When jamming with guitar players they often get a huge kick out of resampling their input with trigs.
If you put the recorder trig somewhere easy to figure out like the middle of the first bar, then place playback trigs across the second bar, it’s easy for them to follow. When I pitch up and reverse the playback trigs, my guitar playing friends adapt quickly and start making some really cool song parts. After that I let them tell me where to place the recorder trig(s) and we really go to town.
Coralhex had some great tips there, thanks for that!
Definitely look up the technique involving using custom LFOs to do more finite parameter manipulation. It can be found in the Monolith project if you want easy access, but basically you dedicate one LFO with a parameter to a custom LFO shape that is a straight line just a few notches above zero. Then you modulate that LFO with a second LFO in order to do very subtle movements.
Apply that trick to stuff like pitch, delay time and so on for some really great effect manipulation.
Again to support Coralhex’s great post, start thinking about using neighbour tracks and all the LFOs you can squeeze in to really design some awesome effects. Think hard about just what elements are missing from the effects and challenge yourself to add them on your own. Even if you can’t do it you’ll find new techniques along the way.
Do stuff like recording a track then playing it back in three different tracks, each of them EQed to isolate the lows, mids and highs… then start working those. Different delay modulations and reverbs across a sound’s frequency range.
If you feel like you are running out of space, dig into banks and parts and start using different locations in your project to construct intricate manipulations to be sampled and played back in your performance part/bank.
Copy a percussion track’s trig locations over to a pad’s track as trigless locks, set an LFO to ONE or HOLD. Seems obvious, but if you start doing this with a couple different tracks and keep the effects subtle (perhaps even using the “offset modulators” trick above) things get deep.
If you never waste an LFO and keep things subtle, you’ll be comboing up stuff like Lo-Fi into Filter (amazing combo) with some deep results.