User Manual

Hints & Tips

As you cue and/or move the pitch slider back and forth whilst

monitoring in the headphones, all this musical and rhythmical

information gets transmitted to via PFL. Naturally

this cueing 'tempo' you create is irregular, sending small

fluctuations to , which will intelligently track the

BPM and time stretch any stored samples accordingly.

The times when you don’t want to do this are in

the two examples below. Imagine beat mixing against a track on a

turntable whose tempo constantly changes with small fluctuations, it

would be nearly impossible. Therefore, you can instruct the sampler

not to analyse tempo changes (see page 11) and no matter how

fast/slow or in which direction you spin the forthcoming track,

will play any samples back and run the MIDI

clock at a fixed tempo, steady as a rock.

LEARNING TO MIX - You can use as an aid to

enhance your beat mix skills. It's always easier to practice beat

mixing against a clean 4/4 rhythm with minimal melody/vocals. Now

you can have an infinite looping clean sample of your choice to

practice mixing against. Just record/playback the loop and dis-

engage the BPM engine.

MIXING VINYL TO VINYL USING ONE TURNTABLE - Most dance

tracks are structured to have a clean introduction (intro) and exit

(outro) to facilitate mixing and to avoid melody clashes. Now you

can sample either the start or the end of the track (we recommend

16 or 32 beat loops) and, using your crossfader, blend the outgoing

track into your long sample, put a new record on the same turntable

and mix against the sample. Just record/playback the loops and dis-

engage the BPM engine.

SoundBITE micro

Disengaging the BPM Engine - A Few Applications