[Music] how's it going my name is Matthew AKA easy bot and today we're going to be learning how to do ambient with the electron Dig attct 2 what I plan on doing is using the factory sounds explicitly so lots of oscillators wave tables some of the noise samples that are included in the Dig ATT Attack 2 going to be doing some sequencing and showing off a couple of different techniques you can use to kind of mangle samples in ways that are very pleasing and sound great in an ambient context what I plan to do first with the DigiTech is layer out a bunch of sequences that are in scale so we're going to pick a scale and I'm going to put a bunch of trigs down and set the probability to a low probability so this is some really basic ambient production at first and then we'll kind of just keep leveling up the complexity as we resample and kind of mangle the sounds and try out different techniques there after I do this first layer of probability styled sequencing I will then resample it and then we're going to separate it into two Loops where we will kind of emulate uh Steve R um tape Loop Styles and we'll use that as a bed as a background underneath but we're going to create our own tape Loop first before we do that we'll kind of discuss how the tape Loop works as well um then we'll get into some time stretch tricks and some granular synthesis and play with some sort of long form noise sweeps and I think by the time we get to that stage after roughly two hours which I imagine this will take we should have a good grasp of how you can do some excellent ambient production on the electric on dag 2 which is my favorite sampler of all time I also want to mention that this stream is not sponsored by lroy sadly and I feel like I'm being punished by them every day that they don't sponsor me it is however sponsored by mbang visit modb ang.com for all sorts of cool cabl and uh syn Sands that I designed myself with my friend check it out sick all right here we go dig Attack 2 look what I brought I brought a plant we all know that ambient music actually just sounds like total trash if you don't have a plant sitting next to your device I mean this is just something we've all accepted over the course of the years on the internet but this plant is going to imbue the Dig Attack 2 with the ability to make Blissful sounds just absolute Bliss without the green plant here without this vegetation this device can only make sounds of farts and trash can fax machine microwave sounds that's all it can do this plant gives it all the power in the world so if it was a fake plant it might actually work a little bit but since it's a live plant I think we're really in for a great session okay as you can see I've named my project ambient and my pattern I've also named ambient and I do um want to treat this stream like you're brand new maybe the table would stop wobbling and respect me a little bit thank you very much table come on I do want to treat this tutorial like uh like you're new to The Dig Attack 2 so if you are new to The Dig ATT Attack 2 this is going to be a great place for you to just learn what this thing does in general and uh how to lay down trigs and how to expand your sequences and and all of that and for those of you who have a lot of experience with the Dig Attack 2 you're going to double learn today you're going to learn again that's what's going to happen so here we go I do have a blank project like I mentioned so all the sounds are the default sounds and what we want to do is kind of switch these sounds out cuz I don't want to use kick drums and snares and stuff for an ambient project although I was thinking about maybe having the ambient project turn into some sort of like minimal techno thing towards the end of the stream we'll see about that but for now we're going to keep it strictly ambient so let's change the scale of our project which is something that I think is really important to do at the beginning of your project I think it's it makes uh moving forward much easier as opposed to adjusting the scale of your project later on and some in cases in some cases adjusting your project scale later on can result in you duplicating pages in ways you don't want to have happen and just easier for you to get lost so if we kind of have a premeditated uh idea of what we want to do premeditated I don't know if that's the right word for that but if we have uh we have an idea of what we want to do first it's it's it's helpful to keep us on course so I'm going to go function page and this is where we're going to change our track scaling to a different track scaling we're going to use an infinite track scaling today because ambient has no boundaries just like the power of the plant has no boundaries on how amazing it will make these sounds be so we go function yes here and that is going to change our sequencer page to the prot track sequencer page this is a really important feature in the Dig Tag 2 and in all electron box and frankly in all Hardware electronic music boxes to be able to change your track scale independently is something that I come to expect from all machines and when it doesn't have that option I am sad and I get sad easy though that's a problem for me so let me change this reset to infinity and basically what that means is that these tracks they are they're not going to have this automatic reset by default on the Dig Attack 2 quick quick explanation by default in the electron boxes when you're reset or um master in some other electron boxes is called when when the uh sequencer runs through the number of steps that are mentioned in this box here so said if it's set to four this means that no matter what track scale I have these tracks set to say 16 128 or whatever number they're only going to go for four steps because they're going to keep resetting after four steps that's what your reset does so when you want to do stuff like that are polymetric for instance using Infinity is really useful because you can do patterns of seven and patterns of N9 and patterns of 16 or patterns of 17 or whatever and they're all just going to keep going infinitely with no reset