my favourite ‘trick’ is using the randomisation section in drum track edit to subtly jerk around volume, pitch, attack/decay and filtering on every event, poor man’s analogue processing for sample playback
there’s sort of a way to do this in the time domain too, but it’s not realtime random (basically you just run the humanise feature to push things around the grid, but on a very long sequence so you notice the repeats much less)
i don’t make club music sketches without ‘em
yes I’ve been using that a lot! also I was anticipating using the step sequencer more but in practice I’m using the pads for pretty much everything, it’s nice to get little natural velocity variations without having to go in and edit every step
a little demo of a thing i’m workin’ on
maybe stones throw will give me a job lol
wow this is really the secret sauce for combining sequenced & recorded parts huh, it’s great to be able to make sequences feel time the way I do (i.e. way on top of the beat). at this point if there’s one thing I’d add it’d be a multiband compressor.
I got booked to do this new solo thing at a record store in early june w some friends in from chicago, so now I’m in a mad dash to finish up six tracks, what a hoot.
we’ve muttered about a lack of multiband comp for years. i think it’ll happen eventually, not least because new effects are getting released for the platform pretty regularly
you can sort of fudge it by duplicating sources, whacking the kill eq on each to get band soloing and compressing each channel individually but fabfilter it ain’t
moar
I contributed a couple of arrangements with a spoken word segment to Resonant Union’s SMT album! 
timestamp for mine!