Thanks for posting, guys. Using retrigs, maybe lfo-modulated, for rhythmic variations or playing scenes like a keyboard etc, such nice tricks! Having read the ideas, they seem so ‘obvious’ and apparent, but they aren’t in advance!
The OT has so many tiny details, trigless trigs vs trigless locks, slots vs slices, lfo’s vs plocks, the question is what to use them for! The RPG analogy in another thread nails it more like any other characterization of the OT that I read so far.
My favorite trick are lfo’s on the strt parameter, both for sliced and unsliced samples:
- lfo’s on strt as slice number impressed me since day one. maybe you know/remember my Beethoven Fuer Elise Remix. I guess not but anyways. it contains a flute melody that is based on a famous, almost annoying melody, and sounds completely different in the lfo’d version! these lfo’s indeed are great for instant remixing, as stated on the OT product page.
- record 20-30 seconds of audio from a synth with slight variations of keys and synth params. then use such an lfo with rnd setting to get some variations even when repeatedly pressing the same button, or pad in my case (akai mpd32). stupid button bashing starts to sound like keyboard playing when it’s properly prepared.
- you can also use those lfo’s to create variations in drum patterns. for me that’s basically a workaround for the lack of slice/slot playability via midi (positive thread, positive thread…), but it’s nice on its own. you can push this technique so far that you get a conpletely different drum kit each time you press stop/play. with lfo lengths not equal to 16 or 32 you get nice variations over time that can also sound like polyrhythms. on my mpd32, one knob is used for the strt param itself, one for this lfo.
- on non-sliced samples, such a lfo can sound like velocity variations (again, it’s a positive thread!).
A lot can be done with those lfo’s on the strt parameter. For me, that’s THE great feature of the OT.
Edit: really nice tricks, I have to try them all!