however when you want to change patterns that's where it becomes kind of tricky and you need to also set your change to make up for your infinite reset so let's go back to infinite we're not even going to mess with change because we're not going Beyond one pattern here most likely I'm probably just going to make one pattern that it's going to be just one ambient generative style track we haven't made a single sound yet I'm just talking your ears off this is part of the tutorials learning how to listen um and being becoming an active listener it's good for good for everyone okay now that we've adjusted our track scale um I'm just going to go ahead and bring this one down to like seven I like seven I think it's a nice number feels like a magic number and I'm going to replace this sound what am I on track to let's let's copy it go to here pasting this on track one and two that way both these tracks are now seven steps long and I'm going to go to track one sound I'm going to completely replace it this is a little trick so if you're looking at your sample menu using your encoder and highlighting your sample if you hit function yes here it'll shortcut you to exactly where that sample was living before function up will let you move very quickly through the Dig attct no takes you out of menus and what we want to find is oscillators cuz I'm going to start with how about a wave table just to make things interesting let's start with a wave table what's cool about the Dig ATT Attack 2 is that the wave tables can be auditioned while you're testing them [Music] out you noticed my finally manicured hands huh fin not finally finally not finally like they hadn't been but like they always had been I don't know about that one I like this read plastic I really like plastic sounds I don't know why but I do but here's the thing so here's what we're going to look at I just selected a wave table for this track and this is our wave table and as you can see it's not like a single cycle waveform it's not going to oscillate but we can see this this sample in here and it's just a snippet of a wave table it's not like a well it's a little sample of a wave table which we're going to use as a wave table to use the diag 2 as a wave table function Source head down to grid so now that we get some some uh different moments in a wave table what's useful about wave table is scanning through the wave table now the DI attack doesn't have a feature called scan we can move the start position around we could use an LFO for that we could even assign velocity to move the start position if we wanted or the velocity to tell an LFO to move the start position that'd be something that we could try but we're not going to what we're just going to do is change the grid to 64 so that we get a nice resolution in our wave table um and I also like having this [Music] Loop so here's our wave table it's very Bassy at the end all the good stuff's at the beginning of this one we can adjust the Dynamics of our sound here let's just make it a pluck perfect okay so we have our first sound and now we also should choose a scale to play with this sound and I want to use this scale because I want this to be easy I don't want to think at all I want ambient music to just kind of appear wouldn't that be nice that's the whole point it's the point of the plant so we're going to change our keyboard scale function and the this little piano button which is fantastic and I love the little icon we're going to change our scale uh which scale should we do how about how about melodic minor we're going to turn keyboard fold on which gives us two octaves to play with maybe not vtic minor harmonic minor that sounds nice sounds a lot more and we're not doing e [Music] Fran that sounds nice I think it sounds like this could become something nice but let's listen to another scale not the whole tone not the Blues [Music] version sounds [Music] nice I it's a short scale it doesn't have seven notes in it it's cool [Music] though okay we're going to stick with harmonic minor we always adjust this later if we want well we'll kind of get punished if we adjust it later but it is it is what it is cool so we're going to go into our step editor and we're just going to put a couple trigs down like I said we're only using oh wait seven steps for this sequence which you can hear no one ever goes major well something to think about for sure because we've chosen a scale and because of the way I have my personaliz settings on on my dig Attack 2 when I hold this and turn a note it should snap to the scale there we go have to hold it and push down that does it okay so I want this to snap to the scale so let's just go push these [Music] down and I definitely don't want to hear this sequence without a bunch of effects cuz it will just make me totally bummed so I'm go to the effects track let's adjust our effects so function plus effects effects lets you go behind your effects tracks and play with the settings that you don't get access to as parameter locks so these are your like background not background but these are the settings for your effects but you only get to adjust them just here and you can't like hold this down and go I want this to be ping pong on this particular step it doesn't work that way so here I do want to turn ping pong on I want to get that the width up quite a bit so that it really ping pongs hard left hard right cuz we want this to be like really space filling type experience bring my delay up to about 88 we could even feed it into the Reverb a little bit just for fun and filter the top which it already is by default actually in a nice filter spot and then we're going to go down to the Reverb turn that sucker up how about 90 it's also already filtered in a nice spot you can see the exact values of stuff when you hold fun and press it down in the secondary menus you have to hold function and press it you can see the numbers for everything if you do that otherwise you can just hold the the window and you can see the values for your default Windows this way let's go ahead and bring this up and this and I want this Tempo to be slow let's