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Happy holidays! Please see the year-end funding drive post in the Announcements subforum. Thanks and all my love to you beautiful people.

The Octatrack Tips & Tricks Thread
MUFF WIGGLER Forum Index -> General Gear  
Author The Octatrack Tips & Tricks Thread
jumbomonkey
Finally a place to post all your lovely OT questions, tips, tricks, answers and experiments...

Welcome!

Basic Intro to OT:

OT calls the playback devices "machines". The two most basic are static and flex. OT treats short and long samples differently. Static is mostly ment for long samples. Flex is mostly ment for short samples.

Static streams from card, limited by card speed and bandwidth. Flex saves to ram, limited to 128 samples @ 80mb total size per project

Flex has more flexibility for manipulation and fx, static is more simple for playback of backing tracks and long samples.

Samples are selected from the cf-card and put in a sample list which is available project wide. They must be assigned to flex or to static. There is another main option though, as they may also be sliced.

When samples are sliced each slice is available. Slice locks can be used to make any slice available wherever and whenever you need. This expands your potential to sample, and its potential looks like this:

The sample slot list can contain up to 128 samples. Each of those samples can contain 64 slices. We therefore have 128×64 = 8192 slices available. Add to this that that we can do the same thing with the static sample list and static machines and this number doubles to a massive 16384 available slices.
sempervirent
Here's my secret production technique:

1) Turn on the Octatrack
2) Become confused
3) Get out the manual, again
4) Become even more confused
5) Turn off the Octatrack
6) Patch some modular noise instead

I want to love it, I know what it can do, but it's so opaque.
deltaphoenix
sempervirent wrote:
Here's my secret production technique:

1) Turn on the Octatrack
2) Become confused
3) Get out the manual, again
4) Become even more confused
5) Turn off the Octatrack
6) Patch some modular noise instead

I want to love it, I know what it can do, but it's so opaque.


I had this same technique when I owned.

I hope there are some more (real) tips in this thread I hope to try an Octatrack again sometime.
LeFreq
Excellent thread idea! thumbs up

I'll add more as I get deeper with it. I've only had it for a bit and it seems that my "tricks" are really just functions still..

As far as the first tip goes, I use patterns for building a progression and I use Scenes for variations, FX, and juggling elements to keep a live element and allows me to compete with a DJ set in excitement and tension/release.

A probably well known, but awesome trick is:
Switching to Delay Control (Function + Down Arrow at main screen) allows for beat repeat/stutter effects.

I'll be watching this topic for some awesomeness...

nanners
iVardensphere
I rarely use it in the studio. It's a full time live piece for me that has replaced what need I had for a laptop. Load stem tracks for whatever you're doing into a machine and get going (all warped to tempo).

Then I stream sound from my modular rig straight in without worrying about envelopes or midi to cv conversion or all that stuff. As fun as working with cv is, sometimes it's just an unpredictable pain in the arse when you're trying to do a show.

I then run the audio through a 'Thru' machine and gate, sequence effects, mix, mangle, record on the 8T.

I bloody well love the 8T. love
pas
Be really lazy when cutting samples to put on the cf card. Just string files one after another, let single samples be more than several minutes long.
jumbomonkey
sempervirent wrote:
confused


The aim of this tread is to promote questions and answers to cure us of confusion thumbs up


add...

Scene stacking to Build Progression

This is a little system to build progressions. Scenes 1 to 8 are always on the left while scenes 9 to 16 are always on the right.

1. Move crossfader to the right and load scene 1 to the left.
2. Fade across to scene 1
3. Copy scene 1 to scene 9 and load it to the right.
4. Fade across to scene 9
6. Make all changes you want to scene 9 and copy to scene 2.
7. Fade accross to scene 2
8. The rest of your workflow to create the progression looks like this:

Copy 2 to 10: modify and fade
Copy 10 to 3, modify and fade
...repeat until you've filled your 16 possible scenes
Iromeku
You can stop individual tracks by pressing TRACK + STOP. You can also press TRACK + PLAY to play and individual track without using a trig.

You can quantise the playback by setting QPLY to 16.
SubliminalSandwich
Iromeku wrote:
You can stop individual tracks by pressing TRACK + STOP. You can also press TRACK + PLAY to play and individual track without using a trig. .


Im all for this thread..

This ones new to me... really like unlinked tracks.. so this feature is great. allows me to form the structure of a track organically, without rigid linear sequences.. I can hear and develop the progression as I play and do test recordings.. resampling stereo takes or setting up patterns to get the result im after..
Demi Jon
Keep 'em up please -- I am about to buy one and have been reading everything I can!

You can haz this? Supplemental OT Manual
dogoftears
You can play long static samples (ie, a finished song) and change patterns without interrupting playback. Just make sure in each of your patterns you always make the same track the Static Machine track, keep the same settings, and don't have any trigs on that track. So then you can jam out on a pattern and when yr sick of it, trigger the static track (perhaps using Iromeku's excellent tip above), and change patterns. Then slowly build up the next pattern against the static track.

Slot and Slice modes are your friend for programming interesting one-shot based sequences on a single track.

Use separate track lengths and divide down a track for playing back a longer than 4 bar loop via trig.

Double tap the Amp page and set either of the FX slots to "R+T" to have both trigs and trigless trigs trigger the (for example) envelope of the filter. Also applicable to the Amp envelope. Now you can write a gating sequence on top of a loop without retriggering the loop (therefore easy to record a bunch of modular FM blasting and cut it up into a rhythmic sequence for example).

The Arranger is insanely powerful. Take a solid day to learn it, and then re-approach pattern construction with the Arranger in mind. You can really do amazing barline/transition/build compositions with it.

Thru machines are really friggin awesome. I brought my Tetrax out to a gig recently, and just wailed on the thing thru 16th note gating and 3/4 sync'd delay-- instant FM trance leads all over my set and people go nuts watching me play something funny like the Tet.

If you assign slices to a recorder slot in the Audio Editor, they will apply to *any* audio that passes through that recorder slot. Therefore you can do realtime re-arrange and glitch out of any thing you are recording, whether it is a Looper track you are building up, or just single riffs coming in via record trigs.

That is all for now. I will probably think of more later. I use her a *lot*... both live and in the studio, for many different applications.
HueMonContact
I'll be watching this one... The Octatrack is going to be my next purchase for live shows with my euro system. Im really not interested in bringing a laptop and controller on stage. I like using computers at home.

