Yes, I do think it’s a lot deeper than people give it credit for and actually, the primary reason I’m not returning to it frequently is because of its somewhat stale sequencer. It’s funky enough, but with no individual track lengths going on and the 64sec limit on samples, it doesn’t quite fit my workflow.
Every time I do return to it, I think “Let’s make the most of it”, but I just miss the Blackbox way of making music so fast, I’m back on the 1010 magic bus again.
But as I’m clearing out my basement from gear that’s overstayed their welcome, the Toraiz is not the first to go.
I don’t know. I think the onboard fx are somewhat overrated here, actually. I don’t enjoy any of them in particular, except for the compressor on the master, which is great. But I tend to work the tracks all dry when I use the Toraiz, with maybe just some filters slapped on. I like those better than the EQ fx.
The Dave Smith filter is, of course, fantastic. But that’s like a story all on its own.
Do you not like the processed sound of recording into the SP?A lot of people feels its got a kind of finished/weight to it.I kinda agree.The filter is of course a nice touch…]
You can live sample into the 16 pads, then immediately play back slices (it auto slices into 16 slices anything you sample onto a pad), you can play it back chromatically immediately as well (another mode, no additional processing necessary), you can reverse the loop you recorded, you can slow it down or speed it up, pitch down pitch up, use two of its FX on each of the pads…it’s not an Octatrack, but it’s quite good for what it is, and the immediacy is awesome. I use my SP16 to live sample & loop vocals and then mess with the slices on the fly. Also the SP16 has gate, one shot and loop playback modes per pad, which is great.
@TransGirlHappyHardcore
Also being able to assign LFO to various destinations such as Pitch , Loop Start AMP envelope, FX1 FX2 slots. Use of various shapes like sine , saw random.
A limited but solid parameter locking feature.
It’s a beast in it’s own right.
Couldn’t do a video but here are a few pics:
Can anyone furnish an “explain it to me like I’m 5 years old” explanation for why one might prefer either an SP-16 or a DJS-1000 - under what circumstances is one more suitable than the other?
But note, the SP has 2 FX slots while the DJS currently still only has one. I think the SP has a song mode but I’ve never used it.
The DJS saves mutes per pattern while the SP does not.
Other than those differences, I think it comes down to your design preferences.
Oh. The SP has the Dave Smith filter and drive. Some people run other gear through the SP just to get that tone.
I’ve owned both. I currently still have the SP. I want another DJS just because I like the way it looks and feels. Plus, every time I watch this I get GAS.
Which reminds me, the SP has sends and returns, with reverb. The DJS does not.
BUT. The DJS has a master FX that includes a reverb.
Another thing to note about the DJS is the Scale button and I think the Slice button, have dual functionality. Double clicking them takes you to the scales and slice pages. On the SP, you gotta menu dive for those things.
So don’t tell the others but after some experimenting with the Rytm, I’m back on the Toraiz for my next project. Despite its limitations, I’m dedicated to work my way around them for all the good things the Toraiz brings.
I did catch the postman, but noticed you’d written the whole thing in longhand, in ink and all. As much as I wanted to destroy the evidence, it was so lovely, I couldn’t.
I’m probably going to move back and forth between the Toraiz and the Rytm until I nail a track or two, so you might as well stack up on paper and ink.
