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?
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.
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.
Thanks man this will bring live Performance a step ahead awesome
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.
Clever, simple (once it is pointed out) and easy to remember.
I will definitely be using this trick. 
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.
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.
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.
That makes sense, I’m primarily working with the DN or supplementing lightly with another synth.
Just discovered an interesting trick with your ratio offset values. The best way to hear this effect is to start with a new patch to create sounds with and set the algorithm to 4 because it will exaggerate this effect. May work with other algorithms. Adjusting the C value for example, ALL you do is very, very gently adjust the knob until you see the “ratio C offset” pop-down text and you should hear a very slow detuning against the other operators. This is an even slower effect than just setting it to .001 which means that between each value there is actually a hidden, much more fine tuned value you can set your offsets to. This only seems to work on positive values, not negative ones. For example there is a much longer delay between 0.000 and 0.001 than there is between 0.000 and -0.001 when gently adjusting your knob.
This can be annoying however, because you may adjust your offsets and decide to set them back to 0 manually, however there is a chance you’re actually setting a value between 0 and .001 which may produce this effect when its not desired. If you ever set your offsets back to 0, be sure to use the function button to default the offset to exactly zero. I wonder if @Ess could eventually update the pop-down notification to show the fine-tuned long value when making these tiny, micro adjustments.
I am going to experiment with this functionality in an attempt to build very slow evolving pads that you couldn’t normally get with an offset value of .001 and see what happens. Really cool little trick anyways.
Really enjoying using the Conditional Trig “1st” false (the one with the line on top) for pattern transitions. Therefore when your pattern goes from A -> B , you can have Conditional Trigs on any sound now on pattern B so for the first 4 measures they’re muted and will unmute when it completes the loop. Frees you from having to mute / unmute manually.
I also did this really glitchy / arpeggiator patch by doing this…
- Track 1 was a 1/16th ARP enabled patch.
- Track 2 was pad sound, but I imagine anything will work.
Had track 1 playing track 2 at same time through voice menu. Now depending on how you have voices allocated, when you start playing the Arp patch, you’ll have a really cool rhythmic patch with tons of voice stealing going on. The voice steal makes it great. Add some movement through lfos and other means and you’ll have some pretty busy stuff going on. Especially with higher tempos.
Sweet !
Wow ! 
Thank’s a lot to share this usefull tips.
Actually you do not have to be in multimap mode if you force range on a target track (not auto). You can then use midi tracks to loopback on the multimap channel.