I’ve been playing around with this too, and am by no means an expert, but have had some decent results by swinging it a bit and keeping the duration short and release time 0. Also, you can do the reggae bubble with an organ-type sound on the e-and-a parts of each bar, the ‘and’ being an octave higher.
I’ve had som nice results for dubby stabs with loads of LFOs modulating for example cutoff frequency, subtle pitch changes etc. Definitely makes the sound come more alive.
also LFO to delay parameters, I mainly do this on my OT but same principle applies
don’t forget you can plock trigs on the FX track on the A4 so you could for example change the delay timing and send on a certain trig on the FX track
using such techniques can automate the speeding up/slowing down of delay timing
I’m usually sequencing some external gear because I find myself running out of voices on my A4 if I’m doing poly on 3-4 voices…you can get creative like you did with the osc and sub-osc and/or be creative with trig placemen/timing…but sometimes I find it easier to just sequence another piece of gear and then apply effects (then again, I have an OT so that changes things up a bit on what can be done)
Some people count out 16th notes by saying ONE-EE-AND-UH TWO-EE-AND-UH etc. So the “e and a” means everything off of the downbeats.[/quote]
the question would be how do other people count it?
I count it like above as well, but I was a bass player first (not a keyboard player)
lots of playing on off beats in reggae…one drops and whatnot in drums as well