Is it just me or is there just barely audible clicks on the OP’s recording? I can never get completely rid of em when live sampling
Off topic I suppose, but how does one do this? Can’t quite wrap my head around it
Sample locks…
Eg .place a trig to play recorder 1 Then place a trig to play recorder 2.
1 track, plays 2 recorders. (Not at the same time of course, all audio tracks are monophonic.)
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Yes, that part is obvious. I’m wondering where to place record and play trigs such that it allows such flexible playback
Anywhere you like. Experiment. Try one shots, trig conditions etc
If you parameter lock different LEN, START, PITCH, and RATE to your sample locks, then it gets even more flexible. And you can add LFO to RTG, RTM, AMP settings etc. The possibilities are endless.
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Yes, of course, that’s all basic OT stuff.
Maybe I’m misunderstanding @sezare56 but I thought he was implying that by using 2 different recorders you could avoid the problem of playback being cut off when you try to pitch or reverse live samples.
I guess my question is what do I gain by using 2 record buffers instead of 1?
It let you finish the recording, after you can manipulate audio freely.
Ah, right. So you playback the buffer that’s not recording… Half a bar of delay that way but no audio cutouts. Makes sense 
Minimum delay is 1 step.
You can pitch up with that delay an 1 recorder, but you can’t play reversed.
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Some examples, still searching. Please tell me if there is something interesting…
Grabbing audio from radio in live conditions.
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So when was a pneumatic drill allowed in a Tibetan Buddhist monastry 
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They let Metallica in. That’s fairly similar 
these examples are amazing… but i’m still trying to get my head around what’s going on… i ‘think’ you mean you’re using trigs on every step of the incoming track to create the per step envelope, but i’m not sure what you mean by grain preparation… how does pitch/feedback relate to these envelopes?
is there any chance you would be up for sharing the project file?
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I am really inspired by this thread and would be grateful for more details as well
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That’s what I meant by grain preparation.
For grains envelope I tried lfo designer but trig counts (microtiming menu) seem ideal for that.
For “voices” I also tried Plays Free tracks, quantized to 1 step. These Flex tracks are playing their recording with microtiming (recording a step of grains track).
Tuning can depend on tempo (103.1 bpm = A), or slices length. I added Comb filters tuned accordingly…
My project file is a bit messy, there is about 16 different patterns with different settings. I discovered some new things with pre-sliced recording, I’ll let you know when I master a bit more what I’m doing !
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hmm, i’m still a bit confused here… with trig counts the envelope seems to run only after the multiple trigs.
look forward to seeing the project file when you’re ready to share!
With trig counts the envelope is retriggered. With trig counts = 4, 1 step is divided in 4. I let you use a shorter length for voices (LEN=32)
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i’m not good at using gifs but i would go for the mind blown one here… !!!
have never known about this trigcount’/env relationship!!! thanks so much… i can suddenly do a whole load of granular things without all the clickyness!!!
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…
Amen Break vs trig counts
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