Good add. With a little pre-planning in the sound pool organization, the MULTI MAP setup is indeed easier. My longer method for assigning ranges is more appropriate when the drums in the sound pool are not in any particular order or proximity to one another.
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Thank you very much for the tips! I’ve been looking for this kind of thing for making beats on the Digitone. Can’t wait to try it out!
Not sure if this is common knowledge, but the Digitone doesn’t have the retrigger feature, but you can fake this with arp.
From what I’ve tried, the arp retrigger trick only works on the track’s sound itself, and not the trigs where the sound has been p-locked to a different sound. That means that if you set one one track’s sound to a hihat, and enable arp with a speed of 1/32, the p-lock kicks and snares to taste, you can then enable and disable arp to make the hihats ‘retrigger’, without affecting anything else.
As an added bonus, if there are certain hihats you don’t want to retrigger, you can p-lock those trigs to a different sound in the pool, which can be the exact same sound as the one on the track itself.
I’ve only had the Digitone for a few days so I’m just really excited about it. My bad if this is common knowledge 
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I’ve got a ton of good patches already filled up in my tracks that I’d want to add to the pool, assuming the patches are minimally changed from what’s saved I don’t want to go to every pattern and write them down, THEN add from the sound manager.
There has to be a better workflow, right?
I just had a neat idea for creating a pseudo performance knob function for the digitone using only the digitone itself and midi loop back. Haven’t tried it yet, but it should theoretically be possible.
Load or create a new sound on track 1 and configure some settings for aftertouch, mod wheel, pitch bend and breath control in the setup menu. Program a simple sequence or let the arp run. Now use midi loop back and set the four knobs up to the respective midi cc values for aftertouch, mod wheel, pitch bend and breath control on midi track 1. Enjoy real time control for 16 parameters from a single page, which is of course also recordable and mutable! I think the pitch bend range has to be set to 0 though.
This thread is fairly new, but maybe someone has already tried this before? Any thoughts on this?
I’ll report back as soon as I get around to try it.
Edit: tried it and it works like a charm. Just be sure to disable clock send and receive in the midi configuration. I also disabled note receive, just to be on the safe side.
If you’re up for some proper madness you can set up sounds and sequences on the other synth tracks and set them all to receive on midi channel 1. Now use midi track 1 to send pitch bend, mod wheel, aftertouch and breath control cc messages to all synth tracks at the same time. This almost brings the digitone into octatrack scene territory, with the exception that you have 4 scenes which can be combined or stacked!
The cc values are reset if you reload the pattern, but they only affect the sound if you touch the knobs again. This behavior can maybe be abused to maintain changes in sound across chained patterns.
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Thank you for this !
I have got a litttle problem and cant really find my mistake. I did everything as described and i can play nice polyphone fingerdrums on the Digitone. As soon as i record my drumming (in the Multi Map Menu), i can see that i recorded more than one note , but i only hear one drumsound at the time.
any advice ?
I’ve had some time to play around with the midi loop back trick I introduced a few posts ago. It’s probably the coolest thing I’ve discovered on the DN so far!
In addition to using midi track 1 to control 64 completely different parameters of the 4 synth tracks via pitch bend, mod wheel, after touch and breath control knobs simultaneously, you can also set the midi LFO destination to one of those parameters. So one midi LFO can control up 16 parameters of the 4 synth tracks at the same time! Keep in mind that there are 3 other midi tracks that can be set to the same channel to control the remaining 3 destinations.
Holy fork!
Think about that for a sec!
What this allows is to create patterns that slowly morph from one mood to a completely different one over the course of a few cycles. Or set the LFOs to a faster rate and let the pattern morph rhythmically in sync with the tempo. Don’t even get me started on p-locking different LFO rates, multipliers, shapes or depths, which again can be muted and unmuted. You can also copy the whole pattern and change how pitch bend, after touch, mod wheel and breath control alter the sounds of the 4 synth tracks to completely change the whole thing up.
I don’t know if I’m overreacting by thinking that’s the most amazing thing since sliced bread, or if you have to hear an example to realize the potential this trick unlocks. Unfortunately, I’ll be pretty busy with work these coming weeks but I’m thinking this could be worth to do a video tutorial on (never did that before). Thoughts?
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Please do mate
I’d sure wait for that.
Was thinking about experimenting myself but a shaky guy wearing a foil hat told me loopback would irreversibly warp the fabric of the space-time continuum as we know it.
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You said you wouldn’t say anything about it 
Oh nice, I didn’t know there was another thread for DN tricks. Now this one seems a bit redundant 
I’d like to hear the result.of this experiment you propose! Please do.
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Thanks man this will bring live Performance a step ahead awesome
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Tip for longer phrases with higher resolutions.
So this morning I wanted to record a bassline but it needed to be 128 steps long, however reducing the track scale to 1/2 was not providing a high enough resolution to have the notes where I needed them. Thinking of solutions, I did this…
- Record 1st half of sequence on track 1 and set all notes to trig condition 1/2 (64 step pattern)
- Record 2nd half of sequence on track 2 and set all notes to trig condition 2/2 (64 step pattern)
The downside is you are going to sacrifice a synth track or midi track to gain the extra steps and retain the high resolution. This idea was one of those “aha moments” in that it was so simple, but overlooked for so long.
Bonus - you can add some random notes on track 1 with a trig condition 3/4 and on track 2 with trig condition 4/4. Now you have quite the varied sequence.
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Clever, simple (once it is pointed out) and easy to remember.
I will definitely be using this trick. 
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Are you the type of person that loves recording jams and muting / un-muting on the fly? Do you sometimes miss that perfect mute and lose sleep over it? Are you limiting yourself to just 1 or 2 patterns for your jam? Check it out…
Just copy the main pattern you’re working with and strip back parts among many more patterns. Now you can just worry about pattern changes and not muting / un-muting, this leaves the ability to tweak knobs throughout your jam (free up your hands). Add some conditional trigs throughout and switch up some notes among patterns for more variation.
This isn’t a new idea, it’s been discussed a bit throughout many forums. Wanted to discuss here in case anybody has missed this idea.
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I’ve been doing this but If you’re messing with knobs and parameters, they’ll reset when the pattern changes unless I’m missing something.
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Yes, you are correct. The parameters will revert back to what the next pattern is programmed with. This can actually be good for transitions, such as opening up a filter before the next pattern, so it acts as a riser and it reverts back to a closed filter on the next pattern. On the other hand, yes it could be to the song’s detriment depending on what you’re doing.
I suppose I don’t notice these changes as much due to using external gear sequenced from the DN. My external synths parameters won’t reset, unless I’m using midi cc.
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That makes sense, I’m primarily working with the DN or supplementing lightly with another synth.
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