You can kind of think of sound locks as a massive bundle of parameter locks…
The same sound could be triggered by plocking all of the edit page values contained in a “sound” to a trig, but by saving as a sound and putting it in the pool, you have quick access to drop this “bundle of plocks” on any trig very quickly…
It needs to be in the pool instead of the plus drive for immediate access from ram to the sequencer…
Since it is like parameter locking, the current edit pages, lfo’s, etc., will not affect the sound locked trigs, the sounds are “locked”…
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For anyone still wondering…
Basically you save a bunch of sounds and put them in the pool, kicks, basses, snares, pads, whatever…
Now you have those available to just drop onto any trig on any track.
They will play as they should just for the trigs they are on while regular trigs on the same track play the sound of the current edit pages. This makes it very easy to play multiple different sounds using only one track…
Saves lots of time, saves lots of tracks…
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but their use does restrict how you might want to mangle things later on , using TRK all thing… (like filter sweeps on everthing)…
i think
I really needed this thread to understand how this was different from how you could tricklock samples previously. Now I know, thanks guys.
upfront: sorry for long winding:
so i never used a “preset sound” in my DT.
i even don´t know if my factoiry sounds are loaded or not ?
when i looked for them when i had the DT new, i definitly couln´t find anything.
never looked again. anyway…
but ok, your Guys feedback here has tossed ALOTS of light for me on that topic.
Very important to know, cause locking sounds IS definitly something
( keep in mind, the DT is only capable of doing parameter locks for 72 different parameters,
which is quite limitating )
but what i totally don´t get:
Do you tell us, that when we have created a sound in a pattern and we save that sound to the plusDrive and then further also to the soundpool,
BUT we alter that sound in the original pattern where the sound is coming from,
it will then be altered also in any other pattern where we used that same sound ?
kind of like the octatrack sharing parts on different patterns, and when you alter a sound, it will be altered in the other patterns too ?
Means, if this is the case, then is the soundpool quasi nothing other than a backdoor to a kind of (limited) “parts”.
do i understand this correctly ?
and is re5et´ß post correct ?
any lights on this would be very welcome
I think you may be misunderstanding the parameter lock count. The manual states
Up to 72 different parameters can be locked in a pattern. A parameter counts as one (1) locked parameter no matter how many trigs that lock it. If for example the cutoff parameter of the filter is locked on every sequencer step, there are still 71 other parameters that can be locked.
So I take that to mean if I parameter lock the overdrive, for instance, to every step of a sequence there are still 71 other parameters (conditional trig, delay, filter, playback, etc) that can be locked across the steps of the sequence.
But maybe I’m misunderstanding.
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no, i don´t. Please see my phrasing:
i sayed: “for 72 different parameters”.
and NO, this is NOT much ?
but some people won´t get it.
and some other try to nice speech just everything in regards to a elektron.
anyway, that was not the topic. really
But to close it:
asssoon one is p-locking samples on the stepps will you mostoften also be forced to lock some more parameters also.
then further on do many parameters work in conjunction with other parameters, so you lock some parameters just in groups.
thats how it adds up.
thats why it “could” be a nice thing to just lock a sound instead.
still looking to get my above question answered btw.
There was no trying to “nice speech” elektron in my post. You misunderstood what I was getting at especially apparent by the tone of your response.
To answer your question
The sound pool would be similar to that of the a4. Basically a preset lock for each sequencer step.
The way to make a sound change in all other patterns would be to overwrite the sound after you have made the tweaks, I believe. I have been doing this with sounds in general on the DT before sounds locks were available.
Let’s not derail this topic by bitch slapping each other, guys.
Question: I was wondering if there are any good tuts or vids of people actually using the soundpool!
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Say you have a nice sound on a track you like, let’s say it’s a snare drum sound, save it to the sound pool…
Now let’s say you have another track playing a kick drum as the tracks sound with some trigs but not too many…
If you’d like you can now place a trig on the kick drum track, hold it down, and by turning the level knob choose your snare sound to “sound lock” it, just to that trig.
Now you have kicks and snares on one track…
This snare sound since placed in the sound pool can now be easily added to any trig on any track in any pattern…
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off topic:
please take my aplogies. It was not meant vs. you.
it was more of a stupid generalisation thing without clear declaration
…still having that nice speeching thing from the OB thread in my mouth.
in fact it was a pointer to some post there…and my rant 
so, sorry
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has anyone made a video tutorial on how to do soundlock and soundpool basics?
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+1
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dont know why but there seems to be an empty +drive for me. i don’t know why
Dieter says delete.
Had that too. Did a factory reset and they were there again (a factory reset doesn’t affect your own projects and sounds)
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Sound versus samples, great content.
What’s probaby happened is you’ve saved the sounds to the plus drive… This is where up to 4096 sounds can be saved to be available to load to tracks in any project, your vault of stored sounds…
The sound pool is yet one more thing that can hold 128 sounds per project where the information is stored in RAM to be able to use immediately with sound locks…
Probably a good idea to save sounds in the plus drive first, and then put in the pool, because the pool is only available per project…
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Good call, thanks!
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