MD Magic

Elektron Gear Machinedrum
#21

^ I asked about this the other day, sorta, trying to figure out RAM to ROM copy (record using a RAM Recorder, go to the sample manager and scroll to the bottom where the RAM samples are stored, copy and paste into ROM), and it opens up a lot of territory, especially if you keep tweaking and resampling (p-locking the CTRL-AL is especially cool here…try muting and unmuting the track while recording). Try this: make a loop, set up a Rec and Play machine, trig the first trig on the Rec, then hit play and resample the loop. Now place some trigs and locks on the Play machine, maybe with a CTRL-AL and an additional snare or hat loop, and resample that loop into another Rec. machine. Save the new loop as a ROM sample and sequence it as a new ROM machine, making new patterns as you go.

If anyone has tips on getting good levels for resampling internally, I’m all ears. Far too easy to turn into ear-splitting feedback, even if you mute the Play machines while recording.

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#22

Using +parameter to effect all 16 tracks at once. Then bringing it all back home with +Classic/Extended=Reload Kit.

Also, the using the R&W Minicommand to control the MD delay. Heck, I think I did a video of that.

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#23

3 variations using funtion+Classic and copy-paste-undo paste(pattern)
When done in the correct order you can keep cycling through 3 variations editing parameters on each.

The copy-paste-undo paste is nice because you can introduce trig variations in addition to sound parameter variations.

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#24

This thread is awesome.

TO add something:

When you use p locks to control external synths, you can glide/slide patch changing. Sometimes it sounds really awesome, sometimes kind of “meh.” It’s also worth mentioning that you can p lock different cc values, so techincally you can get more than 6 cc’s per track. Though it is worth mentioning that on the voyager, values dont reset unless you have the kit saved with the correct value for the patch in the MD, or you have to have the next trigger p locked at the correct vlaue. THis is a good and a bad thing, as you can get some hands free mod’ing(like having the AMP release turned up for x steps) but annoying if you do not do the extra work. IDK if its voyager specific yet though I assume it’s the MD. Cant wait to try my poly evolver rack with this thing.

I have been using the MD as the center or my "“battlestation” for soemtime now. Between external control and all the sweet tricks you can do with it, kind of difficult to find anything better. I was goig to think abotu a cirklon but this thing does the trick(and a bti cheaper too).

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#25

See page 111 in the PDF (i. e. A-15 in the printed version).

http://www.elektron.se/sites/default/files/products/files/machinedrum_manual_OS1.63.pdf

#26

Maybe it´s a bit off topic to recommend other hardware in this thread, and yes it´s a quite well known “filter” (sorry!), but runnig the MD through a Sherman Filterbank can really add some crazy (!!!) experiMENTAL/slightly out of control, well, analog dirt* and breath new life into your relationship with the MD and hey, why not resample the Filterbank output into RAM/ROM?!

*Be careful with your ears and monitors! :wink:

sherman.be/index.php/products

1 Like
#27

dude the sherman is crazy! I wish i never sold mine :confused:

#28

A couple of tricks I (mistakenly) posted in another thread:

Parallell effects

  • Send a bunch of MD tracks through an individual out
  • Re-route this output into a physical input
  • Route the input to a whole bunch of INP tracks (at least 3)
  • Now you have parallell processing (filtering, ring mod, whatever) of a group of internal MD sounds
  • Apply LFOs, p-locks etc for mayhem

This can of course be applied to external sounds as well.

UW pseudo time stretch trick

  • Set the sample to retrig (short retrig time, infinite retrigs)
  • Assign a synced rising linear ramp LFO to Start point.

The LFO i snow moving the sample playback start point in a linear fashion, which means the LFO speed determines the time it takes to play through the sample from start to end.
The retrig time defines the “coarseness”.
The playback time is independent of sample length - the pitch parameter functions as a pitch shifter.

3 Likes
#29

swing + slide???
can someone elaborate on this magic
also how is everyone using swing in general on the md, any new tips

I have strange one for you all: send a long long wav file to the MDUW via midi while the md is playing sequence, the sequencer will jerk and lock up,slow down, adding some strange swing variations
it’s funky !!

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#30

wow! pretty cool stuff you made there!

