snare accent trick using simult

here's a technique, for old times sake

i don't really post these things anymore because they seem obvious to me, but that's only because i've lived in GPE for the past 6 years and it's all right at my fingertips all the time. but this one is useful and simple, and it'd be cool to get more tips shared again.

this technique lets you use a single pad in your A bank for both your main snare and its accent (a clap, a snare layer, etc - often used on every other/every 4th/etc snare for extra emphasis) and trigger it easily.

take your first snare sound and put it on a pad (i use a velocity mapped set of 3 snare samples from a chopped drum break). in this example, we'll say we used A01.

in the GPE AMP page, set the VELO setting to 100 so that no matter how soft you hit it, the snare sound is triggered at its full LVL.

go to the MUTE page of GPE (hit F6 twice) and assign A01 to SIMULT2 B01.

assign your accent to B01. let's say a clap sound. go into AMP and set its VELO setting to 0 so that you get the full velocity curve as you hit it.

alternate between gently tapping the pad and slamming the hell out of it. this technique can be applied to a variety of other sounds, obviously, but i use it often for snares.

the important thing that this demonstrates is that you don't always need the full velocity curve. there are some snares that you are only always going to have trigger at its full volume, so you may as well use the velocity parameter for a different purpose.

Sorry, it might be a noob question but what do you mean by GPE page ??

If I understand well, this technique is going to allow me to trigger different samples depending on how hard I hit the pads ?

GPE = Global Program Edit (aka. Program).

Neat trick, will utilize, thnx!

Thanx

OK I will up the anti there Nym. I use the velocity layer on my simult pad, and make ranges for hard and soft sample. So this way I can make velocity only say change the attack of a sound,, but firsts pad always sounds the same, like locked to velocity. It is like the same thing but I am using the sample velocity layers on the simult target pads instead. Also see my other post relating to the mutual exclusivity of the two modes. Please get on to it hey. You would understand the usefulness of having the mute gorups and simult working at the same time. Like if you set the simult behaviour like above but wanna go all monoish on it (ssy basslines kinda stuff) then mono program wont allow simult. So I thought mute groups right, but damn it, when you switch it ignores settings and turns to other function. By rights it should not dump that setting and continue when we change, it just changes it to simult OR mute groups. I do know how, but the programming would need to change the screen so as the pads targets changes to. make sense. Like it does not dump that from memory and the target would change if i change simult/mute option in GPE as well. But it seems it just needs not to dump the memory associated with these settings when we change simult/mute groups. Yes we could make conflicting pads that wont work, but we wont will we, we will think about it. . O that would be soooooo goooooood. gimmee gimme gimme. well that and a few other things.

niiiiiiiiiiiiiiiiiiiiiiiiiice *in mike tyson's voice *

this actually made me think of a new FR - reverse VELO values.

normally, at 0 VELO, the harder you hit the pad, the sample's AMP triggers louder.
at 100 VELO, the velocity is irrelevent.
i'd like to have -100 VELO, where the softer you hit the pad, the louder the AMP - harder hits would be quieter AMP.

this way, you could use this OP trick to smoothly velocitatively shift in between 2 simulted pads

There is real easy way to do that reverse velocity nym. Just use copy of sample that has been normalised at less than 100, and put this sample in your high velocity level of your pad. Hey presto reversed elocity layer. Sure it is work around. But it sure works real good