snare. And I think with a clap, what we're trying to achieve is this sound of multiple people clapping essentially. And to do that, we want to have a repeating amp envelope rather than just one envelope. So we can use the LFOs for that. And you want it to be giving you multiple amp envelopes, but you also don't want it to keep doing it. You want it to be like a couple of people clapping, two or three people clapping, and then it goes to not affecting the amp anymore. So for that, we need to have a fast repeating amp envelope on the LFOs. And we need to make use of the fade as well. So that's a snare at the moment. So we want to be affecting the amp volume instead. We want it to be a repeating LFO, but we want it to start with the trig because otherwise you'll start halfway through a clap if you like, which doesn't make any sense. We need to go faster than that, I think. And we'll also need to turn the overall volume of this down so that we can actually have the LFO do it. Anything. Okay, so you can hear there we've got a multiple amp envelope now, but we don't want it to go on forever so we want to make use of the fade. Here we've got like two or three attacks there now, but then it stops doing it after a while. We probably want the whole thing a little bit snappier, maybe put some delay. We'll need to give it some tonal variation as well. So let's maybe tune it differently. Maybe to get a different filter approach, getting the speed of the multiple attacks is a crucial thing to fade out rather. Okay, we probably don't want that to happen every single time so we'll just put that on a... Okay, something like that, that'll do. Considering that's the word three being said, that's an okay clap. So let's do hats next. Hats are going to be kind of similar to what we're doing on the snare which is we want to find a noisy part and just accentuate it. So let's think. There's going to be, there's the, there's the, at the start. It's also this kind of, it's kind of that metallic kind of thing at the end there. What if we bit crush that? We get noise into the deal and the metallic bit, what I thought was sounding metallic now sounds really metallic. Okay, okay. Let's make that really short and snappy then for a chin up maybe. Got quite good metallic percussion down there as well actually. A reverb. Okay, let's just slather that across the pattern and have a listen. Okay, it's shortening. Get down the volume a little bit. Filter out the bottom end as well. And if we want to try and get a bit more attack into it we can always put a reverse envelope so we get some of the bottom end right at the start of the note. Okay, so we've got, we'll just mute the arp for a second. If we change our start position we've got quite a few different variations. So perhaps we can do a similar thing to what we did with our arp sound and do a sample and hold, random sample and hold on the start point just to get the variation out of that sort of naturally. Just find the sweet spot where we're getting. I don't know if we need this much to be honest on the filter. Got some cool variations in there. Okay, cool, okay. Let's maybe just drop the global probability there. Let's just get like the other sort of random percussion out of the way. And what I've been thinking for this is let's just, I'll go for a random start point again as well. I'm just gonna stick this somewhere in the middle here. Maybe reverse it rather than forwards. In which case I don't wanna do the start position I want to do the end, don't I? Yep, get a bit snappier. Make that reverb a little bit longer. Yeah, and we just slap a bunch down. Maybe set this to 14 or 15, probably doesn't matter. And let's just change the end point. Maybe try a bit of crushing as well. Maybe we think about the bass as well a little bit. Actually, then we'll sample and hold the end point this time as we go in the reverse or the length. So we can still do it with the start point, can't we? Use the start point, same thing, hold, maybe chin it down. And then what I thought we could do is we could just do some panning here. And then I thought what we could do is just turn the overall probability of this track down. So we just get these little stabs, maybe not so much bit crushing. This is giving me ideas for the bass though, I have to say. This isn't in tune with the main thing, I'll need to retune it, it's not. Something like that, just to give it some flavor. Okay, let's get a bass sound happening then. Right, three. Yeah, so that's kind of in, we could go down the single cycle waveform like we did with the ARP, but I think we can probably just grab part of this and retune it for the bass. I quite liked the stuff that was going on in the middle of, okay, we'll try a couple of different bits there. So let's find a bit where the pitch is fairly stable. It's about the same place as our kick drum, isn't it? Let's try tuning that with our ARP and tune enough. Okay, let's try going back to the approach of a single cycle instead. Okay, so in lower, in now we can't go lower than this. Okay, that's interesting. So we're letting a little bit more of the loop through and get natural pitch. I guess it needs mixing a little bit. Snare's too loud, tuning a little bit. So perhaps we need to make sure that our bass, I think the problem is that the kick has got too much tonal element to it, so perhaps we need to, I think it's also those really low notes in the bass. You know, our snare has to be darker as well. Maybe our ARP needs to be a bit darker as well. It's generally a little bit darker. It's like a mixing