What? You can feed the midi LFOs back into the the audio tracks like on the OT?
Brilliant, there are 2 reasons I’ve always bypassed the DT, mono samples and only 1 LFO per track… well I can live with mono if I can feed the MIDI LFOs back in onto the audio tracks. Why have I never thought of this!
you can also feed more sets of conditional lock trigs, which make great modulators. And use the MIDI tracks to sequence FX parameters.
Thanks Adam, can you give me an example of how you’d use conditional trigs as modulators, and how you’d use the MIDI tracks to sequence FX please?
This is fine if you don’t want to sync the DT up to other gear, but otherwise you can’t do it because it will use up your MIDI in and OUT ports right?
Thanks. I’m only interested in using it standalone.
@enryo ,
Let’s say you have a bass line on your DT. Track 3. You’ve already got some LFO going on it from the audio track 3 LFO.
Now set some conditional trigs as lock trigs aka trigless locks (these are for automation only, they do not trigger samples, only parameter changes, see 10.2.1 in the manual) to make the filter envelope of that bassline modulate a couple steps after it is triggered. This operates as a pseudo slow fade LFO.
Now make it conditional.
Using MIDI tracks, you can add another set of conditional trigless locks, assigned to appropriate CC#s, and use MIDI Track mutes to engage/kill them.
As for using the MIDI tracks to sequence FX, check the manual and its appendix for MIDI assignments, track # assignments, and assign CC#s in the MIDI tracks in accordance with the FX tracks CC# assignments.
After doing so, your MIDI tracks can sequence the FX tracks by using parameter locks of CC#s.
This approximates the capabilities of the A4 and AR FX tracks, which allow you to lay trigs and automate the FX parameters.
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Thanks Adam, so basically the same as the OT works. The only benefit over the OT is the no parts thing and ease of use workflow for sampling.
