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).
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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.
It’s a scheme I wish Digitakt and Digitone had, as it is a good way to get the power of “Kits” without the headache some feel about managing kits or parts (OT). Anyway, I don’t want to derail the thread, so if you want to continue this discussion, just reply in the TR-6S thread.
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Thanks, and again sounding good, look forward to more of the TR6s soundbites, there’s always something appealing to these kinds of small boxes.
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Eaves
1322
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.
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Tchu
1323
Serious stuff. Very nice!
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dw0x001
1324
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that second one… took me back to hazy campfires with friends in the 90s…
instant nostalgia gland throbber 
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Fin25
1330
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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.
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This sounds exactly like the sort of thing John Peel would have played. Fucking sorted man.
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Fin25
1334
One of the most revelatory experiences of my life started with John Peel saying “and here’s a nice little track by Embalmer, from their recent record, ‘There Was Blood Everywhere’, it’s called ‘The Necro Filing Cabinet’”
What an honour it must have been to have been played on his show.
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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, ’ I just thought I would call for a chat’ 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.
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Fin25
1336
Absolutely.
I don’t think I missed a single one of his shows between about 1995 and 2003. It wasn’t just the fact that he played killer music you couldn’t hear anywhere else, it was the enthusiasm he showed for it. I remember the show when he first played “Flossie’s Alarming Clock” by The Cuban Boys, he was so excited, like a kid who’d 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 he’d just seen Jamie Liddell doing and how mental it was DJing in a steel works.
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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.
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