In my usual fashion, I got curious if we could tune the SRR to pitches using the LFO Designer to control the “in-between” values of the SRR knob. The table above is where I’m at with it. These are basically the Nyquist value of the SRR/FINE setting.
| Note |
SRR |
FINE |
| A5 |
127 |
96 |
| A#5 |
122 |
57 |
| B5 |
117 |
2 |
| C6 |
111 |
94 |
| C#6 |
106 |
78 |
| D6 |
101 |
83 |
| D#6 |
96 |
110 |
| E6 |
92 |
70 |
| F6 |
88 |
19 |
| F#6 |
83 |
85 |
| G6 |
79 |
89 |
| G#6 |
75 |
83 |
| A6 |
71 |
108 |
| A#6 |
68 |
37 |
| B6 |
65 |
0 |
| C7 |
61 |
84 |
| C#7 |
58 |
32 |
| D7 |
55 |
17 |
| D#7 |
52 |
40 |
| E7 |
49 |
58 |
| F7 |
46 |
70 |
| F#7 |
43 |
123 |
| G7 |
41 |
91 |
| G#7 |
39 |
6 |
| A7 |
36 |
94 |
| A#7 |
34 |
100 |
| B7 |
32 |
52 |
| C8 |
30 |
51 |
| C#8 |
28 |
99 |
| D8 |
26 |
92 |
| D#8 |
25 |
7 |
| E8 |
23 |
47 |
| F8 |
21 |
86 |
| F#8 |
20 |
49 |
| G8 |
18 |
83 |
| G#8 |
17 |
42 |
| A8 |
16 |
0 |
| A#8 |
14 |
85 |
| B8 |
13 |
98 |
| C9 |
12 |
52 |
| C#9 |
11 |
63 |
| D9 |
10 |
73 |
| D#9 |
9 |
22 |
| E9 |
8 |
31 |
| F9 |
7 |
98 |
| F#9 |
6 |
105 |
| G9 |
5 |
111 |
| G#9 |
5 |
50 |
| A9 |
4 |
55 |
| A#9 |
3 |
121 |
| B9 |
2 |
124 |
| C10 |
2 |
61 |
| C#10 |
1 |
127 |
| D10 |
1 |
63 |
| D#10 |
1 |
0 |
| E10 |
0 |
64 |
| F10 |
0 |
0 |
I’ll post a few sound examples in a minute.
14 Likes
Both are Moog into the same basic sequence of tuned SRR. SRR is a descending C minor scale with some trig conditions making it a little less boring. 
5 Likes
And on a sound-on-sound guitar:
6 Likes
I’ll have to look into sound on sound recording with the OT. Something I might like.
Havent tried it before.
2 Likes
Love SRR, thanks for the detail work here Bryan!
Without wanting to derail, stunning work in the guitar sound-on-sound - what was your method here, can think of a few approaches but keen to find out how you implemented. Open to dedicated sound-on-sound thread if needed
4 Likes
Track 1 is a Flex track playing Recording Buffer 1. Play trig on 1. All effects are removed. Crossfader is controlling XVOL, which becomes the feedback for the buffer. 32 trigs long.
Recording Buffer 1 is recording Input A (my guitar/pedals/amp) and Track 2. Record trig on 1. It is always recording. 32 trigs long.
Track 2 is a Neighbor track with the LO-FI effect. I sequenced the SRR values. The sequencer on this one is not always running - to hear the sequence I have to trigger it. That lets me place it wherever I want rhythmically. SRR is set to 0 and the last trig in the sequence also sets it back to 0. 8 trigs long.
Tempo is 65.6 BPM, which is one of the tempos that allows “clickless” looping for sound-on-sound. That enables me to record those big reverbs without worrying about the loop point needing a crossfade.
So - ultimately it is a two bar sound-on-sound loop that gradually fades out. Lots of little tricks to get it to behave well and have the effect I want with the sequence.
Edited to add that this is one of the only ways that I use a Neighbor track. They are unique in always passing audio while allowing the sequencer to be free running. I didn’t figure that out until recently, but it has lots of musical applications.
4 Likes
How does it not overwrite the recording each time the recorder trig is passed?
1 Like
It does overwrite on each pass. The trick is that it writes the old audio (perhaps slightly quieter due to the crossfader, perhaps with changes due to SRR) plus any new audio from input A. It is basically acting like a long delay line.
1 Like
So how is it sound on sound?
Am I missing something?
Long delay line with feedback at 100% gives you sound on sound.
1 Like
Im derailing the thread.
I still dont get it. I’ll shut up.
Your explorations are completely awesome!!
Very inspiring, thank you for sharing!!
1 Like