True, I measured the effect Trig Velocity while keeping everything else constant. I’ll map out it’s effect over different ranges… “for science” (and 'cause I’m an OCD nerd!)
So, Track Level comes after the filter? Hmmmm… I couldn’d find a setting to make that clear (like the 20/100 experiment I did for Overdrive)… I’ll keep hunting!
Track Level turned down will silence the track completely. 
Yup. Spent lots of time with that before I started. It doesn’t really tell you where the track level is applied, nor what the effect of trig velocity is. Plus, I’m to much of an engineer not to want to know the relationship between 0…127 and db… Hence my investigations!
intresting… the amp is before the filter
I measured it out. Trig Velocity has the same effect no matter what the other gain settings. That is: It is effectively an independent gain stage at the start, just with narrower db range mapped onto 1 to 127 than the other three.
I was finally able to pull out the clear difference between driving the filter and then attenuating with Track Level, vs. the opposite. Alas, since you can’t plock Track Level, you can’t make use of this feature much. (And it is a somewhat involved experiment using multiple tracks.)
I’ve updated the report above.
Thank You mzero.
very valuable !
I’m confused on what the level, volume, and sample level controls on the DT actually do. The manual says:
I’m not sure why I would adjust one over the other. I usually just keep the level and sample level at 100 and adjust the volume to suit. Maybe someone can clear this up for me. Thanks.
Level = mixer channel
The other two are somewhat paired. The sample is the lowest of the level settings and the volume is sound which contains a sample. Different settings are made for gain staging which allowing you to get an overall uniform level.
If you are only using 1 sample per track and not doing any sample flipping, it doesn’t really matter what one you adjust. The end result will always be the same.
When you start getting into flipping to different samples/sounds on the same track, you need to be careful that the volume of each one is similar so the volume doesn’t jump over the place.
Sample flip - adjust at the sample level to match.
Sound flip - adjust at volume of each sound to match.
Mixer level would be best suited for mix/performance.
I haven’t done tests, but it also seems that the level in the sample engine would also change the input gain of the overdrive. It’s not analog, but still should lend to different output.
Also, I try to leave SRC LEV and AMP VOL at 100 (that also means dropping AMP VOL from 110 to 100) using the Track Level as output gain. I also try to leave the Master at around 75%.
If I need more gain, I usually just nudge the master a bit. This gives plenty of headroom and really gives the FX plenty of space to shine.
Just my approach to keep things from going “all knobs up.”
Here’s some useful information:
Thanks folks, it’s beginning to soak in.
I believe they are also there to offset bit reduction and overdrive. You have access to the distorting parameter and a volume parameter on the same page so you can distort a sound live whilst keeping control of the volume.
So, just like overdrive and amplitude volume are on the same page, bit reduction and sample volume are on the same page to provide control of the volume when using those parameters.
Yup, that’s how I end up using them most frequently
Now I’m curious how the Pattern Volume in the Compressor relates to this.
My guess is that it’s at the very end after track volume
Best regards,
Gino
It should say in the manual!
…and it can be controlled by CC119.
