This can be faked by p-locking the slice that is being played. If you have 64 slices and the original track plays just slice 1 and the scene has slice 64 set, then you will get a variation of which sample slice is played depending on where the crossfader is set to. Using drum breaks and slicing them up will give that jungle feel.
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I know that, but that doesnât change where the trigger happens, just which slice it triggers
Yes, but this is why you use slices with irregular timings / silences - and then mix these slices in with the xfade scenes for your breakkur fix
easy enough to add some delay automation with the slice select to glitch out even further (and flange etc)
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You could break your 2 loops into 32 slices, get them in the same sample chain, then plock your first loop slices to get the first loop playing regularly.
Set a square LFO to do +32 on your slices, trig mode to constantly retrig the LFO, low speed so that itâs always on the +32âŚ
Then assign the LFO depth to you Scene !
Now if you add above ideas the loop wonât be recognized by its own mother.
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You can sort of fake exactly what youâre asking âŚ
for example if the pattern was a 16 step sequence (restriction for this workaround)
Say it was formed from a chain and the sequence was
a designed LFO could have the following shape
Custom LFO from TrX
another could have this profile (designed on another track
Custom LFO from TrY
the depths of both LFO profiles are targeted at an otherwise zeroed-off Amp Volume so assigning a scene to each LFO depth on that track using the Custom LFO of a couple of tracks allows different gating of the same pattern - keep in mind the VOL amount neednât be treated like a gate, it can be values between min and max for each step
Iâm sure you could also (perhaps simpler) use the LFO designer to target Slice within a chain, so the scene can select a different slice which dictates the âapparentâ pattern happening or not (some slices can be blank)- so again youâre using multiple custom LFO shapes within one track and the depth of LFO can be scene controlled to lift LFO1 and drop LFO2 or vice versa
Each approach is not without issue, and itâs uber-clunky, but it may at least get the ideas flowing about what is possible within one track - the LFO designer is limited to 16 steps (though they can be interpolated between steps) - itâs not something iâd elect to use, but itâs just food for thought
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+1 for the drawing and use of the LFO designer
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+1 too for the nice drawings and interesting LFO use,
but Avantronica, there may be a problem in your smiley sequence : one seems too happy for this dark industrial sound⌠or is it for contrast? 
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Thatâs an interesting idea, thanks for sharing!
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