go to like 90 even 85 let's go 80 okay that is not ambient let's get some filter going okay we have something we have something nice nice little bed what I also want to do is uh change the probability for when these notes play we can do it in two two different ways we can parameter lock the probability of these steps or we can change the probability of this entire track let's try changing the probability of the entire track and see how that [Music] [Music] fits nice so now we have a randomly generated sequence now mind you what's random is just the chance that these trigger in the time that they're playing so it's like they're always going to trigger at the exact same time in the seven step sequence it's always going to be the same note um there's not too much you can do about that there is a I did make a tutorial on how you can have it be truly random sequences it's a long process and it's not one that I intend to go through today so we're going to keep things a little bit simple but we are going to use this concept to start generating the bed for our ambient track so let's let's do some stuff with this already to keep things quite simple let's go hold track hit copy to copy the sound that we have which is going to be the wave table that we've chosen the filter settings that we have and the effects that we have we're going to go to the next track I'm going to track two I'm going to paste that tracks preset go back here I guess we could go here and copy this sequence go here and paste it or go back to track two now we have two of the same sequence but I can offset them so they don't play on the same notes so the same notes don't play at the same time so if you look at this is track one this is track two and there just one offset there's two offset but now let's change the uh the notes that are played on this other track let's go up [Music] higher maybe pan this side a little to the right and this one a little to the left [Music] I might even bring their probabilities down even further about [Music] 20% now on track one I'm going to use an LFO I'm going to have it move really slowly so I'm going to bring the BPM multiplier down to one so it's not a multiplier of the BPM change this speed to 16 and I am going to use a triangle wave and I'm going to use free running we're targ targeting the multi mode uh filters frequency I'm going give it a little bit and this will kind of open up the sound that we we have we should also adjust the position of the wave table on a perst step basis for each one of these tracks and let's copy this LFO and bring it over to track two as well so I'm going to hold this hit copy we're going to go to track two I'm going to hold mod hit paste now that same LFO is on this track as well but we could change the speed just to make things more interesting and give it more depth than the other one and now let's adjust the wave table position of these triggers let's go to our source menu we can see the wave tail position let's go move these around a bit give them a little something different and do the same thing for track one [Music] cool we've got a nice little dancing [Music] sound some of that base out of there for each one of these tracks and we'll give it some key tracking so when those higher notes hit they open up a little bit more let's do it on both these tracks there we go so what I really want to do is I want to grab a random sequence and I want to resample this with the effects and everything and then start again from that position maybe bring that down like an entire octave and just have this nice swelling sound there's so much you can [Music] do there's so much you can do with these like ambient oh yeah with these ambient starters like this like this doesn't have to go into an ambient track we're going to do ambient I'm not going to stop here we're going to keep going into ambient Ambient land but I do want to mention that you you can use these these workflows and not do ambient you can use these workflows resample them chop them up and turn them into these cool beds for like um these like minimal house tracks or minimal techno I think is really great or as a bed for some dub techno you can definitely do some Electro with this kind of stuff um and this is kind of like my go-to is with Samplers is to generate like strange sequences resample them and use them as idea starters for uh tracks that have higher energy than ambient cuz I don't typically write that much ambient but I love to delve into it and explore it and take from it and bring it into other compositions and that's kind of a bit of my go-to um with the Dig attack specifically so you can hear this has got some there's some Dynamics happening like there's some change going on we have a lot of lfos and we could do a lot more with this in fact we could use another LFO even though I feel like this wave table is a little on the weak side in terms of like the different harmonic content that it has from it like it is pretty much all at the front of the wave table that has anything that sounds unique um but uh yeah we're going to leave it alone cuz we're just going to keep exploring we could actually well what if we switch this let's go to to slot two and let's switch this one out to a wave table to a different wave table since the settings are already there for us [Music] it sounds like it might have some cool stuff in it there we go need to tame the feedback on the delay why would I want to do that we have different needs my [Music] friend all right let's do the sampling process and then we're going to do we're going to sample this and kind of do this Steve R tape Loop style thing with the sample that we do so let's go to track nine and maybe maybe these lower tracks will be our resample tracks and these tracks can be kind of our generative Sound Source tracks where we have oscillators wave tables and noise sounds just for now as a way to keep things slightly organized just a little bit just a little bit of organization okay let's go into our recorder and what I want to select for my recording source is my main outs because the main outs are going to have all those