I'm looking forward to seeing how you guys use it with your euro gear.
It seems like most people just sample their synths and tweak them live in the OT... sounds fun! I would also like to see what it can do with MIDI to CV / CV to MIDI stuff. I have a feeling Im really going to enjoy this box for performing and writing new tunes in the studio as well.

hyper
newgreyarea
dogoftears wrote:

If you assign slices to a recorder slot in the Audio Editor, they will apply to *any* audio that passes through that recorder slot. Therefore you can do realtime re-arrange and glitch out of any thing you are recording, whether it is a Looper track you are building up, or just single riffs coming in via record trigs.


Care to expand on this? Sounds like fun!
SubliminalSandwich
newgreyarea wrote:
dogoftears wrote:

If you assign slices to a recorder slot in the Audio Editor, they will apply to *any* audio that passes through that recorder slot. Therefore you can do realtime re-arrange and glitch out of any thing you are recording, whether it is a Looper track you are building up, or just single riffs coming in via record trigs.


Care to expand on this? Sounds like fun!


Yeh, was going to mention how cool that was, but thought id better come up with some ideas myself instead... smile so you can apply slices to thru machines, or slice grids to stuff being recorded in the flex tracks 1-8?
newgreyarea
@SubliminalSandwich
Here was I just did using my MS-20 Mini & OT.

I used one MIDI sequncer to create a pattern for the MS-20. Routed that into Track 1 as a Thru Machine so I can here it with FX and such.

Then set up Track 2 as a Flex Machine. Set up a Record Trig on step 1, set the RLEN to 16 and SRC3 to T1 (track 1) INAB/INCD to "-".

Function/Edit to go into Audio Edit. In the Slices menu Create Slice Grid of 16.

Exit.

On Track 2 sequencer in Playback sub menu turn SLIC to ON.

I put trigs on every step and assigned the crossfader so that Scene A is STRT (SL1) and Scene B is (SL16).

Pretty cool! Seems to be working.
HueMonContact
newgreyarea wrote:
@SubliminalSandwich
Here was I just did using my MS-20 Mini & OT.

I used one MIDI sequncer to create a pattern for the MS-20. Routed that into Track 1 as a Thru Machine so I can here it with FX and such.

Then set up Track 2 as a Flex Machine. Set up a Record Trig on step 1, set the RLEN to 16 and SRC3 to T1 (track 1) INAB/INCD to "-".

Function/Edit to go into Audio Edit. In the Slices menu Create Slice Grid of 16.

Exit.

On Track 2 sequencer in Playback sub menu turn SLIC to ON.

I put trigs on every step and assigned the crossfader so that Scene A is STRT (SL1) and Scene B is (SL16).

Pretty cool! Seems to be working.


That sounds like fun... you guys are really making me want to pull the trigger on one asap... I just need some more pennies in my piggy back and I'm gonna pull the trigger.
When I do get one i'm going to lock myself in the studio for a few weeks so I can contribute some ideas to this thread.

Thanks wigglers!
LeFreq
Awesome stuff so far... just had another one of those *mind blown* moments while reading this... Gonna try this all out asap... maybe someone could compile this into a PDF? (after a while, of course) hyper
amnesia
I have just picked one up.
Demi Jon
amnesia wrote:
I have just picked one up.


Same here! Well, ordered it today anyway.

To get one where I live it costs this many:

SubliminalSandwich
[quote="HueMonContact I would also like to see what it can do with MIDI to CV / CV to MIDI stuff. hyper[/quote]

Simple but powerful is that you have 8x3 lfos on the midi tracks, 4 parts per bank to use to set up different Sync divisions,Shapes,Depth etc..

Youd need a ton of switches on euro to get anywhere close.

8 output converter=1 lfo per track.. you can trig these quantised to the beat manually and mute..
iVardensphere
newgreyarea wrote:
@SubliminalSandwich
Here was I just did using my MS-20 Mini & OT.

I used one MIDI sequncer to create a pattern for the MS-20. Routed that into Track 1 as a Thru Machine so I can here it with FX and such.

Then set up Track 2 as a Flex Machine. Set up a Record Trig on step 1, set the RLEN to 16 and SRC3 to T1 (track 1) INAB/INCD to "-".

Function/Edit to go into Audio Edit. In the Slices menu Create Slice Grid of 16.

Exit.

On Track 2 sequencer in Playback sub menu turn SLIC to ON.

I put trigs on every step and assigned the crossfader so that Scene A is STRT (SL1) and Scene B is (SL16).

Pretty cool! Seems to be working.


I've been trying this but I can't seem to slick a sample that is in a looping record buffer. Not sure what I'm doing wrong.
SubliminalSandwich
Question:

I want to control the looper from my Taurus pedals..

Can I program looper functions (Overdub/Rec/Play from inputs A/B C/D etc) with midi notes sent from my Taurus?
dodecabilly
I've just realized that I'm using about 30% of OT potential... And I already have a tons of fun with it.
jumbomonkey
Octatrack Know-How series

Lesson 1 - Sets, Audio Pool & Projects
‪Lesson 2 - Selecting A Machine & Assigning Samples‬
‪Lesson 3 - Manual Sampling‬
‪Lesson 4 - Recorder Trig Sampling‬
‪Lesson 5 - Working With Scenes‬
‪Lesson 6 - Individual Track Lengths‬
‪Lesson 7 - Trig Modes‬
‪Lesson 8 - Pickup machines‬
‪Lesson 9 - The audio editor and loop slicing‬

‪Octatrack Pro Tip‬ series

‪Lesson 1 - LFO Designer‬
‪Lesson 2 - Part Variations and Quantized Sampling‬
‪Lesson 3 - Sampling and crossfader transitions‬
‪Lesson 4 - Controlling Slices With The Crossfader‬
‪Lesson 5 - Rearranging a sample‬
‪Lesson 6 - Internal resampling for adding pattern variations‬
Lesson ‪7 - Single Cycle Waveform Pattern‬
‪Lesson 8 - Remixing Loops with the Audio Editor‬
Lesson ‪9 - Track Trigging‬

‪Octatrack Tip Video series‬

Lesson 1 - Amp page and Amp Menu
Lesson 2 - Playback page and Menu
Lesson 3 - Slices and Retrigger
Lesson 4 - LFOs Part 1
Lesson 5 - LFOs Part 2
Lesson 6 - Resampling
Lesson 7 - Midi

Guinness ftw!
jimmyambulance
my tip: get a Vermona QMi. the octatrack is an amazing controller for the modular and has really opened up some new doors in terms of playing live. it's useful for any type of music! you could use it to control 4 channels of monosynth OR you could use it to send 8 gates, 4 1v/octave sequences, and 8 MIDI envelopes. CRAZY powerful.

in terms of playing it - the Octatrack is so perfectly open-ended for an instrument of its kind. it may be tough to wrap your head around at first, but it's definitely the best sampling instrument i've ever used.
jumbomonkey
jimmyambulance wrote:
my tip: get a Vermona QMi.


