#165

My 202 is one of the first pieces of hardware I ever got and I’d love to get it up and running again. the output has been messed up for years and while I think I might still need to replace the jacks I know the volume pot is busted and I want to replace it first to see if it fixes the output levels. Contact cleaner didn’t cut it so I just need to replace it, but its proving to be a huge pain.

Anyone know where to get the replacement pot, ideally in the EU? It is a different pot than the fx one which is easier to find. The service manual says its RK09K12C from ALPS, but I can’t find it in the needed 50k, only center dent versions that are also the wrong length on the pot. Or, shipping from Australia which is insanely expensive. I’ve seen ones for sale for the 303/404, but I don’t know if its the same value pot and finding the differences is difficult since the seller doesn’t give the spec sheet for the part. Any SP folks know if it will work?

#166

Using the Microsampler’s delay, actually! It works in a particular way where dialing down the repeats clears that part of the buffer, so you can use it to erase bits either gradually or fully, and if you play something in at the same time you’re effectively sidechaining, and you’re controlling the attack/decay by hand.
The microsampler is great for certain stuff, but I ended up selling it to fund an Octatrack, and am now going through a few polyphonic/chromatic samplers because I find myself missing that part (and the ease of use) of the Microsampler still.

#167

He uses the 505’s delay but it’s not too difficult to make it with an Octatrack. The main difference is that Octatrack’s max delay time is half bar, 505’s 1 bar. That’s why we should use Octatrack with half tempo. I made some loops with this technique using CUE recording, which is quite fun! I assigned the feedback parameter to crossfader to make that sidechain effect with my hand.

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#168

Not to get into a classic ‘no u’ internet-argument, but are you talking about the same video I am? It shows him using the Microsampler’s controls, in particular the two knobs on the right, which are the FX. He’s replaced them from the regular chickenhead style to something else, maybe so they stick out more? The originals are kind of recessed

Super fun effects on that thing, actually. Pitching the looper was a lot of fun

#169

It’s alright, I think we’re both right, because he uses delay of both machines :slight_smile: He starts with Microsampler and then he makes the same thing with 505’s delay (starts at 6.45)

This is really like painting, you should live with your mistakes/happy accidents.

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#170

Ah right, I only checked the beginning! True, he’s using both.

#171

Watching this for the first time… the bass he brings in around 6:00 is amazing. Cool set.

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#172

Hi,
Just curious how other people are using the SP in their setups. Previously, I’ve mostly used it standalone or in a temporary setup. Lately I’ve gotten interested in a more integrated setup.

Long overdue, I recently learnt of the Alt-3/4 submix routing possibilities of my Mackie mixer. It seems genius to me. My idea is to have two SP:s in series on the Alt-3/4 buss.

I will have various sound sources (+daw) going into my mixer and anything I want to sample or route through the SP fx I just send through Alt-3/4. And since I’ll have the submix always connected to the main mix I can just play the pads on the SP:s however I want.

In addition to this I plan to wire everything up for Midi-sync (through a midihub) so that I can use techniques such as Dakim’s delay-looping while keeping in tempo with the project in my Daw.

Very excited about the possibilities I see.

#173

I was forever running into walls with it when I had high expectations, but now that it’s been relegated to a glorified tape and effects machine it’s really found its place. It’s at the end of the chain, and I use it to grab samples and loops from my other stuff, as well as a lot of resampling of those loops with the 404’s effects. Shame there’s no reliable offline timestretch or octave (as in: play back at half or double speed/pitch), as that would make it much more useful for me.

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#174

I can relate to this. I used to make full beats with it, but it just took forever. On the other hand the textures I achieved at the time, through resampling and stretching etc, is something I really want to return to. But it’s probably easier to use it as sound treatment than as “daw”.

