Super frustrating when this step sequencer is suppose to speed up my workflow.
I know using midi ox I have used the same midi controllers to control parameters of both Live and FL, so you might be able to use midi to switch patterns, but I'm not sure how to link midi to pattern switching in FL. The first 32 steps for my kick, which is the second slot, just does play and it unmutes for the second pattern. is triggered by a midi note, starting at middle C for the top sample, then D for the second sample from the top, the E so on up the major C scale. in FL in preview mode, each sample in the step seq.
That said, I imagine using midi ox, it should be fairly simple to end midi out of live on say midi ox channel 5, use midi ox channel 5 as the midi input of FL, and thus use Live's midi out to control FL. Thus, I have never tried to send midi from Live to control sounds in FL. That way, I can have seperate pan, volume, effects, and crossfading of each type of drum sound in Live. Then I have an bunch of tracks in Live that recieve each type of drum sound from FL. FL has 16 rewire out channels, so I rewire each drum sound (kicks, snares, hats, rides, etc.) out on a seperate channel. What I do is use FL as the slave rewired to Live as the master. I've seen producers making trap and bounce using the extracted groove from Amen Brother (I have no idea why, but whatever works!).Pulsoc wrote:Quandry - Do you have experience with this? Is there a way to assign a midi track in Live to play a specific pattern in FL? I find that I can play FL along with a set but need to do the pattern switching maually in FL. As mentioned, take a template from any break you like instead, if you want. Get a groove template from that if you want, and apply it to any further programming and edits. The Roland TR-08 is the modern incarnation of the original 808, offering the same crisp hi-hats, iconic snare and rimshot sounds, deep bass, and classic cowbell. If you have to fix it, just fix the essentials. When it comes to authentic hip-hop drum sounds, it’s hard to beat the classic 808. Roland has been the king of the drum machine game for a long time, and its new TR-8s is a very modern take. Just slow the project BPM right down while you play it in at a funk/soul speed, and then take it back up to your target. Here’s the 10 best drum machines on the market today. If you want to finger-drum it, you absolutely can.
Main snares and kicks get quantised to grid, and you let the ghosts and maybe the hats be a little loose. If you want to have meaningful groove, take the BPM down to a pace where groove sounds good again, maybe in the mid-high 160s. At that speed, velocity changes provide much more of an illusion of groove even when the hit positions are totally rigid. Unless it's swung really hard, the timing differences are too small to really feel the benefit of making them. If you do the same thing with a dance music track, you have to be prepared for people not liking it because it doesn't quite mix perfectly with a gridded track.īut at ~174bpm, groove becomes almost irrelevant. Your closed hats are on every 1/16th note and so on. You would then program the Open hats on the 3rd and 6th pad of step sequencer on the first row and the 3rd and 6th pad on the second row. If you study a drum break with an addictive groove, you're likely to find that the second snare isn't going to match a position similar to the first main snare, and it's that slight quickness/slackness that makes the break sound good. To make this pattern you would set your Push, Launchpad, or any other MIDI step sequencer to 1/16th note. Real groove is tricky with d&b because it is fundamentally a music for mixing.