Hey did you use this with the Retroverb. I was thinking of doing that, just wondering how effective it is. Love the filters on the retroverb, so to integrate that into the modular would be sweet
newgreyarea
I've by no means mastered this but I'll do my best to help.
I don't know what "slick a sample" means.



iVardensphere wrote:
newgreyarea wrote:
@SubliminalSandwich
Here was I just did using my MS-20 Mini & OT.

I used one MIDI sequncer to create a pattern for the MS-20. Routed that into Track 1 as a Thru Machine so I can here it with FX and such.

Then set up Track 2 as a Flex Machine. Set up a Record Trig on step 1, set the RLEN to 16 and SRC3 to T1 (track 1) INAB/INCD to "-".

Function/Edit to go into Audio Edit. In the Slices menu Create Slice Grid of 16.

Exit.

On Track 2 sequencer in Playback sub menu turn SLIC to ON.

I put trigs on every step and assigned the crossfader so that Scene A is STRT (SL1) and Scene B is (SL16).

Pretty cool! Seems to be working.


I've been trying this but I can't seem to slick a sample that is in a looping record buffer. Not sure what I'm doing wrong.
newgreyarea
*double post
Jay944
This thread is making me lust for Elektron's stuff even more d'oh!
JILT
Okay never buy an Octatrack 2nd hand. I have know idea if mine is broken or If it's just really difficult to figure out. I can't even get a sample going. Willing to pay someone in the Seattle area to show me how to use it. The Elektron vids aren't helping BTW.
HueMonContact
jimmyambulance wrote:
my tip: get a Vermona QMi. the octatrack is an amazing controller for the modular and has really opened up some new doors in terms of playing live. it's useful for any type of music! you could use it to control 4 channels of monosynth OR you could use it to send 8 gates, 4 1v/octave sequences, and 8 MIDI envelopes. CRAZY powerful.

in terms of playing it - the Octatrack is so perfectly open-ended for an instrument of its kind. it may be tough to wrap your head around at first, but it's definitely the best sampling instrument i've ever used.


I just checked out the Vermona QMi...woah!!! QMI + octatrack = *drool*
Im on fire to get one asap

Maybe you guys can post some videos are your techniques.
jumbomonkey
duplicate post
jumbomonkey
JILT wrote:
Okay never buy an Octatrack 2nd hand


Damn right you should buy an OT second hand, because it rocks and its built like a tank. Elektron have been making very sturdy products that last for years for years now. I've personally bought one second hand and it works without a hitch! If you've had a bad experience with this, no need to make it *everyones* experience.

If you haven't read the manual already, i suggest doing that. If you haven't asked on the Elektron forum yet, i suggest doing that too, or asking some questions here.

If there is an actual issue with that unit, Elektron support is supposed to be solid.

BTW

I was just wondering if anyone knew a clear difference between SCENES and BANKS... I'm trying to make a distinction because some of my settings don't seem to get recalled in scenes, so I'm loosing settings, perhaps I'm doing something incorrectly.
SubliminalSandwich
[quote="jumbomonkey]
I was just wondering if anyone knew a clear difference between SCENES and BANKS... I'm trying to make a distinction because some of my settings don't seem to get recalled in scenes, so I'm loosing settings, perhaps I'm doing something incorrectly.[/quote]

Its early, so maybe someone has a better explanation but:

A bank is a collection of 16 patterns and are labelled as letters.. Each bank can use 4 parts between any of the patterns contained in it.

Scenes are programmed "snapshots" of a particular set of parameters.. using the crossfader, you slide between _any_ two of these sets of locked parameters.. Scenes can be used freely, on any pattern.. the scene settings (16 in total) are stored with each part..

Either have clear defined scenes for particular passages of your track.. or use the "scene stacking" method you posted earlier, so to make transitions.

Its a very powerful and freeform way of doing things, but difficult to get your head around. Because there is no way to label anything, ive found its time spent with your patterns and scenes that really helps to "get to know" them,,

<edit>: If you want to automate your scenes you can use the following method:

Only use 4 patterns per bank
Make sure each pattern is selected with parts 1-4
Apply Scene control on each pattern with the same scene numbers (eg 1 & 9)

In this way, for every pattern, there is a _fixed_ thing the crossfader will do.. you never have to change scenes.. but you have to be precise with the plock settings to get smooth transitions from pattern to pattern.

You can mix and match the two approaches if you like..
jumbomonkey
SubliminalSandwich wrote:
Scenes are programmed "snapshots" of a particular set of parameters.


Just now scenes don't seem to be saving, or getting locked into the scenes i created, thus then i go from scene to scene, there is nothing dynamic or preset in it, they just turn into mush! I got to thinking that i was asking it to do something it wasn't ment to do, like trying to save / lock in parameters that can't be remembered in scenes, and are only remembered through using parts. Thinking that scenes are unlinked to patterns, but they are linked to parts, kind of like parts are the macro, and scenes are the micro.

Perhaps I am failing to 'save' or 'lock in' a scene, not sure how to do that. That could be it.... So, scenes are only accessed when you press scene A or scene B, they come up on the trig buttons, and you can switch between the 16 scenes, so you can copy and past them create variations, but you need to save them / lock them in place?

Following this you should be able to move from scene to scene, part to part and bank to bank seemlessly, either linking the patterns to these scenes and banks or leaving them unlinked. Is that accurate?
SubliminalSandwich
jumbomonkey wrote:
SubliminalSandwich wrote:
Scenes are programmed "snapshots" of a particular set of parameters.


Just now scenes don't seem to be saving, or getting locked into the scenes i created, thus then i go from scene to scene, there is nothing dynamic or preset in it, they just turn into mush! I got to thinking that i was asking it to do something it wasn't ment to do, like trying to save / lock in parameters that can't be remembered in scenes, and are only remembered through using parts. Thinking that scenes are unlinked to patterns, but they are linked to parts, kind of like parts are the macro, and scenes are the micro.

Perhaps I am failing to 'save' or 'lock in' a scene, not sure how to do that. That could be it.... So, scenes are only accessed when you press scene A or scene B, they come up on the trig buttons, and you can switch between the 16 scenes, so you can copy and past them create variations, but you need to save them / lock them in place?

Following this you should be able to move from scene to scene, part to part and bank to bank seemlessly, either linking the patterns to these scenes and banks or leaving them unlinked. Is that accurate?


