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One way to deconstruct sounds in a project is to audition a sound with the keyboard, then reset one parameter page (PAGE+CLEAR) then listen for the differences. You can flip back and forth by reloading the kit (NO+KIT, or parameter page PAGE+NO). This way you can compare the pages with their init values, then slowly dial in the values yourself to get a better understanding og exactly what they’re doing, one page at a time.

Yeah, replicating stuff like this is tedious, and is the reason I feel the A4 benefits more from planning ahead than the digi-boxes. To make this easier for myself, I often just stick to one kit and one or two patterns until I have a pretty much finished track, and only then make B-sections on new patterns and a new copy of the same kit. This also helps me prevent accidentally ruining patterns by forgetting to switch kits. Not ideal, but it’s the simplest way I know of.

Muting kicks with the FILL button works great. One disadvantage of this is that holding it down and turning knobs with the same hand is awkward. If you can dedicate an entire track to just play a kick, you can use a performance macro assigned to Amp volume or filter cutoff or Amp decay to mute the kick. What I like about this method is that your hand is free once you’ve muted the kicks, and you can perform using both hands, then reload the kit to unmute the kicks. Alternatively you could just mute the track normally, but then it won’t unmute when reloading the kit.

Not sure if you know already, but when you’re on the performance page, the trigs 1-6 will mute and unmute tracks 1-4 and the fx and CV tracks, respectively. One handed! Usually you have to press FUNC+TRACK to mute stuff, which unfortunately is a two-handed button combo.

Aside from that, I think you’ve listed out pretty much all the tricks I use and more =D

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