If you agree it fits, there’s nothing left to discuss—I’ve said all I need to say.
No, not like that. Like being able to jump to the same points always, using the keys. Using slices.
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ok my baaaa
slicing isn’t about replication, sounds like a misunderstanding to me.
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No, by replication, I’m talking about introducing a “new” feature on an instrument so you can do the same thing that you can do on another instrument, especially if it’s because you can do it on another instrument. I’m talking in a much more general sense, not about slicing in particular.
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OP has reminded us that this is a thread dedicated to slicing—that’s the main thing we’re talking about here.
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oh I get it now, premise of the thread threw me off
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Maybe I’m just not the most creative person in the world, but I’ve never really been able to get along with slices outside of drums. I like listening to sliced melodic stuff, but when I try to do it, it never sounds good to me. My guess is that it’s as much a matter of sample curation and developing an ear for what material will sound good when chopped, as it is about actually chopping. Maybe even more so about the former than the latter.
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It’s this for me. My default is banging in stuff played by hand. I’ll come across ideas and variations and timing I wouldn’t have thought to parameter lock just by playing around.
Start point parameter locking is super fun and gives me ideas I wouldn’t have played in by hand. Both are great.
I was really tired of the claims that “you can achieve the same exact result with start point locks” which isn’t technically wrong but it’s also very far from the truth in practice.
Ok a side note because it’s fresh in my mind. OPXY has one of my favorite slicer implementations so far. I use the lazy chop mode 90% of the time. I like that start and end points start out connected but you are free to split and overlap slice as soon as you tweak them. The toggle for this on DT2 seems neat.
Why overlap slices at all on any sampler? For one, it’s super fun for looped slices with glitchy drums. But also imagine a spoken word vocal sample. One slice can be the whole phrase. A few more slices can be individual words, syllables or little micro loops for a spoofed granular sound.
Renoise Redux is probably my second favorite slicer / micro DAW in a VST.
Forget about “good” sounding chops and you might find some juice. Some of the best shit is wonky as hell in isolation but you just force the rhythm to work right.
Also slicing and experimenting with chops while a beat plays can help.
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I can recommend importing some longer field recordings that are rich in content and slicing them, then playing around with with the slices. This method has helped me get interesting off the beaten path ideas that helped giving a track a direction. I love discovering weird moments and rhythms in something I recorded and then adding a more straightforward beat on top of it.
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I think it’s good to consider different things:
Sample slicing
- slice creation (from scratch): e.g. a simple grid to hash a sample, to automated detection of transients
- slice editing (adjusting slices start/and end or length, adding/removing slices): we need a zoom here!
- sliced sample preset saving/loading for further recall
Slice live playing/recording
- slices playing: the need here is to have quick access to as many slices as possible. MIDI input is great, here.
- slice recording: recording what has been played on the sequencer, possibly with editable plocks
Slice parametrization
- slice parameters locking (e.g. velocity)
- slice parameters modulation
When talking about sample slicing, it might be a good thing to specify what aspect you are addressing exactly, so that we don’t argue about a thing when actually talking about different aspects of it.
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now that whe have the random arp with multisamples and meset the only thing missing in the multisample is looping and reverse.
What did you mean?
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I had missed this, thank you.
I have renamed their thread for better visibility:
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Jokes aside though, good job in distilling this – I think every point is valid and every item should be part of this feature set.
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there’s an entire thread in tonverk section started by the dev itself , he’s very reactive and answers questions with screenshots and demos. this tool is so cool and well done it could be official elektron software. the value added to tonverk is insane . i started creating multisampled slices and you have support for 127 velocity layer too !
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I have an MKSREC1 (SP-1200 clone) I enjoy using to remind me of how things were when I used to make sample-based beats on machines that only offered basic manual sample editing capabilities.
I see slicing as an efficient evolution, allowing the ability to set up cue points for any given sample. It just pre-distributes them initially, but allows them to be edited/placed wherever desired.
Cue points are a very basic thing that I use in Serato all the time when I do DJ-related stuff. They aren’t that special really, and are just usually an expected feature. Most of the time, they’re just used in a simple manner for triggering different portions of a sample. Instead of creating multiple versions of the same sample, using cue points on one sample just makes more sense.
I think in conjunction with a slick arpeggiator that allows deep editing, some really creative sound design could be done with slicing. I imagine arpeggiating sliced vocal samples layered with synths using the same arpeggiator patterns.
Another thing about slices is it’s is an absolute division of time - which can be useful for many reasons and not always possible to do to the level of precision you may need.
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That’s what I do with every single sound on the Digitakt II (a poor woman’s round robin), and what is obsolete since TV supports round robin natively.
I already converted all my sliced samples to subtrack instruments. The only bummer is that one can’t construct a subtrack out of other subtrack’s subtracks (such as, take the kick from there, the snare from another, etc.). I hate Kits.
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