it records in live fine for me on a basic level, so without more detail there’s no way of telling if your particular trick is bugged out !?
1 Like
That’s good to know, I’ll have to go back and retry.
This is awesome!
For clarity - do you mean take a sequence as SRC:SAMP by choosing different SRC:SAMP for each step? OR using an LFO to modulate SRC:SAMP / random LFO to select a new SAMP each trig?
Or do you mean to record the sequence into a sample of N steps using the sampler, and then hash it with Machine=GRID?
I get interesting results both ways, just curious what you meant exactly. Thanks man!
1 Like
Just a quick note on how I’m settling to using the DT2. I’ve heard people say that they’re so accustomed to using 8 tracks and are now unsure what to do with the 16 
I’m thinking about the 16 tracks like columns or sections. And my banks align with those columns and sections. This below layout helps me stay organized from project to project as well as offers me the opportunity to build countermelodies and that sort of thing.
Example:
- Tracks 1 and 9 are my kick and bass. Kick on track 1 and bass on track 9
- Tracks 2, 3, 10, and 11 are my high-end percussion like hats, shakers, claps, and rides
- Tracks 4 and 12 are my mid to low percussion elements
- Tracks 5 and 13 are my synth hooks - one track is the rhythm and the other is a call and response hook
- Tracks 6 and 14 are my vocals
- Tracks 7, 8, 15 and 16 are my sound FXs, foley, weird noises, strings, etc
I import my samples to the appropriate banks that line up with the track columns above -
- Bank A: Kicks and basses
- Bank B and C: Hats, claps, rides, shakers
- Bank D: Percussion
- Bank E: Synth shots/loops
- Bank E: Vocal loops, stabs, hooks, adlibs
- Bank F - H: FX, foley, noises, glitches, things…
Just thought I’d share if anyone was looking for a starting point to organize their stuff. I’m also open to refinements to the approach.
I make house and techno, btw
Thanks!
27 Likes
Nice, simplifying, approach. Not sure I’d divvy things up into the exact same 8, but the approach of lining up the banks of samples with pairs of tracks is a great idea.
4 Likes
Here’s an idea I started this morning with this idea above. All one shots organized the way I outlined. I’m in to it
11 Likes
i wonder how these wavetables avoid popping, because no matter what i do, the wavetables (or even longer sample chains that each “slice” is seamlessly looping) i create myself have pops 
i’ll experiment with this soon but i had an extra idea to do this while still saving the 3rd LFO for sound design: using midi loopback and a MIDI track (e.g: 15), utilizing its LFO(s) for the “fade out” for multiple tracks. One LFO can fade out the level, and another one perhaps increase/decrease base or width of the base-width filter for a fancier transition
If you’ve got loopback or a midi controller another way to go is the sound macros (MW/AT/BC in setup menu), every “fill” track can turn on , filter in, whatever, up to 4 parameters, and every normal track can fade out, all with 1 control, magic.
2 Likes
I’ve had great results in grid mode with the factory wavetables. I looked and they are 64-slice tables, but they waves suggest they’re not cutting at zero crossings in slice mode. The Echo Soundworks wavetables I have work about half the time, but are of various lengths—breaking up a couple with DigiChain helped a lot, but I haven’t had time to get a sense of what works vs what doesn’t and why.
The factory wavetables do sound great to me, and the slewed random for LFOs is nice for sound design. I was just stacking some to make pads:
A couple more examples, lead and bass from factory tables:
And a vocal/formant wavetable from Echo sound works:
10 Likes
Where do you direct the lfos to in order to achieve these results?
Slice select in grid machine, with play mode in the source page set to repeat.
3 Likes
I meant to load a sample chain as SRC:SMPL while using GRID Machine.
Do you know the following trick?
Static slice lock assignment to the trigs of a “GRID machine” track
When the GRID machine is used, in sequencer grid mode (REC button lit) you can hit YES to quickly assign slice locks, either linearly or randomly.
3 Likes
Oh yes, this one needs some highlights!
Slew random LFO
When you choose WAVE=RAND for your LFO, encoder F no more controls Start Phase (SPH) but a SLEW parameter (already available on OG DT, I believe).
What it does is smoothing transitions between random values.
If you choose DEST=SRC:TUNE you’ll have a portamento.
I think this destination is a good one to get the sense of it and adjust parameters such as SPD, MULT and SLEW.
The bigger the SLEW value, the longer the transition time.
As @Humanprogram underlined it, in the case of a looped Wavetable sample chain with a random LFO on SRC:SLICE, SLEW parameter offers to smoothly transition from a wave to another 
Load Factory > 5-Oscillators > Wavetables > WT Dxyz for instance
Set Machine to GRID
In SRC menu, set GRID=64, SLICE=32, PLAY=FWD.L
Set AMP:REL to max.
In LFO menu, set WAVE=RAND, SLEW=127, MODE=FREE, DEP=32, DEST=SRC:SLICE, MULT=BPM 1 and SPD=8.
Drone time!
16 Likes
Just checked and it seems, no.
1 Like
My bad, Random LFO Slew parameter was introduced with last AR firmware update it seems.
4 Likes
SETTINGS > PERSONALIZE > Remember subpage
As @Python underlined it, go to SETTINGS > PERSONALIZE to find the “Remember subpage” option.
Activate it if you want the DT2 to memorize which subpage of a menu you’ve reached earlier.
Personally, I have always this ON.
5 Likes
I feel like there’s gotta be a lot of interesting stereo things.
Could be fun to plug two mono devices into left and right, record a sample with two different instruments on each side, and then LFO pan on the track to make a weird spatial sort of thing. Transition slow between left and right but also synth and guitar or something.
Or you could upload a sample with different wave tables on each track, use grid to bounce between 64 iterations and pan to add another 64.
1 Like
Comb filter as a Flanger FX for Hihats
I use very slow settings of the Comb Filter to emulate a Flanging, in conjunction with delay and Reverb it sounds realy great on all kind of Hihats and cymbals. To get a better result i use also the other filter to cut all low freq. on the hh then it gets this typical 90ies Techno flanger hihats. i use a lot of feedback, Try dif. Feedback settings to nail the flanging fx.
Hope you like this .
9 Likes
Not a new trick for DT 2, I guess, but since I didn’t have the OG I have to mention this (to me) mindblowing feature: You can connect the USB to ipad (usb-c) and then have both midi control of IOS synths AND receivie audio into the DT. With one cable!
Background for those interested: As the DT2 isn’t polyphonic (except for sending midi) I’ve been scratching my head trying to find a compact and versatile polyphonic synth to pair with it when I’m being mobile. I assumed I would have to connect an extra power supply to the external synth, connect midi and audio cables between synth and DT2. That would mean a messy 3(4) extra cables (power/midi/stereo). I thought about buying a used digitone (getting dated), Op-1 (f**king expensive), Micromonsta or waiting to see if something new is released at Superbooth.
…but then I stumbled upon a youtube video of someone connecting the DT1 with an ipad, which peaked my interest. So I pulled out my ipad mini, connected it to the DT2 and it worked more or less right off the bat. So wow, that saved me a lot of time and money. Now I can make the occasional polyphonic pads/stabs/chords etc on the go with a minimum of hassle.
Any tips on a great IOS synth? I’m using pianoteq for pianos/EPs, which is awesome, but looking for something more synthy with best possible sound quality.
13 Likes