cool effects the Reverb and the delay and all sorts of other stuff we wanted to add to it we could crunch it up with sample rate or bit reduction or overdrive I don't really want to overdrive things but sample rate and bit reduction I think can sound really good for um just getting some 8bit crunch into your ambient production or just making more Jagged sharp sounds that's kind of how I think of uh sample rate and bit reduction let me just do a little analogy here so when I think of sample rate and bit reduction or even just sample rate and bit rate you're talking about how smooth and how much data is captured in a second um milliseconds of your audio and the less sample rate you have the more Jagged the recording is right just the more sharp edges there are so when we think of how good a synthesizer sounds or the diatech 2 for instance is 4824 for its sample and bit rate it sounds better it sounds better than all their other Samplers that they've made and uh and I don't mean that it's not an opinion it is the truth it sounds better because there's more clarity because it's recording more content so so it's got a smoother recording The More Sample rate bit rate that we do reduction we create more Jagged edges on our sample the more Jagged edges you have the more harmonics you create this is a synthesis thing right a sine wave is a very smooth wave form and therefore it creates just the fundamental tone the more you start changing the shape of the sine wave the more um sidebands you're going to create the more harmonics you're going to generate the same thing goes for sample rate and bit rate okay so we want to capture our main left and right and this is going to be what we use for our uh Steve Rice tape Loop I'm going to do play record so there's two different kinds of recording and this is what's so cool we can record eight bars of it I guess no let's do four bars keep things easy um what's great here is that you can choose to either do a threshold recording which is was my preferred recording for a long time and um I really that's why I loved the Dig ATT attack for recording is cu you just plug something in and just set your threshold and if it crosses the threshold the recording starts and it's just bam it's so easy it's really convenient for grabbing one shots which is what the Dig attacks excelled at dig Attack One excelled at dig Attack 2 kind of excels It Now sample Loops or phrases and stereo samples as well as one shot because it has uh you know 20 gabt of SD and it has lots of ram to work with what I missed on the Dig attct one um when it came to sampl was something that I really liked about the Octor TR which is you know out of out of picture here but I have the Octor TR on the table here and the Octor track has recorder tricks where you could set up a trigger and it would start the recording at the beginning of a sequence giving you these perfect quantized triggers this was really useful for resampling stuff that's like drums because you wouldn't be missing the initial transient of a kick drum or a snare or a synth sound or a vocal or whatever it is that you're recording using the threshold recording you're always kind of missing just a little bit of the very beginning of the recording and sometimes that little bit is enough to destroy or kind of ruin the recording depending on what kind of sound you're sampling now when you use the uh play record like this the recorder will start with the Press of the play button this is just like putting a recorder trig with a One-Shot trigger down on an octat TR which kind of makes this as good at sampling as the octat TR minus this doesn't do naturally this doesn't do live resampling and let you just play with that audio immediately or play with the recording buffer so different machine for sure but in terms of just grabbing phrases this is on par with the Octor TR Now using this feature so you just arm it and uh we hit [Music] play okay here's our [Music] recording because we recorded the main outs we have our delays and our little bit of Reverb in there which really starts to come into play at the second half which is fine for us so we're going to go yes and we'll name this as uh loop one Loop one is saved I'm going to put Loop one on track nine and now for the time being I'm actually going to mute these two tracks where we had done the wave table and the random uh percent chance of these Triggers triggering on a seven-step sequence slightly pned left slightly panned right for each track now we have that summed down to a single track we have that idea burned into a sample we're going to put that on track nine we're going to have this one play uh for four bars put a trigger down and set my trig length to Four Bars whoops which is 64 steps can also hold function it will snap well it doesn't when you're doing this when you're doing a parameter lock but if we weren't parameter locking you could do it here we go now we can add additional effects to our recording but even better we can repitch [Music] it I know it's really gentle sounds really nice though [Music] this definitely sounds really cool resampled but here's an idea too what if we switch this machine over to a repitch machine and then change the length of bars that it plays [Music] cuz there was It was kind of being cut [Music] off a lot of base in it though I love repitching my like res samples that I've done the results are tasty every time yeah reverse that's a great idea that's what we'll do why didn't I that should have been the first thought I had could call eight myth eth eth Don't make me say that don't make me speak those words oh that sounds really nice [Music] oh if we put a little LFO on this bit reduction it will kind of bring in this like this [Music] weirdness that's not ambient at [Music] all I like that let's hear how it sounds at its uh original pitch though [Music] it's very stereo [Music] [Music] all right so we have this beautiful bed is a bed get a little more of that low end out of there it's a bit much let's add these other tracks back on top [Music] ah starting to get there I definitely like it better with the low [Music] pass feel like ambient Tunes are all about low pass filters so I said I was going to do the St style tape looping thing that's not what I did here so so let's use this loop again and um let's mute these really quick and and do this again copy paste paste we need at least two loops and we're going to do this forward change this machine to a one shot this machine to a one [Music] shot okay and we want this track to be 64 steps and this track to also be 6 4 steps and put our trigger down and have this play for 64 steps and set it to Loop so this is a part of the deal and now we can copy that and paste those settings there and then we can actually just copy that and paste that there and so okay let's explain a little bit about this T Steve R style sounds also notice the stereo of the sample it's very stereo the shapes are not the same on left and right channels which I think is so cool and I love that about this sampler in particular not only does it display it nice in a way that I can actually see that information but um but that it is stereo at such a high quality uh digital audio converters one of the reasons I've always love the Dig attacks sound quality it's always been an excellent sounding device so now let's do this so like to do the Steve Rice style tape Loops the idea is is that you have two Loops recorded and they're playing at the same time at about the the same speed and eventually what's going to happen is one tape is going their tapes are going like this and eventually because you offset one they start having this phase uh change offset from each other and eventually they just start playing like they're just playing in different speeds and all you have to do is just offset the start position a little bit or offset the end position um if you followed I've made a tutorial on this on the oct track but it also there's a couple other tutorials on on the internet about how to do this process I'm going to talk through it if you want to watch those videos specifically Loop pop has a a video on it as well um because everybody probably knows his stuff but you should watch mine because it's me and we love the Croy and that's important okay so what I want to do is change the length of time a little bit and I will just hard pan this one and I did it on yes this one will be hard to the right this one hard to the left and this one will play all the way through this Loop will kind of not play all the way through at the very end and uh that'll be that let's have a listen a little attack for that transient there little Sharp [Music] let's bring uh bring its length down even further [Music] oh my gosh sorry I totally I've fumbled this so hard you have to put a one a one a trig one otherwise we keep resetting to the beginning of the phase and that's why those phases aren't matching up hang on a second so what we got to do is go to our trigger and we have to change the condition uh to first because we only want it to trigger the one time we have it set to Loop so it's going to go forever but it kept resetting the phase that's a problem so you would have run into the same problem as me if you were doing exactly what I did we want both of these triggers to be set on the first condition that's going to make us actually do the Steve Rice style tape Loop because they're only going to have their very first trig to control the the loop [Music] okay here we go see now the faces are offset and it's just going to keep growing more offset have to have the trigger length set at Infinity for these not 64 a couple little steps missing there now they'll go on forever okay let's add some like noisy swooshing sounds to this so I'm going to go to track three and uh let's grab [Music] one Factory textures noise oh it's so nice all right let's put a trigger down let's just set it at infinity loop it so I want an LFO to do that for us so I'm going to go to my LFO we're going to go filter frequency oops and bring this to a really low speed or triangle there's our noise that's nice he was going a little slower than we want I also think I want an LFO to move the noise in the stereo field so let's use Alo 2 for [Music] panning panning can also keep using the free running lfos they're really good for this [Music] bring this percentage is really low [Music] now I think I want something just like we definitely want something we're kind of like hanging out in this like mid low range right now and it sounds nice um I think we need some really low stuff we need some real thick like base stuff and we need some like real sparkly High stuff and I'm trying to think how I want to do that I think I want to use uh I'm going to do this like fake ARP technique that I like to do um and then we'll also do some granular stuff to kind of like fill in the high end with the the fake ARP and the granular and we'll fill in the low end just with a beautiful uh single cycle waveform oscillator let's do the beautiful single cycle waveform oscillator first and I want this I want it to the base to be like a solid note I want to feel it I want this to become emotional cuz right now it's Eerie it's like we're going or we're like there's definitely a mystery happening right now like they we're looking for something I think this the narration here is like you're peering through the bushes you're like what's happening I've never been here we don't we don't need that we wanted to be like I'm peering through the bushes and oh my God it's a spaceship that just landed or something where it's just like like a rival something like that you know just huge that's how I want that to feel so let's stop this let's go in and get a single CLE wave for factory oscillator single Cycles [Music] [Music] so all it is s is all right we to use a single cycle waveform they need to cycle they need to oscillate so you got to set it to forward Loop or reverse Loop either way it's going to do the same [Music] thing and let's use a different filter you use the low pass 4 for this [Music] is [Music] now [Music] [Music] [Music] cool [Music] [Music] okay I'm going to do a certain type of Step recording now I'm not going to live record this