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Run the splitter out of the "phone" jack (using an adapter cord) into a crossfader or mixer. Use the
"extra" jack to plug in your headphones. Now hook up your "master out" to the other channel on
your crossfader or mixer. Assuming your loops match BPM, etc...
You can now start a loop, press Shift and play another pad (which will go through the headphones,
not the master), let up the [Shift] key, and you can use the "hold" button on it.
Now use your crossfader/mixer to switch and/or fade between these two separate channels. Here is
the clincher: effects don't "effect" what goes through on the "phones" preview. In other words, for
a really nice effect, use the same loop on different pads and affect one and not the other. I hope
you understand that this kind of gives you an extra "override" channel to play with. You still can't
push it over 4 pads, but you can split them.
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Actually that gives me an idea... You could resample a pad sent to an external FX unit via the
headphone jack: have the headphone out going to an external FX unit, th en have the FX unit going
into the aux input. To get the pad effected with the external FX processor with out getting send
return effect stuff happening (you know what i mean... I hope you do), you could have a track
recording, then hold Shift and hit the sample pad you want to re-effect with the external FX unit
(remember that holding Shift and pressing a pad makes that pad sent to the headphone out but not
the master).
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In playing with delay, I stumbled on something cool: if you use A07 "DL:Snd OnS," and make it
effect only track A or B, (or to your liking) you can assign kick drums, snares and high hats to the
pads in the first column, and tap them out... It will echo your tap every measure... This is a cool
way to create progressive beats live, cheating the "4 pad max" rule. You still then have the three
right columns of pads free (ALL FOUR POLYPHONY!!!) since the echo is an effect, playing your
beat. You just hit "On/Off" to stop this convoluted, complicated, well structured mess.
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I assume your concern is the ability to program complex breaks. here's how I do it:
1. Set up a pad bank of my individual drum sounds. (The four voices haven't been a problem yet as
most D'n'B breaks you'll really only be using kick, snare, hats and maybe a shaker.) In sample
parameter you will want to set the pad play to "drum" or "gate" depending on how you want to use
the sound.
2. Program your pattern in a sequencer to trigger your drum bank.
3. Sample your pattern. If you set "start w/" to a level of 3 or so. Sampling will begin when you
start the sequence. Don't set the pattern to loop in the sequencer and let your sample ride a bit
past the end of your pattern.
4. Now edit your sample parameters, set the number of beats in the phrase, and
bring back the end point until the BPM matches your sequence.
(The start point should be fine because the sample starts at the attack of the first note.)
Using Effects/Getting dry signal/External FX
Complex Breaks & Beats
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