I used it for couple ambient patches to add some texture to an otherwise all-too-smooth pad sound, but… it’s supposed to be a delay and I can’t find any use for it as such. When you go into lower octaves it seems to make the same ugly metallic sound, no matter what you play. So, did anyone found good uses for it?
Yes, the delay on the main melody in this track was done with GRID:
https://soundcloud.com/motone/the-drunken-raver (starting @ 1:40)
I finetuned the effect to match the tuning of the melody using SHIFT while turning the knobs.
GRID is somewhat special but when you experiment with it you can find some interesting spectrums.
One thing I’ve found is that it sounds (a bit) better when used as a master effect, than on one channel.
I used Grid on my track of the very first battle five years ago. Kind of makes more interesting harsh delays with soundchanges. A bit like a tape delay. Good for special effects. You can hear them in the beginning of my battle track and maybe also on some other sounds later, I don’t really remember anymore.
It can make a nice bit crusher/delay for some old school hip-hop beat, Akai style.
It’s quite harsh, but I like it. Try recording the effect in reverse for a less “obvious” sound.
yes. embrace digital destruction. then work with the extreme settings and movement.
AFAIK Grid is the only FX in OP-1 that you can push into feedback, which is sort of interesting.
I've found it works best with lots of high-frequency input (eg white-noise-ish), low-octave sin wave type stuff makes the weird aliasing sounds a lot more obvious.
I think part of what it does is like a comb filter, and you can dial in Blue to tune the generated harmonics. I made this song using 4 tape tracks: each track was synth->Grid with each of the 4 tracks using different synth engines and different Grid settings tuned to the particular chord being played. https://soundcloud.com/operator-operator-6/surfacing
AFAIK Grid is the only FX in OP-1 that you can push into feedback, which is sort of interesting.I've found it works best with lots of high-frequency input (eg white-noise-ish), low-octave sin wave type stuff makes the weird aliasing sounds a lot more obvious.I think part of what it does is like a comb filter, and you can dial in Blue to tune the generated harmonics. I made this song using 4 tape tracks: each track was synth->Grid with each of the 4 tracks using different synth engines and different Grid settings tuned to the particular chord being played. https://soundcloud.com/operator-operator-6/surfacing
Wow, really cool track!
Thanks so much! I really miss making music, sadly the past couple years have been too busy 
I was thinking about this question a bit more: another unique aspect of Grid is that it’s the only delay in OP-1 where you can change the delay time without affecting pitch (using Green encoder). This produces all sorts of interesting buffer-y effects if you modulate Green, especially using the Element->Env LFO can produce some really interesting sounds as you suddenly spread or compress the delay’d sound.
The other thing is: IMO String is the best synth to feed Grid, because it’s random (based on white noise) and thus the response you get from Grid (which is comb-filter-y and very frequency-dependent) changes note-to-note and generates interesting saturation if you increase the feedback (White).
A trick I’ve used a few times is to have a short pluck-y String sound playing an arpeggio run through Grid: as you slowly change the Green parameter, the delays will phase in and our of time with the arp and create interesting swells and waves of sound. You can hear that here (as well as the env->Green trick, which is happening with the other non-bass, non-pad sound): Fragmented by Operator Operator 6 | Free Listening on SoundCloud
IMO Grid, like Phone, is one of the more interesting FX in OP-1, but just like Phone I avoided it for a year or two because I hadn’t found any of the sweet spots. 
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Cool thread! Anyone have any tips for using the Phone effect in a more musical context?
@johngredin: cheers
@Zzzach: I’ve made a couple comments with Phone tips, here are some:
Mostly I think just playing around is the key. Blue controls grain pitch, Green controls grain size/smoothing, White controls random modulation of pitch/size and Orange is wet/dry mix as well as threshold for buffer freezing. At least, these are my best guesses 
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grid is dope
hope this helps
@raigan when i first heard your fragmented bit I was really inspired since i had really not dug into what grid could do much deeper than using it for hat fills and the like. here is what i came up with based just on string and the endless step sequencer while fiddling knobs. three takes of the same pattern each with their own knob fiddles creating an i don’t know of sound but i liked it.Thanks for the tip. https://soundcloud.com/nonsym/grid-studies.
@nonsym: awesome!! Thanks so much for sharing this – I love those cascading-waves-of-smeared-feedback sound.
Good suggestions. Nice demos. Not sure I could recreate most of those sounds, but at least it’s something to aspire to. After reading this thread and fiddling with Grid and a bunch of engines, I found more interesting uses for it.
Like raigan said, Grid is apparently really good with String engine. It also works well with noisier settings of Digital. Binding Value LFO to Blue Grid param makes an interesting effect.