Scenes are stored sets of parameter locks that you can fade between.. they are not stored with patterns and are performed live (or automated with midi cc control - I use my MPC for this). You can also record the cue outs for instance, with your crossfader transition becoming a new static sample in your arrangement..

parameter locks on the tracks, will _stay_ with the pattern and sample.. you could use slide trigs to get from one value to another.. I think this is what you were trying to do with scenes.

Scenes are stored in parts (16 scenes in each of the 4 parts). You can choose whatever scenes you have defined in a part to apply to any pattern that belongs to that part.. its very freeform..

The scenes are saved sets of parameters.. the sound itself is not saved unless you record it.. use plocks on the track trigs for saved changes within a pattern.

I didn't quite understand your last statement.. Patterns _always_ belong to 1 part. you don't _need_ to activate a scene. You can seamlessly go from one pattern to the next manually/chaining them/or in the arranger.. You can perform you Scene transitions over the top..

Any clearer, or have I confused your mind even more?? very frustrating
tIB
jumbomonkey wrote:
JILT wrote:
Okay never buy an Octatrack 2nd hand


Damn right you should buy an OT second hand, because it rocks and its built like a tank. Elektron have been making very sturdy products that last for years for years now. I've personally bought one second hand and it works without a hitch! If you've had a bad experience with this, no need to make it *everyones* experience.


The same also works in reverse. I'm not so sure the newer batch of elektron products are quite as sturdy tbh. Of the four people I know IRL (one of which is me lol ) who owned octatracks, 3 of them have been back for repairs, with one on more than one occasion.
tIB
Double post.

Edit: oh, and a buying used tip-make sure you get one with some warranty left and ask the seller for the original purchase receipt if they have it. Also register the machine on the elektron site.
jumbomonkey
SubliminalSandwich wrote:
Any clearer, or have I confused your mind even more?? very frustrating


Wah! Time for todays OT test!

Here are my answers smile

1. Scenes store parameter locks. This works like automation. it provides a bedrock for improvisation in OT. They have a midi CC value which can be controlled by external devices.

2. parameter locks are step by step, unless you want to fade between two values, in which case you use slide trigs to interpolate

3. you can resample the cue outs if you want to take the audio from a performance and put that into a new static track

4. Scenes are stored within parts (16 scenes in each of 4 parts), you can trigger any of these on the fly or move to them, its freeform.

5. Slide trig is similar to automation in ableton live, you choose one value on one step, and another value on another step, and fade between the two

6. As I understand it, patterns can be linked to scenes or parts in the arranger too?

7. these values can be recorded, but can slide trigs, for example, and are they fixed to loop length or do they go between loops?

How did I do?
Bath House
"Parts" are the closest thing the OT has to "kits." That still confuses me.
Bath House
"Parts" are the closest thing the OT has to "kits." That still confuses me.
JILT
jumbomonkey wrote:
JILT wrote:
Okay never buy an Octatrack 2nd hand


Damn right you should buy an OT second hand, because it rocks and its built like a tank. Elektron have been making very sturdy products that last for years for years now. I've personally bought one second hand and it works without a hitch! If you've had a bad experience with this, no need to make it *everyones* experience.

If you haven't read the manual already, i suggest doing that. If you haven't asked on the Elektron forum yet, i suggest doing that too, or asking some questions here.

If there is an actual issue with that unit, Elektron support is supposed to be solid.

BTW

I was just wondering if anyone knew a clear difference between SCENES and BANKS... I'm trying to make a distinction because some of my settings don't seem to get recalled in
scenes, so I'm loosing settings, perhaps I'm doing something incorrectly.


Actually they have had issues including bad cf card readers, botched paint jobs, to name a couple. Their are more issues I won't get into because I do like Elektron and the issues not mentioned could of been from the user before me. Also another reason not to buy 2nd hand is because apparently Elektron only honors their warranty if it has a receipt. So yeah, I kinda know what I'm talking about Mr. My trouble shooting is my own fault though. This thing is deep!
dogoftears
for sure Elektron instruments are *not* built like tanks. I have had to send in my OT for various repairs three times in 2.5 years. Luckily their support and warranty are excellent, but eventually it is going to run out (soon!) and more than likely i will end up just buying a new OT instead of paying expensive repairs over and over.

YMMV, i actually do gig the HELL out of my OT, at various outdoor events in remote locations, often with dusty environments. I'm not totally surprised that i've managed to kick the shit out of it.

be careful with the encoders and the x-fader. i have a tendency to almost always push down on the encoder for coarse adjustment mode, which i think has lead to loosening/failure. also i've had buttons break/pop out etc.

still love the thing to death and would never go back to the laptop...
newgreyarea
@jumbomonkey - Perhaps you could edit the original post to include any useful tips that have been expressed? Then people can read the first bit, and if they have something new to contribute, they won't have to wade through the whole thing. Just a thought before it gets crazy in here!
jumbomonkey
Do you mean, like compile all tips into the first post?
newgreyarea
Any reason why I can't get MIDI thru the OT? I have a Qunexus and I'm trying to get it to talk to an A4 on the other side of the OT and I can't seem to figure out what I'm doing wrong here! Doesn't help that I've not really dealt with MIDI in about 10 years. Probably something dumb . . . but it's driving me crazy.




EDIT* I was a bit tired and underfed when I posted. Been working on the MIDI configuration for hours and my head was killing me. MIDI through is working fine on the OT, just wish it also sent clock so that I use my controller to play OT & A4 parts. I'll have to find a MIDI merger box or 2 unless there is a magical way to edit my Emagic Unitor 8!
parome
Does anyone know if they plan to further the midi sequencing capabilities of the octatrack in future updates? If this thing had sequencing power of say an older mpc I'd be all over it like stink on a monkey.
jumbomonkey
parome wrote:
Does anyone know if they plan to further the midi sequencing capabilities of the octatrack in future updates? If this thing had sequencing power of say an older mpc I'd be all over it like stink on a monkey.


Why, what do you want to do with it?
newgreyarea
jumbomonkey wrote:
parome wrote:
Does anyone know if they plan to further the midi sequencing capabilities of the octatrack in future updates? If this thing had sequencing power of say an older mpc I'd be all over it like stink on a monkey.


Why, what do you want to do with it?



I'd like a few extra notes per step for some bigger chords. I've not really dug in yet so who knows what I need.
newgreyarea
jumbomonkey wrote:
parome wrote:
Does anyone know if they plan to further the midi sequencing capabilities of the octatrack in future updates? If this thing had sequencing power of say an older mpc I'd be all over it like stink on a monkey.


Why, what do you want to do with it?



