Yeah I bet on a PA it makes more sense, since it was aimed at performance in a club/live setting, I only used mine in studio, so probably accounts for my not being that into it.
Weird that they omitted it on the DJS though.
They omitted the filter and arranger on DJS-1000 —maybe by DJS-1000 release date (late 2017) Dave Smith and Pioneer had already parted company. The AS1 and SP-16 was (mid 2016) both Dave Smith designs eg AS-1 (50%) and SP-16 (25%)
If you look at the SP-16 filter design in the service manual --its much integrated in to the SP-16 than people think (def not an ad on :))
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The SP-16 is a bit more versatile than the DJS right now.
The multiple outs, additional render options, and two effects slots make the SP a better choice for me at the moment.
The DJS is quicker and sounds better on my system. But only marginally better and quicker.
So…my amateur bedroom side-by-side comparison will be coming to an end 
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Dude, if you’ll burn for this, I’ll stand by you. When it comes to filters, one of my strongest favourites is the Octatrack’s, and that’s so digital, the Moogs around me cry themselves out of tune whenever they hear it. I love it, though.
Envelopes, however. Must remain analogue. So help me god.
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Yeah, they’re the same, right? Pitch shifting loops with time stretch active, makes for some really nice harmonic content. I’m using it with the touch slider now for automation as well as live tweaking in a new track I’m making, and it’s glorious.
When you abuse samples like this, the character of the original source truly presents itself. My Prophet 12 reveals so much additional layers when you build a loop with it, sample it and then twist it like this. In situations like these, the difference between instruments show themselves for real.
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Doing some similar stuff but a bit more low rent ha ha , minibrute 2s not a Prophet sadly
I’m looking at a sp16 alongside my djs now thanks to all you good people . I need another sampler like agile in my head but hey …
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I got a little something cooking that might talk you out of it. It’s very experimental. Or it could have the opposite effect. We’ll see 
One thing’s certain, I am not returning the SP-16. The trial’s soon over but it stays. I’m trying the rendering feature now, directly from the SP-16 without passing any mastering at all. We’ll see how that goes.
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Ok, so this one is more experimental, with lots of live looping orbiting around a time-stretched beat.
From time to time, I break out from the structure and float free, and then back at it again. There’s automation as well from the touch bar, and some parameter locking for additional movement.
Delays aren’t from the Toraiz but a Chase Bliss Tonal Recall Red Knob Edition, and only the live loops use it. Neither the live loops or the Tonal Recall are exactly matched to the bpm, which will hopefully add atmospherics and not just sound weird.
This one is mastered and rendered directly from the Toraiz. Didn’t pass any external processing or daw at all.
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Damn. What a sound.
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Yep. It’s loud. I gave up compression on the master for reverb, but I’m not all that sure I miss it. In fact, I’m starting to wonder if there’s light compression on board by default, and the fx is just if you wanna make it a lot more distinct.
I did run this through my SSL first, assuming it would sound better. I could tell a difference but couldn’t say which one I liked more, so I ended up with the Toraiz-only version.
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Playing live on 2 x djs 1000s
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This is really really nice . Great work
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Great post thanks , he’s got some nice stuff in his studio and a simple but effective live rig. Love the mopho as midi controller and the twin DJS set up. In my own less skilled way I’ve been doing this with using a sync’d XDJ alongside the DJS for playing longer stems and a launchkey via ableton for the synths.
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Thank you, that’s very nice of you to say 
thanks for taking the time to listen 
Browsing through my stuff now, I realise I already got about ten minutes of material I’d be happy to play live, and I’ve not had this sampler for two weeks yet. This one’s really wired after my brain.
It’s like a greatest hits of all the defining features I’ve enjoyed with samplers over the year, all put into one.
Not an objective statement, only a reflection that what I’ve enjoyed, seems to be all here a personal experience which I’m sure not everyone shares.
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A pair of SP-16’s is even better --you can throw away your DAW entirely and make much better tunes without Ableton,Logic and all that crap.
Actually I reckon DAW’s have held back music --compared to the 1990’s - 2000’s not a lot of great electronic has been released post 2000. In fact its a million times harder now than in 2000 to make an impact with your music no matter how good. The main reason for that is DAWs suck the life out of music. Good hardware like the SP-16 is vital to combat that
A perfect example of the decline of good electronic music is to track Warp records --pre 2000 then post 2000. You can clearly see the quality of the music decline as DAW’s came on the scene.
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Your point on how hard it is to stand out even when your work is solid, is very interesting. I’m a writer by profession and almost no matter the context, if your writing is good, you will get noticed to some extent and find work. With music, it seems even if you’re stellar, it’s not enough. It takes more than good quality to get noticed, and that’s usually not the case with writing, provided you’re active enough to put your work on display.
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Sounds fabulous.
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So my Toraiz is here but won’t have a chance to mess around with it till the weekend.
Quick question: when using the ducker, can the control track still duck it when it’s level is set at zero (or even muted)? Or maybe the control track can be sent out a separate output (one not being used) and still control another track’s ducking effect in the main outs?
So one can, for instance, have the main kick on a different machine (Rytm) and have a low bass part on the Toraiz pumping with a silent kick matching the Rytm’s pattern.
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Thank you for saying and for listening
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