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#175

The limitation of no easy timestretch or simple octave up/down varispeed is a little odd, but I’ve accepted it and will rely on other tools for that. I probably should have gotten one earlier as it would have suited my setup much better in a live situation instead of using sample playing modules in eurorack like the disting. Planning on using the effects and resampling sounds as I process them to see where that leads creatively. The effects are really so unique and tuned in (only three parameters!) to my ears.

@janglesoul – I’ve had a Mackie 802 for years and have never used the alt mix, but I’m looking forward to trying it more with SP-404 especially.

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#176

I like using my 303 to “warm up” sound sources from my iPad. And there is something the envelopes or amps or whatever do to the attack/dynamics of a sample…I don’t know it may be all in my head…

I haven’t been using mine lately though; would like to get back to it.

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#177

I’m starting to look around at other tools for that: a nice, easy and plain stereo sampler that pitches up and down to do some audio ping pong from and to my SP. I’m not seeing anything as simple as that (some of them are mono or super lofi, like to microgranny, or the po-33), but I’m wondering: is there a Norns script that can do this for me? (If not: could I create it using existing tools/script? Probably the timber engine should do the trick…) Of course there’s the DAW option, but the beauty of the SP is how fast it feels without a daw.

a little sidebar question here:
I’m looking at the specs from the new Roland Verselab MV-1: do you think it could be an SP range successor/upgrade? It seems to do everything an SP can do. Of course the SPs have their sound (and their mojo), but still…

#178

The op-1 is a nice mono way to do this with the tape. The Reels script on norns emulates this. Also quite a few looping pedals can get the job done in stereo.

#179

That was my first thought with the Verselab too, but they had limited information at the time. I’ve found the other two (MC-101 and… 707?) a bit finicky based on manual-reading and videos I’ve seen, but this one I can’t really judge yet.

edit: to reply to your other thought as well

A looper (Norns was mentioned, but I prefer single-purpose stuff for this) could be just the thing. It’s what I’m currently using for stretching and obviously, looping.
It’s not often mentioned, but the Eventide Timefactor is a fantastic creative looper. ‘Creative’ referring to its ability to go above and beyond straight recording and playing back of loops:
You can move loop points, speed up and down in different modes (octaves, octaves+5ths, Dominant 7th, Chromatic, and unstepped), record in a slower speed (and: lower bitdepth) to get a longer loop, record or overdub into the currently playing loop points without touching the rest, reversing…
Oh, and there’s a simple one-control HP/LP filter (not resonant).
It also allows you to set your feedback to something other than full, so you get loops that gradually fade away, which can be nice.
Oh, and all of these have dedicated controls! Other controls: switching between auto loop, play once, play reversed etc…

This is kind of an unstructured braindump, but if you’ve got any questions: fire away!

I’ve also got a Jamman Stereo placed after it that I’d highly recommend for the more straight looping and saving to SD card. Its timestretching is gloriously oldschool, which I’ve used often.

#180

Off topic: the alt outs on the 802 are golden. also, using the L / R panning in conjunction w/ that alt outs can act like a makeshift send. there is so much functionality in that little mixer that I hope mine lives forever.

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#181

Wow, that’s a great trick I hadn’t thought of. I’ve considered upgrading to the 1202 a few times (mainly for the extra aux send), but like working with the features of the 802.

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#182

I bounce stuff between my sp units, a field recorder and an op1. I’ve got most of the sp range, and the different boxes lend themselves to different workflows (for me) which in turn leads to inspiration.

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#183

I just got an SP-555, which I’m really excited about. two of the pads are less sensitive and I have to press them pretty hard to register, anyone have experience repairing something like that?

#184

No I haven’t. I think it shouldn’t bee too hard to take off the lid, remove the pads and use some electronic contact spray. There might be spare parts available here. Didn’t see SP-555 though.

EDIT/ADD: I believe the switches under the pad are called tact-switches. If they fail the can be changed, but it takes soldering. I googled and saw there was a seller on ebay: Roland SP 606 - 505 set of 10 Tact Switches | eBay

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