Turned the corner last night on the A4. It took a bit longer for me to fall into a writing workflow that works than it did with Rytm and MonoMachine, both of which were practically effortless.
So, now that I’ve tasted the Kool-Aid, I’d like to discuss Performance mode parameters.
What are your favorite combinations (multiple parameters on one track, assigned to one encoder)?
Are they subtle? Extreme? Good for builds/tension? Heady variation?
Let’s hear em!
Awesome question, can’t wait to hear the answers. Really need some inspiration here, as too many options really boggle my mind.
Wow ! There’s so many …
One I really like is changing the delay-rate - this in Combination with changing LFO -rates and manipulation of the release-settings of the ENV’s is Fuckin-Hell !!!
Sometimes I’ll start with assigning all encoders to thesame track and 1 of them to the amp - as changing sounds can change the volume -if not needed in the end I’ll free it up.
I’m addicted to LFO’s so I use the perform. a lot to change rate’s - it becomes flipping when LFO 2 is allready assigned to the LFO 1 rate.
Setting this up carefully can drive the rates from allmost 0 to the absolute maximum speed.
That’s the ones I think of now- I’ll be posting more ideas later… 
Very nice, vos.
One I’ve enjoyed lately is labeled as “drive”
I’ll add negative overdrive on a voice or two while subtracting amp volume to compensate, I’ll also give a light boost to lpf resonance. If there is a free paramater on the encoder left, I’ll add sync amount if there is OSC sync in play,
This gets used as a manual “swell” of sorts. Another way to add small tonal variation to repetitive synth lines. It works particularly well if I have a slow LFO set to subtlety change a couple of those paramaters, or a high pass frequency sweep.
I hope many ideas will follow here- it’s like a second manual. 
Here’s a technique I love:
I make a bunch of drum sounds that utilize different parts of the synth to generate their tone e.g. one might use osc 1, one may use osc 2, one may use filter 1 as a resonator, then one using the noise source. I add all these to the pool and then write a beat with all of them on a single track using sound locks. I then go into the perf menu an set up a single knob to modulate one parameter of each of those sources simultaneously. Typically i’ll just turn the perf macro all the way right and tweak the mod amounts until I get to a completely different (but good sounding) kit. Once i get to that point everything across the range of the knob usually sounds good which makes it an excellent way of quickly generating a bunch of different drum kits. Then make a second one and expand the dimension of your drum universe even further! Try it out. It’s fun to explore the parameter space of a whole drum kit and hone in on the sweet spots.
i find setting them up awkward and where OB will help me tremendously
some great ideas already
[quote=“” clunky""]
i find setting them up awkward and where OB will help me tremendously
some great ideas already
[/quote]
I definitely find the setup more awkward than Rytm’s Perf and Scene modes. But, am always pleased with the results when I make myself assign every encoder (or pad) to my own unique assignments. Best of all, Performance mode has allowed me more variations on fewer patterns, so I end up with more “tunes” in a single Project.
Currently I use 4 patterns per tune, so 32 tunes in a single project.
Without Performance mode, I think I’d only be able to get 8-12 tunes in a project.
Of course, I’m making techno, and YMMV.
Smart! I’ll give this a try.
any new input on this?
when I set them, I set the ‘perf level’ to max and ‘morph’ sounds in the ‘perf setup’ to a new sound.
Then I leave ‘perf setup’ and go to ‘perf mode’ and tweak the perf levels from ‘no’ to ‘full’ and play with it…
Next to this, I simply have ‘send fx’ and on the right side of the perf. controls, I have my FX like delay fb, rev dec, rev grain… etc…
Today I used filter depth, f1+f2, filter freq, overdrive etc…
also amp return, levels…
Great thread.
Here’s a very, very simple technique for changing the mood/vibe of a track in a very subtle but cool way:
Set one a performance knob to tune down the oscillator(s) you’re using by 1. That’s it, although you can also combine it with other parameters of course. The idea is to detune the whole track, not the oscillators from each other so OSC1 and 2 would need to both go down by 1 or more etc.
On this track you can here it at 1.25 where it’s the performance knob is introducing delay at the same time as the detune.
www.soundcloud.com/iamurgento/soundtrack-2
Hope this makes sense.
Someone here knows how to reproduce the ableton’s effect “fade to grey”?
Here are just some quick ones that work very nice (also with rytm).
Filter Makro:
Positive Depth for:
Filter Envelope Depth
Negative Depth for
Filter Frequency
Filter Decay
Filter Release
So when you turn the macro up, the filter frequency goes down, but the Envelope depth goes up and the decay and release get shorter, so you get very short “birp” sounds when you turn the makro on. Via Live and Overbridge you can marko this for all instruments at once for a drum kit
Also nice is to lower the Amp Decay and Relaese (or the Gate in A4) of all instruments via one makro, so all the sounds get into staccatto mode, when you turn the makro
On rytm you can get a nice reverse effect when you switch the start and end of a sample via the macro, just give the sample start a positive depth and the end a negative depth and combine this with a rising attack time of the amp.
greetings,
Goat
I Haven’t spent much time with the macros yet, but I like:
Reverb send for 1 track (useful when you have lots of sound locks on it, as I do very often for percussive stuff. The macro will add reverb to all sounds, even the locked ones)
increase decay or release for one track (on percussive sounds) -> denser sound
increase attack on a track -> scarcer sound
a knob that will do a burst of a delay cloud:
I use
TrX DEL send;
FX Track Feedback;
DEL to REV send level (perhaps);
DEL VOL
I set this one in a way that with a clock+rotate of the encoder (to about 12 o clock) I can generate some nice delay “artefacts” ping ponging around
ive been playing with polyphony recently. each track having the same sound then using a performance to change the tuning of each oscillator to a similar but different key. almost sounds like the THX sound sometimes