in I'm going to go record stop we're going to use step record standard this allows me to select a different step and um which is really nice [Music] what's going on [Music] there that shouldn't have been programming steps sorry we got to clear all this weird stuff out [Music] suddenly step record this is the step I want to record to want to use my keyboard mode and I want to put down this note so that note just got placed in this spot on the sequencer because I'm in record step standard so I can choose a step with the the function button even though I didn't want it to do that get out of here got my F3 in there set the trig length to be about a half note let's give it some delay and uh we have our first note actually copy this let's make this track 128 steps paste it [Music] back oh hold on those other trigger go there [Music] [Music] where's that sound there it is what a mess step record standard isn't supposed to put notes in when you hit the pad like that I think I was just doing it too quickly for it just ignore that part we got what we [Music] wanted okay so I'm going to have this one only play I don't know maybe I'll have it play like one of two one of four or something let's go one of two let's do one of two and then actually you know what let's make this 256 steps long by dividing this in half [Music] and then I don't need to use and then I can still use the trick condition but get more out of this trick or not even use a trick condition just paste this and go [Music] we can jump to different pages this way which is very convenient these should all be set at half notes they are [Music] nice all right I feel like we need to put our Sparkle in here so let's do the fake arpeggiator trick this is one of my favorite tricks to do we're going to make an eight-step sequence and we're going to fill it with notes and then we're going to use a single cycle a wave form so we'll set this to forward looping and let's change the sound and pick up we could even use a wave table again so why [Music] not entertainment that sounds nice set this to a a grid resolution 64 forward looping that's what we want [Music] we could have an LFO scan for us through those slices oops so let's go to a modulator and use slice select this is our LFO scan we could use a why not use a sine wave let's see what happens this is what the LFO is doing it's scanning through this wave table for us [Music] we could have it do random and use the random slw it's also nice to have the wave table's position be the middle so the LFO kind of hovers around the center position as you can see now the the LFO is kind of hugging the middle because I set the wave table's position to the center that's kind of important to know so this is good for us it's very harmonically rich and it's what I want even though we are going to do plux with it again so we're just going to drop these down to a little Decay envelopes same with the filter and I'm also going to remove the top end because this is going to be in the top but we're going to go like this we're going to bring the volume all the way down we going to set these to these well first let's listen to it like this we can actually hear them [Music] lots of Reverb lots of delay and our L second LFO is going to go to the filter cut off again this time it is going to go very [Music] slowly we'll have this one play at 2 x speed and I'm going to hard pan each one of these notes far left far right here it comes oh no I will listen to it here it [Music] comes yes [Music] pretty little bit of attack both the filter in the envelope cuz we got a little transient [Music] there yes [Music] [Music] ah [Music] wonderful all right now let's do some granular I love that oh my gosh that's cool that's so cool now I just want to hear [Music] like like huge acoustic drums maybe with some overdrive on them be really cool all right let's do some granular so what we're going to do for our granular is we're going to record the main outs once again I'm going to let the sequence play for a while before I arm it ah that's not going to work well anyway we're going to record everything just that's what we're going to do so we're going to do it again arm it and hit uh hit play oh yes grabbed a good spot LFO is in the right place at the right time oh my gosh here's what we [Music] got I mean that is a sample I could free I could use in a track later that's so sweet that's sick fire save it call Loop two oops where do we want to put it nothing on 12 right I guess since I don't know I'll just put on [Music] 16 here's the Steve R Lo Loops here they are starting to the phase you can see the phase hear the phase difference they're like bouncing it's going to get even more [Music] h [Music] we'll leave it how it was needed to explore there for a [Music] second wow that sample is so fire okay here's what we're going to do with this sample let's mute all the other tracks so we can just listen to this process going to go to our LFO actually we want this to be uh twice as fast LFO is going to be set to start I'm going to go to my trig turn LFO trig off turn LFO trig on here I guess this is for more of a Time Stretch trick we can leave it like this just kind of use the LFO and go to the middle I guess [Music] for [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] I Kaminsky I see you I agree vocal I don't currently have things plugged in in a way that I can do my vocals at the moment I installed a new interface recently and um I haven't set up all my routing quite yet but um it is plugged in it's just not routed into my dig attack at the moment [Music] [Music] all right now I think we need some like longer notes we have this long base note but we don't have a long pad type note we could build a cord from scratch which could be kind of a cool idea yeah we have a couple tracks free don't we we get to build a Triad here 12 a track that we're using oh we can build a okay let's just use our wave table that we had for this nice base sound or no is a single cycle right copy paste paste paste paste let's go [Music] [Music] [Music] got a chord l [Music] I'm sample that uh I guess we want the mains