I'd like a few extra notes per step for some bigger chords. I've not really dug in yet so who knows what I need.
newgreyarea
jumbomonkey wrote:
parome wrote:
Does anyone know if they plan to further the midi sequencing capabilities of the octatrack in future updates? If this thing had sequencing power of say an older mpc I'd be all over it like stink on a monkey.


Why, what do you want to do with it?



I'd like a few extra notes per step for some bigger chords. I've not really dug in yet so who knows what I need.
jumbomonkey
Cool. Well, the internal is monophony because its focus is in sample accessibility and switching per step. The midi is 4 voices at any one time as far as I know. I'm only learning this thing at the mo myself.
newgreyarea
I can setup two tracks with the same midi channel I bet so I can do big chords.
rjungemann
Suppose I were to setup two tracks, each with single-cycle waveform samples and setup like the "wavetable" approach described in the forums. I then setup a scene to allow the volume to fade between the tracks when the crossfader is moved.

Would it be possible setup the Octatrack to send notes to both tracks simultaneously when I start adding triggers?

The end-goal of course is a simple interpolating wavetable synth.
jumbomonkey
rjungemann wrote:
Would it be possible setup the Octatrack to send notes to both tracks simultaneously when I start adding triggers?


I've only a basic knowledge of this so far, but I'd say not. What your talking about is triggering a sample tracks via midi tracks right?

The audio clips are monophonic but you can get two notes playing almost together, by nudging the step by micro timing - 1/384 step resolution micro timing grid is there.

The stength of this box is in availabilty of samples per step, rather than layers of polyphony.

You could howevery start making layers and layers and resample it, its a bit of workaround.

I see this as more of a drum and loop box tbh, for more complex harmony and melody I'd rather be sketching it out with Live / Push, then bounce it via USB and mess with the loop
rjungemann
jumbomonkey wrote:
I've only a basic knowledge of this so far, but I'd say not. What your talking about is triggering a sample tracks via midi tracks right?


Exactly! That answers my question.

I don't have an Octatrack although I have read through the manual twice so I have a somewhat reasonable understanding of the limitaitons. After selling 1/3 of my gear I am tempted by the Octatrack and the Analog Four for various reasons although I am trying to take things slow this time around!

I have to say after using Renoise for some time I am intrigued by some philosophical similarities between the Octatrack's approach and a tracker approach.
jumbomonkey
Yeh, it is similar, it uses that kind of tracker arrangement screen. I've not used it much, i like the idea of using Live for the more complex stuff, resampling some of my stuff, and organizing and OT for playback and remixing on the fly.
hzman
I've had mine for maybe around three weeks, but only spent 8 hours with it. I'm still struggling to sort out the best way to organize a live set and still have some flexibility, (ie. oh I had better skip that track and play this mellower one instead) I've bounced out ableton stems usually into 4 or 5 channels KICK/BASS/SYNTH/PERC/VOX or something but.. Should I put one song as 1 bank and song2 as another bank? or song 1 = bank 1, part 1, song 2 = bank1, part2... head hertz. but loving this thread. more tips please!
jumbomonkey
hzman wrote:
I've had mine for maybe around three weeks, but only spent 8 hours with it. I'm still struggling to sort out the best way to organize a live set and still have some flexibility, (ie. oh I had better skip that track and play this mellower one instead) I've bounced out ableton stems usually into 4 or 5 channels KICK/BASS/SYNTH/PERC/VOX or something but.. Should I put one song as 1 bank and song2 as another bank? or song 1 = bank 1, part 1, song 2 = bank1, part2... head hertz. but loving this thread. more tips please!


Cool. Yeh, I'm almost the same as you there, had for 2 weeks, spent a few hours with it but now I'm going back to redo my bank of samples to improve them, find the best ones and build stems from them in Live. After that will sample in OT and perform live with that. I reckon Live is good for making a solid couple of bars of sound designed material and then OT will be fun to flesh it all out.

Anyways, to answer your question, the bank is thought of as a song and the project is thought of as a bank of sounds, ie a liveset.

Best way to organize files I gather is to put them into specific folders, and name them well of course too. It helps to be organized in the box first and then in the OT

One thing I am curious about is copying stuff like scenes from Bank to Bank, and if that is possible, if anyone knows.
speak_onion
hzman wrote:
I've had mine for maybe around three weeks, but only spent 8 hours with it. I'm still struggling to sort out the best way to organize a live set and still have some flexibility, (ie. oh I had better skip that track and play this mellower one instead) I've bounced out ableton stems usually into 4 or 5 channels KICK/BASS/SYNTH/PERC/VOX or something but.. Should I put one song as 1 bank and song2 as another bank? or song 1 = bank 1, part 1, song 2 = bank1, part2... head hertz. but loving this thread. more tips please!


Yes, 1 bank per song is how I do it. I think a good way to keep it flexible is to create some scenes that help you get "out" of whatever you're doing so you can go in any direction you want. Like, a scene that breaks everything down into an granulated ambient cloud, and then you can go to a more mellow song from there. Or a scene that turns everything into a stuttering mess, and you can go more glitchy from there, or something that breaks you down into just super simple pumping drums so you can get into an intense banger. I usually have a setlist in mind before I start playing, but I don't always follow it, so I have a few scenes ready to get me from any point to almost any other.
wavehead
what would you say is the DAW/plug-in equivalent of how the octatrack will switch samples, say 'hits' from a looping envelope recording of the modular, on different triggers in a sequence?

i am considering an octatrack because it's perfect for the hours and hours of recorded material i have that is just one variation after another. currently i just take the best samples and trigger them xox style, but would need 100 channels if i wanted to use all the variations.

i know the workflow is way different than something like ableton, but if there is a similar function for this i'd like to try it (i use reaper and i don't think there is anything without a plug-in).
rjungemann
wavehead wrote:
i am considering an octatrack because it's perfect for the hours and hours of recorded material i have that is just one variation after another. currently i just take the best samples and trigger them xox style, but would need 100 channels if i wanted to use all the variations.


I don't think you can layer samples on the Octatrack but you could definitely put up to 64 variations into a single audio file, slice it, and trigger the slices from one track to save space.
jumbomonkey
wavehead wrote:
what would you say is the DAW/plug-in equivalent of how the octatrack will switch samples, say 'hits' from a looping envelope recording of the modular, on different triggers in a sequence?


Hey Wavehead,

The OT was likened to Ableton Live in a box. Thats a crude analogy, but it goes somewhat to explaining things.

Its a flexable, hands on environment for creating variations on a theme of the original samples that you load onto the disks. Your paying for the workflow, this is a bridge into leaving the computer behind, as far as using it for everything goes, this gives the chance to get more hands on, and it allows you create things in a less technical, more intuitive invironment. Ableton Live offers even more flexibility but it really depends on your style of working. Sometimes more options mean more mistakes to make, stripping things down to have some limitations is the trade off.

