Ok, the BR effect can be useful sometimes, but the SRR is so ridiculous. I wish it were replaced with a better overdrive/distortion effect.
How do y’all use them?
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I love em!
Just a tiny touch to add harmonics or noise!
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BRR witht the Amp Envelope can make a Snare much bigger.
SRR set to post filter on a Synth / Bass sound with the filter envelope to make vowel / vocal like sounds.
A tiny bit of SRR on kicks can make them LoFi but still huuuuge in a very pleasing way 
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I find that both BR and SRR work best on single cycle waveforms where they provide additional tonal variation not specifically recognisable as bit or sample rate reduction.
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Concur.
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I guess, the reason why you hate them is because it’s easy to overdo depth of both of these effects quickly.
A little bit of SRR (from 1 to 15-17) gives some barely noticeable lo-fi punch to drumloops.
Bigger SRR values can sound interesting on pads or fx sounds. Also it can give some near-FM harmonics on some specific values.
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SRR on hats gives interesting snare drum sounds, that you can beef up with some pitch or resonating filter envelope.
I like both BR and SRR as they had harmonics were filter removed some, so you can really mangle your sound and give it another nature.
Embrace noise!
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I’ve been using lfos to sweep or S/H SRR values, with some BRR and comb filter, to add noise/air/90s sparkle to pads made from the stock wavetables, tons of fun.
This sketch has a pad with a SRR LFO between like 10 and 20, pre-comb filter:
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On OT the trick for me is to use the settings on a trigless trig with a condition so it only comes in occasionally. Otherwise it gets old very quickly
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Really wish srr had keytracking, would make it more useful for single cycle waves. Currently I just resample a long held note with the srr on the sweet spot for that note.
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It’s not an effect I particularly enjoy either, at least not by itself – but I really like some effects that are more like DAC simulations. Specifically when they also emulate the anti-alias / reconstruction filters that old samplers had. It adds a whole other dimension to it for me, makes it a bit less “tacked on” a more a part of the sound as a whole.
Two great examples are D16’s Decimort and RX950 by Inphonik.
Now that of course doesn’t help with the Digitakt effects, but I find it a good source of inspiration for trying to achieve the same type of vibe by adding a carefully tuned lowpass filter with some resonance just at the imaging effect of the SRR for example. A little can go a long way.
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With the right tweaking in conjunction with a some decent filter mod, you can use SSR and BRR to get formant like sounds.
As a blanket effect, yeah cant stand it. But used via LFOs, trig less trigs, slide trigs (Im an OT user) conditions etc, its surprisingly useful.
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I can totally see where you are coming from.
But — as others have mentioned — a little goes a long way. Like a sprinkle of salt on a dish.
I personally think a touch of either works nicely on anything metallic (hats, cymbals esp), and on most other things I use it in combo with LPF (+LFOS) to rein it in a little.
YMMV
The other approach is to go all in and combine fluctuating high values of either with something like the Comb filter, and see what pops out!
Might just end up with a nasty noisy mess, but I think there is some gold to be mined in that space, too, depending on your aesthetic.
I recently started using BR w a short envelope to add some punchy transience and character to my kicks and hihats.
Leaving it on the whole sample throughout sounds meh, and gets sometimes even annoying.
Sometimes I also use it to make some samples sound more “overdriven” using BR.
BR is also amazing for changing a way a single cycle waveform sounds, and gets you the closest to having a synthesiser/wavetable that you can modulate the timbre of on the DT.
SRR can be fun. I found that you really need to go one by one w the values, some values work great with some samples, but not with others etc.
Ive used SRR w an lfo to add some nasty metal like digitalish goodnes to kicks and rumble, but its not a bread and butter sound.
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Since I started working with field recording cut ups and found sounds, I’ve found it really useful way to create an interesting bit of texture in the way sounds interact.
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Some things I do:
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Assign an “Once” LFO in a slope shape to either SRR or BRR (I tend to prefer BRR) to give a little bit of spice to the hit of a drum sound. Adjust speed for flavor but I go quick with it.
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Add a little bit of BRR and SRR (you can try to get the aliasing in tune with a melodic sample / note) then resample it. This will give a more authentic sound to the aliasing as you pitch a sample up and down as the aliasing will also change pitches. This is closer to what it sounds like on older gear like an SP-1200, rather than a static sound that the SRR and BRR normally produce on the Digitakt, which make it sound a bit more like a “filter” over the audio rather than the sample rate actually being reduced (even though it is).
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Generally speaking BRR is great for bass sounds or kicks or snares to beef them up. At the lowest bit rates we essentially get a square wave. I like using BRR the most on those aforementioned sounds. SRR is really great on anything as it can give higher pitched tones to Kicks which can help a kick stick out more. But it can also be good to smooth out hi hats, cymbals, or any other higher pitched sound.
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SRR and BRR can make for neat transitions. Resample a pattern. Put that resample into its own pattern where it’s the only sound playing and automate the SRR and BRR to close on the last few bars of the pattern before switching to the next pattern.
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Obviously explore but you shouldn’t feel like you need to use every tool on every sound on every project.
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Was just logging on to say a worse version of this! @OldmanChompski
I actually felt the same way early on but learned to like it a decent amount. I used it maybe a little too much on the last tape I did.
Think it comes down to musical aesthetics as well.
Besides all the awesome use cases above , I use one too make things fizzy and the other to sound gnarly.
The gnarly one is fun to make it seem like the loop is disintegrating before a transition.
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I’ll def. have to try out a bunch of these ideas!
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Yeah, some interesting suggestions, for sure 