![]() The technique became popular back in the days of Atari STs and Akai S1000s when, unlike now, computers and samplers couldn’t handle real-time pitch and time processing, and the results of offline pitch and time processing could be sketchy. By virtue of being a MIDI part, the pattern can be played at any tempo without impacting the pitch of the loop. An accompanying MIDI pattern is created to trigger each slice in the correct order and with the correct relative timing between triggers. To do this, the loop is sliced up into its constituent hits, with each hit assigned to a trigger note in a sampler. The core aim of beat-slicing is to retime loops without affecting their pitch, and to do so without the need of processor-intensive time-stretching and pitch-shifting. ![]() ![]() It offers much more in the way of creative potential than modern pitch- and time-processing methods, and the practice isn’t prone to the same artefact-heavy warbles and stutters either. Beat-slicing may be something of an old-school technique but it remains an essential weapon in the producer’s armoury.
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