Func + (delay/reverb) + clear to reset (delay/reverb) to default
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probably more of a general tip.
iāve been dumping long acid lines into my DT from troublemaker on ios , and their other apps.(theyre very good!!)
Iāve found that if i double the time on them in audacity , then play them -12 , they sound the same.
i also tried quadrupling them (i think it was) to play them -24 and they still sounded very good , it just makes the waveform a little mushy for doing accurate start points.
no big shock with this , i was just very surprised how great they still sounded.
i havent tried resampling them in DT yet , but i did grab some loops and mangle them underneath the main one , sounded great tooā¦ just played the tempo at double , pitched everything up , resampled it , played bak at -12
job done.
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Humanizing Closed Hi-Hats, Timing Fluctuation, Organic Feel
Use the LFO with a random waveform to modulate the sample start point. The sample is then sometimes played from the very beginning and sometimes from a point close to the beginning (adjust the depth to taste). That introduces a lot of natural sounding variation into the sample each time it is played. No need for P-Locks and you can even play it live with the variation.
Here are some sample settings for the LFO page (just as a guideline):
- SPD 48.00
- MULT 32
- FADE 0
- DEST SAMP:Start
- WAVE Random
- SPH 0
- MODE Hold
- DEP 5.08
Set some % trig conditions to simulate a drunken drummer 
(Thanks @VanillaSun)
You can also use this technique to simulate timing fluctuation, if you use samples that have a little bit of silence before the drumhit. (Thanks @tsutek)
If you need the LFO for something else, just live record different start points/velocities/amp/delay send/overdrive/attack etc values. Of course you lose the randomness but still you get a more organic sound. (Thanks @Hans_Olo)
If you want to live record some of this and still have some āorganic feelā, and have a non-syncopated hat track, you can offset your track length and remove a few steps. Thatāll put the live record variations at different points in your sequence as your playback loops. (Thanks @mr_bernard)
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want an easy way to snap to specific start values
Iām making a midi designer template which basically sets the value on CC 20 (sample start length) to increments of 5.
unfortunately holding the step and sending the midi cc doesnt actually lock it , i still have to press the button , but itāll help avoid the tiny tweaking to get the value.
could work on any parameter you want to set which is annoying at the moment.
i couldnt figure out a way to get the exact values i wanted using a slider.
1st evening of using midi designer , seems quite good.
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Good tip this.
This is a great way to drastically reduce sample size (hello Volca Sample). Youāll lose frequencies obviously, so itās gonna make things more lo-fi (the more you pitch up before loading into the Digitakt the more frequencies youāre gonna lose). Generally works better on drums & drumloops, where a bit of extra crunch might even make it sound better, and other material where you donāt mind losing a bit of freqsš
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I found that out last night - if you have just recorded an audio sample into the Digitakt and you press FUNC + YES to audition it, it wonāt play back.
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any way to get rid of the liāl granular clicks when doing lfo pseudo timestreching?
Iāve tried playing round with the start n length, envelopes, n lfo speed. no dice.
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Iām sure you tried adding a pinch of attack on the amp page but that usually works for me.
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yep. I assume a combo of startpoint, length n attack is the way to go but i cant get it to clear up all clicks.
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I have posted a tip here: https://www.elektronauts.com/t/turning-a-daw-track-into-a-digitakt-live-performance-tutorial-how-to/42056?u=olaf_wolkenhauer
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Frenzies and Darenagerās loop tips are really helpful. An addition I have come up with is make a dummy track as your slice palette. Do the Darenager trick but plock each slice to a subsequent step (1,2,3ā¦). You could also store different plocked loop lengths of the same start trigs on adjacent pages of your palette. Then you can copy a trig and go back and paste it where you want.
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Just found a fairly obvious shortcut, but I didnāt know it until just now:
When you are in grid recording mode, you canāt get to temporary mute mode by holding func. But when you first hold [TRK] and then press [FUNC] it works 
Iāve added it to the shortcut list!
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tip for timestretchy thing
set lfo speed to 1 , and use the multiplyer as a way to change the speed of the playback as its easier to speed it up x1,x2,x4
depending on the speed you may need to retrig the lfo on different steps.
ive got some nice results doing timestretch cheatsā¦
use different retrig amounts on different blocks of trigs (say step 17 to 31)
blank a few trigs or set conditions on them with the odd delay / reverb
use pitch changes on blocks of steps
set start points on specific steps to where hits occur in the sample and itāll get more jitter.
avoid using retrig on the lfo retrig step , as itāll sound a little different to everything else , youāll be able to tell where it is as it retrigs the lfo on each note retrig .(confused ?)
dont retrig the trig or noteless trig , try to conditionally not trig the triggerless trigs while not doing what you should do.
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i havent tried this yet but.
do a trk:ALL on the filter , HP , bring it quite low to remove the bass on the same steps as the bass drum kick sound.
then remove it on the bass drum track.
it might sound like sidechain as you remove the bass from all tracks except bass drum on those steps.
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some good tips there I hadnāt thought of, being more interactive with it per step with the trigless trigs etc. and turning off lfo re-trig, I always forget about that. Iāll defo be trying out these. thanks re5et
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I have just recently got a Digitakt and am learning more each day!
Another hi-hat trick that is super simple is to put down a closed hat sample (I put it on steps 3,7,11 and 15) and then add some delay to the track. Very quick way of getting extra movement to the hi-hats. Really looking forward to using this machine more!
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Even better, parameter lock the delay send level differently to individual steps for more variation.
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Weird nice delay.
Setup delay with usual values ( time 24 , ping pong on , width 64 , fdbk 100 )
Turn volume of delay effect to zero
Send delay to reverb full
Youāll get a nice diffused delay coming through via the reverb if you send a sound into delay. Itās different to the normal effect either delay or reverb might give.
I usually also setup delay for higher frequencies and reverb lower , with a little overlap.
It helps separate the fx in the mixā¦
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How come this sticky topic isnāt pinned to top? Would be nice if could, because a lot of good tips are being made in separate topics now
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