#31

wow! pretty cool stuff you made there![/quote]
Not my work in this video, but it´s the actual video that made me by one for myself! Though the latest “track” (live rec.) on my SoundCloud featuers the SFB2 heavily. :slight_smile:

#32

#1
Use the internal clock, do not sync to midi clock
Two reasons:
first the MD only has 5 swing settings when synced to midi clock (the display will go through all the percentages but the swing only changes for 5 values including 50%)
second the MD clock has got the funk
Some call it jitter, but without it grooves don’t lock as tight
Working swing with Accent it key. I’m still finding my way mastering accent levels. The MD accent has much more of an effect than just a volume boost.

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#33

interesting…

I know straight from the source that Accent on the A4 is also more involved than just boosting volume & filter envelope amt.
but I haven’t really used it much at all yet.

(but I don’t buy the jitter-equals-funk part… it’s supposed to be plain accurate… I don’t think the funk in the MD comes from timing fluctuations)

loving the tip for creating groove by making the sequencer choke on an SDS dump :slight_smile:

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#34

That’s the one thing that bugs me about the using the MD with a DAW. Is there a reason why it only works at 5 values? Naturally, those values aren’t the ones that work best musically either.

#35

That’s the one thing that bugs me about the using the MD with a DAW. Is there a reason why it only works at 5 values? Naturally, those values aren’t the ones that work best musically either.[/quote]
I believe it is the percentages where the shifted/swung notes still fall directly on a tick of the midi clock. Any of the other percentages would require the hit to occur between midi clock pulses. The internal clock runs at a higher resolution. (Note: one of the reasons a little clock movement internally can be good, jitter over a midi clock almost always comes up shite)

2 Likes
#36

fascinating! very cool, i must try this … or maybe start by using MD trig keys to change patterns … what an awesome feature, trig patterns via Trig key or Midi … i guess via midi is going to offer tight tempo synced program changes, as the notes are sent from another drum machine.

#37

That’s the one thing that bugs me about the using the MD with a DAW. Is there a reason why it only works at 5 values? Naturally, those values aren’t the ones that work best musically either.[/quote]
Roger Linn invented midi based swing and quantization when he introduced the MPC sampler. Here’s a good interview where he discusses some bits and bobs about it
http://www.attackmagazine.com/features/roger-linn-swing-groove-magic-mpc-timing/

#38

I think that was the article that got me really thinking about why certain swing settings feel right and others don’t. Having previously been a drummer, I’d never really thought about groove - it’s just something that happens naturally.

I’ve been having quite a bit of success setting both my DAW and the MD to the same BPM and setting the MD to respond to transport controls but use it’s internal clock. They’re certainly in sync enough that I can record and loop my beats (with a tiny bit of latency adjustment). Not sure I’d trust it to stay synced for a whole track though.

#39

That’s the one thing that bugs me about the using the MD with a DAW. Is there a reason why it only works at 5 values? Naturally, those values aren’t the ones that work best musically either.[/quote]
I believe it is the percentages where the shifted/swung notes still fall directly on a tick of the midi clock. Any of the other percentages would require the hit to occur between midi clock pulses. The internal clock runs at a higher resolution. (Note: one of the reasons a little clock movement internally can be good, jitter over a midi clock almost always comes up shite)[/quote]
fascinating again! yes maybe that is the magic of the MD midi clock time feel. it just sounds amazing. press play and experience bliss. well, maybe not as easy as that, but the MD has always been so danceable in its rhythmic character. maybe it is the little clock movements internally or something. that cannot be re-created by computer clock timing? or perhps this is merely a fantasy.

currently i run the MD as Master and the OT as Slave… seems to work pretty well! not that that is the recommended setup, but anyway … hopefully the OT swing values are adjustable throughout all ranges when synced to an external clock (the MD’s).

edit: whoa! just noticed the article posted by Cocker about Linn’s development of swing and midi … what a legendary interview, gonna read now, cheers for the share!

actually my long-lost half sister lived in illegal warehouses in London, and got a job fixing Linn Drums back in the day. she said there was a lot of work for that kind of thing. Perhaps everyone was so excited by their Linn Drums that they were over-enthusiastic in their playing technique.

very cool quote from the article:

“a swing setting of 54% will loosen up the feel without it sounding like swing. Between 50% and around 70% are lots of wonderful little settings that, for a particular beat and tempo, can change a rigid beat into something that makes people move.” … yeah baby!

#40

I :heart: MY MD TOO!!!