again [Music] bam oops we got a cord made from one of our other tracks save that I don't even know what cord it is doesn't matter Bo CC HC no that's a spicy cord I know we find all these tasty spices and we're going to play with this cord even though I probably should make two of them but we can go back and do that later bring our tracks back track 15 is going to be where the cord was um should be in my recorded what did we call it really that's it right there [Music] [Music] [Music] [Music] [Music] off the one so stereo [Music] [Music] [Music] [Music] [Music] [Music] [Music] ambient [Music] plant smells like [Music] ambient out of the way Plant [Music] okay so far we've done a bunch of techniques we did the Steve Reich tape Loops we did random probability um single cycle waveforms we've done wave tables random probability we've done resampling granular synthesis uh what else have we done oh we did the arpeggiator trick we did filters slowly opening up over noise to create kind of like an ocean Vibe like a noisy distant sound we've done quite a few techniques so far lots of resampling because I think that's really where it's at it would be cool to have some voices in there as well um you definitely made this on the syntact for a tutorial I did I did I made something very similar to this on the syntax tutorial it did turn out similar um a little bit different though cuz you can't do resampling on the syntax tutorial it was all just synth sounds specifically but I think it would be kind of cool to add some like uh some little percussive bits little little glitchy glitchy sounds to kind of like um it's Tom from Myspace wait are you referring to me I hope not well I hope not all right let's see what's up Factory drum hits I want like really small stuff I think it's under the percussion synthetic get one of those I should probably just load a bunch of them let's go here and do it so we're going to use our plus drive to do this instead so go to factory drum hits percussion synthetic and uh what was I using what's this sound like oh now I can use the right arrow and I can just like grab stuff I like it's actually sound like they're in the the key of the track go pull him in [Music] there all right load the project now let's play with these samples in the project and I don't need that to be at least be off shrink them down hand them around oops get out of here [Music] [Music] [Music] [Music] [Music] out [Music] [Music] that's [Music] nice okay I feel like we've accomplished our goal of making of making ambient and now that I'm starting to add percussion to it I'm really feeling the vibe that I want to go a little bit further with this and continue to add maybe some drums to it and uh I think that's what I'm going to do I think that's what I'm going to do how many tracks we got left where did I put that [Music] let's copy this track sound I'm going to put it over here we're actually going to move this oops we're going to move this track to eight for this track I'm going to put a some sort of kick [Music] in this is going to be like 13 steps let's find a we [Music] like no still like minimal sounding [Music] [Music] synthetic that might be a little too minimal [Music] okay [Music] [Music] [Music] [Music] a [Music] [Music] oh man did I not I went in to go do that whole process and I didn't even I didn't even take it with me [Music] [Music] [Music] [Music] [Music] [Music] getet up [Music] [Music] [Music] [Music] this one's called called ambient okay [Music] [Music] [Music] save it right protected okay save it here [Music] [Music] [Music] [Music] just bananas so here's without our percussion track tracks [Music] [Music] [Music] [Music] cool that turned out to be a really cool track it's such a fun experience diving into Samplers like this because Samplers have um a really unique ability of taking your sound like creating a sequence taking that sound and then reshaping the sound after you've created the sound that's something that only Samplers can do you know synthesizers can't do that you can modulate synthesizer sounds you can modulate drum machines but you can't modulate or you can't just take a synth and then just flip it upside down you know what I mean taking snapshots of time and then playing with those snapshots of time it's just such a cool experience and that's why I love working with Samplers in general they're easily my favorite tool if somebody said you can have a synthesizer you can have a sampler you can only have one I would always go with the sampler 100% of the time uh although the diatone 2 would give me a run for my money because that is an amazing synthesizer for doing exactly what we're doing now I know a lot of people were talking about diatone 2 during this uh tutorial and um that's because it does such a great job so it's definitely a good idea to play around with the diatone too I do think that if your first box with electron if you're getting into electron you're just going to start off here I think that it's a good idea to start off with uh dig attack 2o I think it gives you more bang for your buck in terms of uh different kinds of music that you can make or um or basically you can make any kind of music 100% of any kind of music whereas a Dione you are going to be limited to your skill set with synthesis and understanding synthesis as opposed to loading phrases and samples into a sampler so definitely recommend that but in terms of making like ambient and stuff like that all of them do a great job what's great about the uh dig attct is that you can also um you know just take beautiful long recordings of like your modular ambient stuff and then put it in the DCT and then set them all in different parts of the stereo field have them play slowly or Time Stretch them and stuff like that there's lots of great stuff that you can do this is what we ended up doing [Music] ambient artist that inspire me I mean Brian Eno aex twin does some ambient stuff that's great um some like newer artists I think jogging house ises a really great job of some ambient stuff um there's a couple of others I'm forgetting the names of I don't listen to much