I'm not sure if that answers your question, but maybe you can tell us what you want to do with it exactly and we can discuss whats possible with either format.. ?
wavehead
Quote:
I don't think you can layer samples on the Octatrack but you could definitely put up to 64 variations into a single audio file, slice it, and trigger the slices from one track to save space.


^this is what i want to do, but the other way around.

let's say i have a few minutes of a short-ish envelope, so basically what would end up being a drum sample, and i want slice up every hit - then have the triggers in the same sequence play different samples (and not just one bar of trigger A, two bars of trigger B, etc).

i get the general premise of ableton, but i always considered it more like loops/bars and not the one-shot sample triggering i understand the octatrack to do. does that make sense, or am i not getting how the octatrack works?
jumbomonkey
At this point, important to mention Micro timing...

Micro-timing in the OT has a resolution of 384 steps per bar.

Theoretically you can trigger a different sound for each of these, so you can only do one at a time, but the difference between one and the next is not detectable so its almost simultaneous


FYI -

Live can work in trigger mode as well, to do one shots. Best seen on the drum racks, and also can use melodic material in simpler / sampler.

They make a great combination, where one leaves off the other has its strength.
wavehead
i am just trying to figure out if octatrack is really the only way to go for this type of sampling (without tedious moving clips around DAW for each sound one after another).
jumbomonkey
Theres not just one way to do it.

You just need to decide if its software or hardware that you prefer to use.

Drum racks in Live give you that feature your talking about, triggering without moving loads of elements about.
wavehead
okay cool... i don't necessarily need to be stacking samples all that much in the octatrack i am more concerned with being able to switch them. i usually record stacked drum sounds at the modular stage/daw.

one thing i am hesitant about is that i'm really not into time stretching. most of the time i want to retain as much of the sound recorded as possible (unless i am really mangling it with filters, granular, etc). is time-stretching so integral to the workflow that it wouldn't make sense (having it turned off all the time)?

i guess on some cloudy, soft, heavily filtered stuff the time-stretch could be cool - but does it stretch things automatically if you have the setting on?
Bath House
wavehead wrote:

one thing i am hesitant about is that i'm really not into time stretching. most of the time i want to retain as much of the sound recorded as possible (unless i am really mangling it with filters, granular, etc). is time-stretching so integral to the workflow that it wouldn't make sense (having it turned off all the time)?


I'm not crazy about the "elastic audio" trend in general - I refuse to use Ableton Live because I've never liked its "sound" - but the OT doesn't really cause me any grief as long as the actual intended BPM of a sample is defined correctly in the first place. It also has some handy things built into the OS like looking for numbers in the sample file names that you import and using those for the base tempo in an attempt to save you having to do that work. And there are some pretty fun, crazy effects to be had by p-locking timestretch or assigning it to a scene for freaking with the crossfader.
jumbomonkey
Bath House wrote:
It also has some handy things built into the OS like looking for numbers in the sample file names that you import and using those for the base tempo


Clever design.

With regard to timestretching, Live and OT both have timestretch available. You can use or abuse them, or leave them as you choose.

There is nothing that defines your 'sound' as much your decisions along the way. Each have plenty of options to treat samples in different ways to get the sound you like.
wavehead
cool that's what i thought... i just didn't know if the time stretch was the whole reason composing has the flow it does, but it sounds like it is - just not a deal breaker.

what really bothers me about time-stretch is that it can weaken sounds without being very easy to recognize the difference until you are way past the point of changing it.

can you do the same BPM match by just speeding it up or down? might not be quite as smooth as turning down a tape machine, but i still like it more than stretching sometimes.
jumbomonkey
My thinking is that you can switch off timestretching according to the parameters of each sample, but there are more timestretch artifacts then when your slowing tempo dramatically over the entire track. I'm not sure how tempo affects individual samples but I assumed they would be affected according to the individual parameters you set for each sample. This means that if it was a one shot type trigger then it would be the same sound sliced to a different grid, without any changes or artifacts being created as a result of processing.

Just wanted to make sure I'm giving you accurate information here, because I'm still just a noob at the OT and its functions. Maybe someone else can confirm this.

Btw, Re: Live - this one I know like the back of my hand, and can tell you for sure you choose the sample mode you want, beit pitch, beat, granualar, formant, complex etc.
amnesia
I am now a week into the Octatrack and A4 and have a few questions.

SOLO
I cant seem to work out how to solo a track, reading the manual only made the sound(track) selected louder?

PITCH CHANGES WITH TEMPO
Not sure why this is happening but when I change the tempo I hear the pitch change ????

TEMPO fine tune
I have been stuck on a tempo of 127.7 and undestand how to change the tempo but cant work out how to fine tune to get it at an equal 127 tempo.

EXTENDING BAR LENGTH
I have been working on 16/16 and today changed a track to 32/32 but how can you change the 2nd 16 to make the pattern different from the 1st 16? How do you know that you are editing the 2nd 16 steps?

ANALOG 4 Track one is dim red light? Cant work out how to get it back to fully lit?

I just found out that you can set the track tempos differently. That is a fun idea.

TIA
SubliminalSandwich
[quote="amnesiaEXTENDING BAR LENGTH
I have been working on 16/16 and today changed a track to 32/32 but how can you change the 2nd 16 to make the pattern different from the 1st 16? How do you know that you are editing the 2nd 16 steps?
TIA[/quote]

When in record mode (Rec light on (not flashing) the current set of 16 steps your are editing is shown by the BRIGHT light on the Scale setup to the right.. Total number of steps (ie, each screen) is shown by dim lights.. just tap the scale setup to move through the screens.
amnesia
Thanks but how does that work when you are playing a sequence?

eg
1:4 flashes 4 times and then 2:4 flashes 4 times.
wavehead
jumbomonkey - thanks for the info, really.. especially because you just started! i know its not a fast learning curve so it's prob not easy answering.

the one-shot samples moving on grid is what i was hoping was the case (would be crazy not to be like that).

do you guys tend to use the octatrack in real-time recording or record to computer first more often? i don't know how good the converters are on the octatrack, but i would probably want to go computer first for most stuff. my takes can end up being way too long to fill up CF cards anyway, but maybe the limitation of sample time is a good limitation instrument-wise.
pipwilliams
Am hoping for a good video tutorial on Parts to crop up somewhere. I've read up on this but still failing miserably to grasp it...
jumbomonkey
pipwilliams wrote:
Am hoping for a good video tutorial on Parts to crop up somewhere. I've read up on this but still failing miserably to grasp it...


