You don’t need to hold FUNC when copying a page, just PAGE+COPY / PAGE+PASTE / PAGE+CLEAR works. Same with the TRACK button and the trig buttons.
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Small trick when clearing current track sound ([TRACK] + [PLAY]): To continue browsing from current sample, press [WAVE] first, then [TRACK] + [PLAY]. This way the browser will remain at the current sample’s location. Also handy if you just want to reset sound data and continue with the same sample.
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What kinds of samples work best for your specific workflow? For instance, I like to use a hihat with a medium/long decay and set the LFO to modulate the decay at a negative value to get some variation. It is especially fun on the random LFO setting or with a poly-rhythmic meter so the variations are not as predictable to a me or any listener.
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You cant have a condition (like NEI) on top of a percentage can you? Or you mean the global trackchance as opposed to trigcondition?
Unfortunately not, any conditional trig will override the setting of the track change knob. I think that would be a cool feature, but it would get a bit complex.
What I was referring to in my comment is that you could use NEI on Track 2 and a percentage on Track 1. That way they both fire together, but controlled by a single percentage. Though I’ve found inverse NEI to be far more useful, as it creates these ‘either/or’ type beats, which I find more pleasing.
Also, when I made that comment I thought that NEI was looking at tracks on either side of the track with the NEI condition. That’s not true, it is only looking at the track with the next lower number (so the track to the left). T6 is looking at T5, T5 is looking at T4, etc. That means that you can’t really use NEI on T1, since there is no T0 (and it doesn’t appear to loop around and look at T6, which is what I expected).
Controlling LFO retriggers/modes with parameter locks.
In the pad menu set Vdep to 0.
Set DST to “mode”
Set Ddep to 2.
A trigger velocity of 0 to 31 is free run mode.
Velocity of 32 to 63 is retrigger mode. (retriggers the LFO when note is played.
Velocity of 64 to 95 is hold mode. Current value of LFO is sampled when note is triggered and held until the next note is triggered.
Velcity of 95 to 126 plays a half cycle and then stops.
Velocity of 127 is one cycle and then stops.
Example:
To get an LFO that always syncs to the first note but then free runs set the first note’s velocity to 32 and then on the subsequent notes set the velocity to 0. The first note triggers (resets) the LFO and subsequent notes allow the LFO to free run but always locked to the same phase.
Example 2:
Set velocity to 64 and enter a series of notes with that velocity. Set LFO destination to affect pitch (as an example). Each note will sample the LFO at a specific point. The sampling rate is determined by the LFO speed and multiplier.
You lose volume velocity with this method but this can be worked around by parameter locking the volume (DIST) parameter.
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My man! This right here is the goods! Thanks.
Reshaping a pattern by turning down the tempo by half or more and using retrig to fill in the blanks😃
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Something that might not seem obvious to everyone is that you can step lock parameters of the lfo other than it’s speed. I didn’t read the manual, maybe it was in there.
Ah I just see someones mentioned it.
If you’re using Abelton or Bitwig you can just add extra LFO’s via m4l etc, just route them to midi 1-6 and set cc, easy.
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POLYRHYTHMUS.gif
If you were to use this in ableton you could sequence loads of cc polyrhythmicly
Is there a quick way/button combo to save the entire project on M:S?
(so not the temp save you use to fix shit after ctrl all)
I would like to hear your tips & tricks about sound design / mixing of the tracks
I know every sound can be a world, but…
Some general rules to follow? For instance, ‘kicks cutoff should always 0 or lower’, and stuff like that
Another example about what I mean, I read some user mentioning how Velocity parameter affects some sounds to sound better in the mix, specially with synth sounds. Any experience with that?
I am not really disgusted about M:S but I have the impression I could get it sound very much better, so I would love to read your tips about that 
By the way… This post works 
I have started using FILL mode last weeks. I knew all the theory but I didn’t know it is fired by holding the Page button. Yeah, I rock 
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Projects and settings: The manual states that “general settings” are saved with a project. Does this mean all settings are saved with a projects, or only some of them? E.g. MIDI port settings?
They do. Probably just bad wording.
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I can confirm it applies only to current project
Verified last days, while opening some old project & having to reconfigure all the MIDI stuff
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Okay, thanks. Good to know.
but can you save a template pattern with all the midi settings etc?
Yea, one of the first things I did was creating a near empty Template with my settings and using this as a start always.
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Not sure if this is a tip or trick, as it is plainly stated in the manual, which I promise I have read several times.
I missed this little bit of gold until just a few minutes ago…
WTF!?!?!
How have I put 100+ hours into this thing and not ever thought about this?
Maybe I’m the only person who missed this gem when reading the manual?
Or…
Maybe this post will save you from the same face slappping moment I just experienced.
Edit after using this functionality with a few tracks… feeling real foolish for having overlooked this feature for so long. It’s right up there with chance/mutes/conditions as far as tools for live variations.
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Might have been metioned before…
If you have a kick sample with a weak bass/fundamental, crank the resonance a bit, sweep the filter up in the highpass mode and you should find the fundamental and then you can essentially do what you do with a bell eq.
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