ambient I just I just like ambient you know I just think it's cool I like this more once I added drums to it that's just natural for me like to turn into some sort of a beat and yeah I don't know anybody anybody has some ambian artists um that they think people should check out you should throw them in the chat please so driess drive some traffic over to this ambient artist get get him some uh some band camp money or something you know what I'm saying get them some get him some heat some listens hears hears and listens like this sounds nice super Eerie sounding and that's because of the scale we chose that harmonic minor scale is a Eerie [Music] scale it's so [Music] big Pleasant [Music] [Music] Midwest program Andrew black okay gas compact [Music] records Han Zimmer Neil's from you comparing me to Hans where Neil's from get out of here I ain't nobody just this guy with a dig Tag 2 on the [Music] table Tokyo bedroom Orchestra that's a great name I do love some of the sounds we got like buried in the background I really I wanted to get some more like granular like sprinkles [Music] H I've always wanted to try that a torso S4 somebody tell them to just send me one cuz I'm not going to buy one I don't mean that negatively I'm just not spending money right like that right now but I would love to try one that' be sick guess some granular stuff I would have recorded that in here [Music] please try all of it at half speed yo that's a great idea all right all of them at half speed I have to go in and edit them all we could just take the tempo down half how about that let's just bring it down to 40 goes down to 40 or goes down to 30 at the the most here's half speed [Music] [Music] s I'm just doing some active listening here active you can tell that I used to work in and Behavioral Health cuz I say things like active listening nobody says that [Music] no you cannot you can hit track and and edit them but you can't um edit the speed of all of them at the same time [Music] [Music] [Music] [Music] [Music] more tracks we can use here [Music] [Music] [Music] [Music] [Music] [Music] [Music] w [Music] [Music] oh my God we haven't even added vibr to anything what's wrong with me [Music] oh jeez where's all my Boards of Canada sounds [Music] m a [Music] [Music] all right let's record the entire thing uh uh yeah let's get 128 steps of the main outs [Music] [Music] loop three you can go on 15 I think right actually you know what why don't I that back to where it's supposed to be supposed to be this sound right [Music] I don't even remember what was there all right we're going to go to a new pattern um we'll do the same thing that we did before infinity infinity I'll make it be long like eight bars long or eight measures put this sample in as loop three and Let's uh have a listen to that [Music] what com filter [Music] yeah not going to fly fun to to try I guess all right check this out we're going to put this into a grid machine it is a quantize loop grid 64 and uh slice uh yeah it doesn't matter let just put a bunch of slices down random locks [Music] wait a second up with slice [Music] 64 oh oh my goodness gracious [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] all right just one last time without the drums just acknowledging our lovely amp track back of the tempo we had it [Music] at nice [Music] and then we can go into wait what what speed was this one at let's see also at 80 [Music] t [Music] [Music] t [Music] [Music] h [Music] too cool there's just too much random stuff you can do with the Dig ATT Attack 2o Just a Good Time cool well that is I know we did our ambient tutorial for the first hour or so and then I just explored what we had made in various other strange configurations like using the rrig on every single trig or resampling the whole thing bringing it to another track chopping that up and uh using the random locks which is a feature from the oct track brought over to The Dig attack 2o which is a great feature to have and helps you just like get track started and uh I feel like we got a lot of cool sounds out of today's dig Tag 2 tutorial and there's always more to learn there's always so much more to learn there's so much more for me to learn and um you know we should all be sharing sharing that knowledge with each other and uh if you have any other tips or tricks that uh maybe I skipped or missed or didn't think of feel free to leave them down in the comments comment section here and maybe they'll make it into another tutorial later down the line and I'll give a shout out for you if uh something I've never heard of before but uh that's going to be it for me that's today's live stream dig Tag 2 is amazing and I love it if you haven't picked up a DigiTech 2 and you feel inspired by this video this uh live stream and you want to pick up DCH 2 there is affiliate links down below they pay me handsomely for real and um that would be super cool so if you're going to pick one up anyway might as well toss a buck to the old easy bot sitting here making tutorials in his desk by himself drinking flat lacroy throw a dog of bone right it's been a real pleasure having everybody here thank you so much for hanging out and if you want to see specific tutorials on how to do things on electron boxes or uh maybe the ma tracker or other devices feel free to mention that also in the comments below if you want to get your hands on my performance templates or any of my presets stuff like that you can visit patreon.com ebot that's how you support this channel not just buying stuff on affiliate links which is awesome but if you really want to support the channel visit patreon.com bot whether it's a free member or a paid member it's incredibly helpful and um it is what makes it so that I can sit here on a Tuesday afternoon when most people are at work and do a live stream so uh really appreciate that and appreciate everybody for hanging out so I will see you either uh later this week when I drop another video and or do another live stream but for sure I'll see you next Tuesday be looking out for that thank you for hanging out my name is Matthew AKA eot take it easy [Music]