session there. Let's move on to our lead line. Okay, so we've got kick, snare, hi-hat, percussiony thing, bass, an ARP thing, and three. Let's have a lead sound in here. I think the only thing that makes sense really for the lead sound is to go back to the wavetable, single cycle kind of thing. I want to get quite a vocal sound probably. So that's going to be easy in this sample because it's a ostensibly a vocal sample. So we'll set our length to zero and we'll just make sure it's actually looping as well. That'd be good. And we'll just got some mellower sounds in there. For those of you who don't want to content there probably too much. Yeah, maybe something around there. I'll give it some fade in and fade out with the amp envelope. Filter it down a bit, bit of resonance. Good, some envelope on that as well. Yeah, okay, that's okay. And let's give it some vibrato, some of them human kind of vibrato-y. So probably a bit faster than that. Simple tuning as our destination. But I think probably rather than having it vibrato in the whole time, let's set that to trigger mode and let's have it fade the vibrato in instead. I think maybe our filter is moving just a little bit too much. I think something like that is cool. Of course it's gonna need some reverb and delay. Delay's gonna kind of give it almost like a chorusing with all that vibrato in it as well. Okay, let's try playing that along with what we have to see if it fits. I think that gets a little bit too bright still. A little bit too cutting. Okay, let's record that. So how many bars was that? Let's double that so it's eight bars, which means that we will need to come into our page settings here. We wanna set it to 64, but it's only gonna be four bars, but then we can half the scale to get eight bars at reduced resolution, but it's a slow pattern, so it should be fine. And we wanna make sure our master length is infinite so that it doesn't drop off or anything. Okay, let's, that all looks good. Let's check our master settings. It's got a pre-roll. Let's turn on. Cool. Okay, that looks about right. Let's try and record something in. Three, four, then this last one here, I don't want to happen every time. I want it to happen every other time. So I was going to do something with the last track. Oh, let's make that, sorry. Let's make that last note longer in case I don't play the other one. So I was gonna do something with this track. Do you know what? I think it should just maybe just say three. Okay, trim the start to make it tighter, get some reverb, make it epic, because we don't want that happening every time. So let's just put that on the eighth time around. Okay, so we've made a pattern that's made out of a bunch of, well, one sample saying three. I think having played around with single sample things before what can be really, really interesting once you've taken part in this exercise as it were is to change all of the samples all at once to see what happens. So let's just give that a little bit of a try before we finish off the video. So we'll come into the source page and I'll be holding down track and changing the sample. So I've got a bunch of different samples in here. The first ones I'm gonna try, I think probably are some other numbers from the speaking spell. So let's try one instead. Yeah. That's one, there's two. Things are actually, no, I think there's four. Kick drum is punchier. Snare's kind of got an eight bit sound to it, it's just cool. What else have we got? That's the word correct, that's good. You win, that's a normal vocal. Somewhere over here, where's that down here? There's some piano sounds, that's a choir. Ooh, cool. So that sample there is, that's really interesting because what that sample is, it's interesting that that lead sound always pretty much ends up the same way. When you have a sample that short, that's just radio crackle, vinyl crackle. That's tape noise, let's see what else we've got here. Oh, let's use some actual drum samples. So that's a chip tune kind of percussion sound. Hey, interesting, so that is an actual snare sound. Obviously the snare stuff sounds really good. You've still got this wave table-y type things happening there. It's got some thickness to it, so that's the same sample waveforms already. So these synth one hits that I've got in here make really good kick drums when you do the kick drum trick. What else have we got here? Just try some other, some CR 78 samples. Some of the factory banjo, that's a factory clap in there. So that one strongly resists being melodic, a finger clip sample. Can't make a rimshot sound melodic. Anyway, sweet. So that's one of my, I think that's from my DRM1 sample pack. Anyway, I could play with this for ages because it's just good fun exploring sounds back where it began. Anyway, that's quite enough of that, I think. So I hope you enjoyed this little exploration into the world of three. If you did, then feel free to leave the video a thumbs up and make sure that you're subscribed to the channel. All that good stuff. I probably will at least do another live stream for the end of the year. Maybe another proper video as well. I don't know, as I say, I don't have a schedule. And then I guess we're into January and I genuinely don't know right now whether I'm going to do it this year or not. I probably end up doing it, I suspect. But if this is my last video of the year or certainly before the Christmas break, then I hope you enjoy the best that you can, any sort of festivities that you're undertaking. Keep safe, see you again soon. Take care of yourselves, see you later.