I'm surprised there isn't more in general... we're still in a niche i guess! smile
newgreyarea
Bath House wrote:
It also has some handy things built into the OS like looking for numbers in the sample file names that you import and using those for the base tempo


Oooooooh!! Should I add, for example, "100bpm" or just "100" when naming samples for the Octatrack? I've started making some loops and chords on the lappy to import into the OT.
-b
Bath House
newgreyarea wrote:
Bath House wrote:
It also has some handy things built into the OS like looking for numbers in the sample file names that you import and using those for the base tempo


Oooooooh!! Should I add, for example, "100bpm" or just "100" when naming samples for the Octatrack? I've started making some loops and chords on the lappy to import into the OT.
-b


From pg. 104 in the manual -

ORIGINAL TEMPO displays the calculated BPM of the sample. If it is not correct, it can be
changed using the LEVEL knob. This setting will affect the sound of a timestretched sample. For correct results it should be set to match the original BPM of the sample. Altering
this setting will alter the TRIM LEN (BARS) and LOOP LEN (BARS) settings. An arrow will
appear next to the ORIGINAL TEMPO setting, indicating this setting has priority. If the
sample being edited consists of an unknown amount of bars, but you know its BPM, it
might be wise to use this setting as the prioritized one.
• The tempo guessing algorithm analyzes the sample filename for tempo figures,
checking if the initial guess is off by a factor 0.5 or 2.0. The ”normal” BPM range
the Octatrack uses to make its initial BPM guess is 85 BPM-170 BPM. If you have
loops with tempos outside this range, it might be a good idea to put the BPM value
in the filename. Typically, a 70 BPM loop is initially loaded as 140 BPM loop, but if
the number 70 is found anywhere in the filename, the octatrack will use 70 BPM
instead. Similarly, if 280 is found in the filename, the BPM of the sample will be
280.
rhp3000
Hi, can i send the audio signals from the modular (i use mutamix and one triatt to send the signals to my mixer, it supports unbalance signals) directly to the octatrack inputs (like i do with my mixer). I know is a silly question but i want to avoid any problems.

Saludos
rayce
yes line level signals such as those from a modular go directly to the octatrack no problem
jumbomonkey
I'm trying to get my head around the Pickup Machines boys and girls.

Any recommendations for me?

I'd love to know how you use it!
kuxaan-sum
amnesia wrote:
I am now a week into the Octatrack and A4 and have a few questions.

ANALOG 4 Track one is dim red light? Cant work out how to get it back to fully lit?

I just found out that you can set the track tempos differently. That is a fun idea.

TIA


My A4 started doing this at startup and the dimmed track is muted? (mine is track 3)
I have to toggle between song or chain mode and unmute the track there.
seriously, i just don't get it

Not sure if I somehow saved that in either mode but haven't figured out how to keep it from powering up with it muted.
amnesia
Here are some weekend techno tracks


kozepz
jumbomonkey wrote:
I'm trying to get my head around the Pickup Machines boys and girls.

Any recommendations for me?

I'd love to know how you use it!


+1 on tips for the pickup machines
rhp3000
rayce thanks for the advice.
RustyO
amnesia wrote:
Here are some weekend techno tracks


OT Midi Out -> MM Midi In
MM Midi Thru -> A4 Midi In

A4 Out L/R -> OT In A/B
MM Out L/R -> OT In C/D

OT Track 1 -> Thru Machine <> Inputs A/B (A4)
OT Track 2 -> Thru Machine <> Inputs C/D (MM)

Give that a whirl.
jumbomonkey
I tried the pickup machines tonight, it recorded a little but I couldn't seem to manipulate the loop... and as soon as I tried to manipulate things, the loop stopped and was lost forever... a little confusing to say the least.

On a brighter note, I got my mbase 11 working nicely with a nice allen and heath desk to a retroverb... and god, I could listen to that for the next week... so awesomely.... atmospheric, dark, ...instant berghain warehouse techno shizznet going on SlayerBadger!

I would die to resample this stuff and mess with it in the OT, that just sounds like the most fun ever!! grin
GovernorSilver
jumbomonkey wrote:
I tried the pickup machines tonight, it recorded a little but I couldn't seem to manipulate the loop... and as soon as I tried to manipulate things, the loop stopped and was lost forever... a little confusing to say the least.


Probably just pressed the wrong button to lose the loop. The latest version of the manual has a pickup machine tutorial
HueMonContact
amnesia Thanks for posting the videos!
These are cool!
5id
My OT tip is for basslines with vocal samples using the settings on the AMP set-up page for the FX.

Put a filter on Effect 1 then go to the AMP set-up page and choose R+T on the FX1 box

Place your first normal TRIG on the sequencer then place another TRIG while holding FUNCTION, this TRIG will go dim green but we want it to go bright green so while holding the dim green trig hit YES and it will turn bright green.

Copy the bright green TRIG and paste a few across the sequencer, these bright green trigs will re-trig the filter while the sample plays to the end of its release.

Play your sequence with a pitched down vocal sample then go to the FILTER page and set the BASE 32,WIDTH 64 + Q 40 nothing really happens until you tweak the DEPTH into negative values. Tweak ATTACK until you get something you're happy with.

Hope you can follow my friggin triggin explanation.
amnesia
My new tip is to purchase some of the packs at Elektron. They are worth every penny.
norbwuertz
Is there a way to manipulate the sampleplaybackrate of individual samples in realtime, eg with the crossfader or an ext midi controller? without using the timestrech algorythms?
I am after tape playback modulation type of effects like you can do easily with the groove object in max msp for example. Eventhough its an easy thing to do with samples I couldn't figure out a way to do it on the OT when I had my hands on it.
Its such a classic method for music concrete type of sound fx and I use this technik all the time. I know the OT is great for keeping things in time and pitch but what about if you want to go completely freeform?
Is it possible to do? Is anyone using it this way?
5id
norbwuertz wrote:
Is there a way to manipulate the sampleplaybackrate of individual samples in realtime, eg with the crossfader or an ext midi controller? without using the timestrech algorythms?


You can turn timestrech off and manipulate sampleplaybackrate with crossfader, encoder, LFO's or ext midi.

I love a bit of slowed down distorted percussion.
norbwuertz
good to know.
got to check this out again. I might actually buy one after all then.
newgreyarea
Is it possible to switch patterns/banks on all the Elektron boxes at the same time via some external device? I'm thinking I might attempt to build a tool in Lemur on my iPad. I dunno if its possible but if it were I'd imagine Lemur would be the the way to go. Plus all the other things it can probably do.
husc
newgreyarea wrote:
Is it possible to switch patterns/banks on all the Elektron boxes at the same time via some external device? I'm thinking I might attempt to build a tool in Lemur on my iPad. I dunno if its possible but if it were I'd imagine Lemur would be the the way to go. Plus all the other things it can probably do.


