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Thanks! any part can be played polyphonically unless you set it specifically to use only 1 particular voice. of course voice stealing will occur if all parts are set to poly and you exceed eight at any one time.

i made it around 1999. put out in 2003 www.discogs.com/master/1471127-ac-The-Offensiveranks-Presents

yes the sam is slaved over midi sync to another midi sequencer. The other midi sequencer is also what provides the transposition signal, via midi, to the sam. the modulation signal to the sam modulation bus, which is routed to control the velocity row of the sam, is from an analog lfo.

thats right. i think its the hardest manual i have ever read, and i got lots of manuals.. its just not much written there.. i got the SAM-16 since many many years and still not shure how to use the CV GATE IN/OUTS and the A/B inputs -or outputs (?) properly.. well i got some ideas and results but never understood how its initially ment to be like.. by the builders. haha

thank you tristan music gear. for anything where trying to playback loops, I find importing already chopped samples is best. if you cut a sample elsewhere to 1, 2, 3, 4 bars or whatever then using TLD’s chop into n segments works easily. otherwise chopping is a little tedious. plus I like to pitch them up an octave or two before importing so they take up very little memory. peak detection doesn’t work well in that scenario. but I think TLD sounds very good with samples pitched down after importing sped up samples. once chopped to 1/4 or 1/8 notes, it’s fun to listen how the chops sound when played sequentially at various tempos. in the video, the second half is the same sample but closer to regular tempo, where the first half is much faster, so the words don’t play out all the way, but you still get the gist----- i have various parts playing different areas of the same sample, all assigned to the same voice - so rather than switching sequences, I just switch parts manually to make the song evolve --- for fills, I use the morph function. i just create a new layer of sequences, often with a repeating stutter or so, and depending on the how far the morph knob is moved, you get some hits or full rolls. so just play around in between. that’s pretty much it

@@thisoldhouz excellent ! I have to read this more than twice but it make sense ! Will have to try ! Do you take care of initial bpm of the loop to match ld internal tempo ?

@@theau61 nah. if you import a sample that you’ve cut to 2 bars, then you can tell TLD to chop into 16 chops if u want 8th notes, or 8 chops if want quarter notes, or 32 chops if want 16th notes -whatever fits best for you. then just put in sample playback chop mode and linearly lay down the chop notes. Then just adjust the tempo. or you can adjust the frequency of the sample program tune parameter. if i want to add parts that harmonize, i at least stitch to adjusting only by whole semi-tones. if the tempo is too slow, you’ll here gaps because the chop ends before the next is triggered. If tempo faster than chop and program tuning, then the whole chop won’t finish playing before the next one triggers - cutting the previous off. But that sometimes sounds cool. all just depends what you hear

thanks Jeroen. It’s my understanding that the the loop star IS the sample start, as long as the sample start is set beyond the loop start. that’s why initially I set the sample start to the end of sample. that way, I don’t worry about controlling sample start, because controlling loop start determines where in the file it begins to play back from. it could make sense to control it separately, but since the objective here is single cycle loops, i define the loop size, set sample start to very end, and decide what loop plays by controlling only loop start. controlling sample start would be redundant here.

@@thisoldhouz I see, ok nice one.. I missed that

many thanks, The Tuesday Night Machines! always finding new inspirations with each new exploration in deforming;)

thanks geecen!

yep, everything is from just the tiny little deformer. it's a beast!

from what I remember, there were three sound parts - 1. fenix saw osc>ladder filter, 2.digiosc fm mode (usually on just sine), and 3. fenix sine out ringmodded with chord 3 triangle. the amp vca of saw/ladder voice was controlled by ahdsr with lfo modulating the decay - so it only sounded some of the notes the fm sine was always sounding - and kind of dances around. the ringmodded chord osc and fenix sine went through sparkle digifitler modded by wobbler. this was multed to mixer for send to fx delay which was wiggled from time to time. I think that was about it. It's hard to know when to stop. even just the simplest things sound great on this!

thank you!

Your mixes are nice too. Thanks for posting them 👍

thank you!

thank you! thanks for making such a fun and inspiring machine!

thank you!!

there's only one there

thanks Ryan! glad you enjoy it

cool! :)

hi C.E. thanks for your interest. you can find my published recordings on discogs as ac$... there are a quite a few video links there to those recordings as well www.discogs.com/artist/146543-AC www.discogs.com/seekers-Into-The-Red-Lp/release/11927584

thisoldhouz oh dude i got some of your records and think they are some among the best i bought in the year i think it was 2018.

sorry, i don't hear the noise bleed. I have not experienced any noise bleed or malfunction with my S1. there is the ring mod output level being gated by the lfo random wave sync'd to the gate pulse feeding the S1 that can be heard easily at the beginning. but i don't hear any bleed coming from filters. if you have any issue with a cwejman, follow up with where you purchased it and they will get to the bottom of it and fix any issue you may have

@@thisoldhouz thanks for your reply. I think I will have to send mine for repair unfortunately.

Петр Тутаев thank you!

manmade madman thank you!

thanks ACIDIZER!