There have been a couple of ‘Tips and Tricks’ threads started so far that kind of fizzled out. I believe that these ideas would work better as a WIKI post that can be updated and edited by ANYONE, so folks can reference it without needing to read through an ocean of replies to get to the good stuff… So here we go!
Some Ground Rules
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Avoid deleting or heavily editing someone else’s contribution without messaging them directly on the forum.
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Try to avoid tips or tricks that require the use of a very specific, niche and or extremely expensive product.
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Give credit where credit is due. If you got a tip from someone else on the forum, tag them or give them a shoutout if it was somewhere else on the web.
I’ve added some general categories that I think make sense, (feel free to add any you think are missing) although I don’t have tips and tricks to add for all of them. I did add a few of my favorites that I’ve bookmarked . I also think its a good idea to try and utilize the ‘hide details’ function to try and keep things a little more clean, but the format may change over time as it evolves…
TIPS AND TRICKS CATEGORIES
BOUNCING 
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DSP EFFECTS 
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ENVELOPE 
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FILTERS 
1. S950 Style Low Pass Filter Settings By @finalisage
I’ve got an S950 and a S2400. If you’re interested in getting the digital Low Pass filter in the S2400 to sound similar to an S950, try the following settings:
- For quick Low Pass filtering: set Resonance to 34 and sweep away
- For deep Low Pass bassline filtering: use Channel 6; Engage Fixed Filter in Effects: set Resonance to 47 - sounds most authentic below 1.2k. For example, 500Hz Cutoff on the S2400 is similar to the 25 setting on the S950; 1100Hz Cutoff on the S2400 is similar to 35 on the S950.
TheS950 and S2400 filters are obviously different, but this will get you a similar sound, if you’re interested in that type of thing 
LIVE LOOPS 
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LOOP/SLICE 
1. Delay Effect By @malikabdulrahmaan
- With the desired sample assigned, enter loop/slice mode.
- Select B on the desired sample track to turn on waveform view.
- Shift+B on desired sample track to turn sample looping on.
- Select number of loop repetitions you want.
- Enter envelope mode.
- Adjust decay of envelope to gradually fade out as loops play.
- Success!
MIDI 
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MULTI MODE 
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SAMPLING 
1. Easily monitor either S2400 inputs while sampling without swapping cables by @mstrblstr
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Monitoring sampling through the s2400 rather than monitoring the source is a must since many factors can affect the sound (described in another tip “Sampling tonal variations of the same sound”. If you two Y cables you can route from somewhere (For me, it’s a patchbay) to both inputs on the S2400 and then use the knob to switch back and forth between inputs while monitoring. That way, you’ll know exactly what the sample will sound like before you record it, saving much time.
To set this up use two Y cables (something like Hosa YPP-118) plugged into your source, such as 2 jacks on the back side of a patchbay, and then run a pair of stereo cables to the inputs so that your single stereo send goes to both input 1 and input 2 on the S2400. On the sampling screen you can select from within the S2400.
My patchbay half normals the inputs to two outputs from my audio interface because I usually record into the computer first and edit there, but if I’m trying to work fast in the middle of a session I can patch anything else in there quickly to record it directly. -
I made a channel template for my DAW so I can drag some channels to route from source to sampler quickly, it saves me a lot of time.
2. Sampling tonal variations of the same sound by @mstrblstr
- When you monitor while sampling, you’ll notice that the sound is very different depending on 1. the input selection 2. the input settings (which engine, etc) 3. how much level is hitting the interface. * Monitoring sampling through the s2400 rather than monitoring the source is a must since it sounds very different depending on how you hit the inputs and which inputs you use. PS don’t miss the sweet spot where the recording just starts to clip but you don’t get a clip warning.
3. Authentically recreating a ‘vintage’ drum machine’s particular quirks in the S2400 by @mstrblstr
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When sampling old drum digital machines or using samples from other sources, look at the original machine’s manual for an explanation of sounds cut each other off due to limited polyphony, then set up in choke groups in the S2400 to reflect these limits. Any sounds that choke each other should use the same output.
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Look at how that drum machine’s level and accent system work and model that as best you can in the S2400. For example: on the TR-909 there are 4 levels of accent: Normal, Accent, Normal with global accent, Accent with global accent. though some voices dont have normal accent such as clap. So, set up 4 volume levels on in multimode when programming and think about how you might program the beat on a 909: are you going to put global accents on the downbeat, or on the offbeat? Or somewhere else? Think about how that would translate to the S2400’s user interface.
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Drum machines sounds are generally already rather compressed so they peak at the same place. You’ll get consistent levels for every sound, so you can record all the sounds into one sample and then chop them. It is faster than sampling one at a time and makes them all peak as they relative to each other in the original machine, as a starting point, which also speeds up kit building.
4. Sampling modes, inputs, and dirt by @mstrblstr
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The SP1200 anti-aliasing filters are enabled when and only when you record in 26kHz mode from LINE12/MIC/resample. The gain stage amp on 1/2 attenuates the high end, which may be just what you want. Only Line 1/2 / MIC / internal, and Resample pass through the gain stage amp and the gain trim pot.
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The most “open” sound is from using inputs 3/4, which are unfiltered.
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The classic engine uses drop sample pitch interpolation, which has more artifacts than the Hi-Fi engine.
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A 16/48 sample using the classic engine will have some grit
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For maximum dirtitude, sample (or resample) to 26khz, which uses the classic engine.
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If you need even more dirt, remove bits using the bit depth setting.
SEQUENCING 
1. Auditioning Different Samples In A Prerecorded Pattern by @ScottBrio
if you’ve recorded pattern data into your pattern, you can audition different drums or samples while the pattern plays back.
Hit [SHIFT+PAD] to get to your pad settings, and [ASSIGN SOUND]. Scroll through samples to find the perfect kick or get wild results by selecting random samples for day, high hat patterns 
SONG MODE 
1. Creating a Song With Shift+F2 By @Leighty
First, create just one pattern of say 4 or 8 bars only. Get all of your key samples sequenced in there (drums, bass, melodic samples).
Then solo what you want for an intro and press ‘Shift+F2’. For example, kick drum only. This will insert the current mute/solo state into song mode. Then solo what you want for the next section of your song. e.g. kick drum and hi-hats. Press ‘Shift+F2’. Keep going until you have all the obvious mute/solo combos in logical order in song mode.
Then enter Song mode when done and you will see that you have already arranged a song with almost no effort.
TIME STRETCHING 
1. Changing Pitch But Keeping The Sample The Same Length by @rozz3r
With a bit of simple maths, you can do this using the Timestretch feature.
Timetretching something by 200% will make it twice as long.
If you play back the timestretched file an octave higher, it would be the same length as the original, but an octave higher in pitch.
So, all you need to do is divide 100% by 12 to work out the timestretch values for individual semitones.
100/12=8.33
Let’s say you want to pitch something by +2 semitones.
- Timestretch the sample by 100+(8.33*2)=116.66%
- Assign the timestretched sample to a Pad and set Transpose to +2.00st
Voila, pitch shifting.
Fun fact, this is the technique used by jungle artists to ‘play’ pitched breakbeats. They would repeat this process several times and map the same break to different keys at different pitches, but all playing back at the same tempo. It sounds wild 
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