Nice.
Does the Tr-6s has the same pattern per instrument-track structure like the MC-101, where you can change pattern per instrument-track individually? Like Ableton-clips ish? Had a short stint with the MC101 a year ago, and I remember that very positively (and thought to recognize here in your recording).
No clips. But it does have more pattern memory
128 patterns and each has 8 variations. Plenty to work with, but a different scheme than clips.
Itās a scheme I wish Digitakt and Digitone had, as it is a good way to get the power of āKitsā without the headache some feel about managing kits or parts (OT). Anyway, I donāt want to derail the thread, so if you want to continue this discussion, just reply in the TR-6S thread.
Thanks, and again sounding good, look forward to more of the TR6s soundbites, thereās always something appealing to these kinds of small boxes.
70s Synth, 90s reverb.
Playing around with the A4 and Heat. I loaded up an old kit and made a 16 step bass and kick pattern, then played the lead synth live while tweaking stuff.
Serious stuff. Very nice!
Juipter XP, tenet soundtrack by accident
Matriarch + Blackbox drums hitting the SiX compressors hard
that second oneā¦ took me back to hazy campfires with friends in the 90sā¦
instant nostalgia gland throbber 
DFAM, Lyra, Acidbox and Quadraverb.
Inspired by the weirdness here I have been playing with the feedback osc in the A4 MKI. This is a couple passes with tons of internal modulation and locks doing things to the filters and the AM. Drums from the RYTM via the Landscape Stereofield in keeping with the feedback theme and a touch of Valhalla Room.
metal yet organic.
This sounds exactly like the sort of thing John Peel would have played. Fucking sorted man.
One of the most revelatory experiences of my life started with John Peel saying āand hereās a nice little track by Embalmer, from their recent record, āThere Was Blood Everywhereā, itās called āThe Necro Filing Cabinetāā
What an honour it must have been to have been played on his show.
I got a phone call from John Peel once, I was 15 years old, was supposed to be sitting a geography exam, but thought it was a better idea to stay at home. I had written a letter the radio show asking for the details about a certain record he played. And he called back, he didnt have the details, ā I just thought I would call for a chatā and so we did, just chatted about stuff.
What a total fucking legend. He was a huge influence on me as a teenager, and still probably my hero.
Absolutely.
I donāt think I missed a single one of his shows between about 1995 and 2003. It wasnāt just the fact that he played killer music you couldnāt hear anywhere else, it was the enthusiasm he showed for it. I remember the show when he first played āFlossieās Alarming Clockā by The Cuban Boys, he was so excited, like a kid whoād just won a competition.
I met him once at a festival he was DJing at in Rotherham organised by Pulp, about a year before he died, everyone was taking the piss out of Jarvis cos he had this massive fur coat on, but all John wanted to do was talk about what heād just seen Jamie Liddell doing and how mental it was DJing in a steel works.
This has a bit of everything (piano, Machinedrum, Matriarch, Subharmonicon, VST strings) but since it was all done today it probably falls under the current sounds category.