I "only" have the MachineDrum-UW and Octatrack, and in the studio I slave the MD to the OT. You'll need the latest OS for the MD, it works perfect.

Only quirk I found is that the MD has 8 banks and the OT 16, so it leaves you with 8 unslaved banks on the machinedrum. Also the MD has 64 kits available and the OT has 4 parts per bank. I use 1 kit per two patterns on the MD and 1 part per four patterns on the OT.

I use 1 bank per song/idea/sketch/effect, so I have 4 parts and (64/8) 8 kits available to me. I renamed my machindrum kits to eg. **A1+2 or **B5+6 so I can see which two patterns it belongs to, otherwise you'll have loads of work remembering what kits belong to what part, etcetera hmmm.....






..just improvising and f$% around works as well!
robbert
Create a "fluttery" tape effect:

Use delay (on master track /8), go into delay setup and turn "direkt" to off (0), set delay time to 10 (anything works) and feedback to 0 and send to 100 (full). Now you can manipulate the playspeed with the timeparameter simulating a tape that does not keep track very well. Mow tey to modulate the delaytime parameter with a very slow lfo and low depths and try different settings, or try locks to modulate...
neilbaldwin
My biggest tip for the Octatrack: try thinking away from time-stretched drum beats.

[s]http://soundcloud.com/neilbaldwin/shipping-forecast[/s]

"Why the Octatrack is the greatest creative sampler.

I was playing around with a setup on the Octatrack that used 4 tracks each of which were assigned different effects and each of which sampled all or some part of the other tracks.

I'd left the Octatrack switched on for a couple of days with this setup still loaded but I was recording a couple of guitar parts for another track and I looked across and saw that there was activity on the Octatrack's inputs. Curious as to what it was, I turned up the mixer and it was actually noise from my guitar amp that I'd accidentally routed to the Octatrack's inputs. Hitting play on that self-sampling setup, a bizarre soundscape unfolded using nothing but the hum of of my guitar amp as a source. What's even more curious is that I muted the input before recording any of this track. It's all created out of a single 32-step sample of just guitar amp hum."


And in case any new Octatrack users missed the Elektron Users 'labs', here's my entries for the first one that uses nothing but a 2-second sample of white noise for source material:

[s]http://soundcloud.com/neilbaldwin/sets/elektron-users-octatrack-lab -2[/s]
jumbomonkey
Cool, Neil I'm just about to give that a listen now.

Hey by the way, just curious if anyone was using their OT with Reaktor in some way. I've been looking into it as a module for live use with the OT
newgreyarea
I've sampled some stuff from Reaktor but I honestly can't be bother with computer stuff lately. It took me a month to update the OT's OS because I just didn't want to plug it in!
-b
Cozmic023
Thanks for all the help & tips listed here guys. My Octatrack is been delivered tomorrow, so looking forward to trying it out with the A4. thumbs up

Cheers
Lee
GovernorSilver
Just wanted to show my appreciation for the tips on this thread!

This was last night's viola + Octatrack jam. Just messing around with the pickup machines, and slicing audio from the pickup machine track recorders... then towards the end, turning the audio into bass lines by messing with the Playback page settings, assigning LFOs to Filter settings and tweaking away...

I originally attempted to make ambient music for this track (which will be deleted in the near future after I come up with better tracks), but I screwed some things up and just went with it...

[s]http://soundcloud.com/governorsilver/sweating-in-the-red-orange[/s]
GovernorSilver
Just wanted to show my appreciation for the tips on this thread!

This was last night's viola + Octatrack jam. Just messing around with the pickup machines, and slicing audio from the pickup machine track recorders... then towards the end, turning the audio into bass lines by messing with the Playback page settings, assigning LFOs to Filter settings and tweaking away...

I originally attempted to make ambient music for this track (which will be deleted in the near future after I come up with better tracks), but I screwed some things up and just went with it...

[s]http://soundcloud.com/governorsilver/sweating-in-the-red-orange[/s]
Cozmic023
Nice track, enjoyed listening to your Viola Jam. thumbs up

Cheers
Lee
GovernorSilver
Cozmic023 wrote:
Nice track, enjoyed listening to your Viola Jam. thumbs up

Cheers
Lee


Thanks!
stk
Here's a question;

What's the bandwidth of the CF reader? How many stereo static samples can you steam simultaneously?

Thanks!
vasculator
8

stk wrote:
Here's a question;

What's the bandwidth of the CF reader? How many stereo static samples can you steam simultaneously?

Thanks!
stk
Sweet, thanks smile
elektrokick
Hey folks, I'm considering an Octatrack for sequencing and recording my portable euro rig while I'm away from the studio, and I wanted to echo the unanswered question earlier in this thread about the AD conversion. How does it hold up for recording modular/analog synth signals? Any noticeable degradation of the audio going in?

Cheers
SubliminalSandwich
elektrokick wrote:
Hey folks, I'm considering an Octatrack for sequencing and recording my portable euro rig while I'm away from the studio, and I wanted to echo the unanswered question earlier in this thread about the AD conversion. How does it hold up for recording modular/analog synth signals? Any noticeable degradation of the audio going in?

Cheers


The only downside to the OT sequencing for me is the 4bar pattern arrangement. Of course it depends on what style of music your writing. step sequencing will be quick and intuitive if your midi sequencing your euro (+ Midi Lfos are great).

I find if I use the pitch/stretching algorithms, it does change the quality of the sound quite a lot.. The ability to sketch out ideas freely on my euro and record knowing all my ideas will be in sync makes up for this though.

The AD converters are pretty good IMO. MPCs ive found to be "raw" and "punchy", My roland Multitrack is "Precise" and "tight", the OT "clean" and "bold", suited to a "dancefloor stylish sound" (adjectives suck by the way! I just thought id use a few! hihi ) The EQ is useful in small doses, but could be better.

24bit is gonna be a bonus if you want precision, but bear in mind you only get 8 mins recording max at 16bit. it colours the sound a little for sure but Ive always been satisfied with recording my analogue gear into the OT..
tIB
I've always wished the arpeggiator could be used with the internal tracks not just the midi. Would give the sequencer so much more legs.
Bath House
elektrokick wrote:
Hey folks, I'm considering an Octatrack for sequencing and recording my portable euro rig while I'm away from the studio, and I wanted to echo the unanswered question earlier in this thread about the AD conversion. How does it hold up for recording modular/analog synth signals? Any noticeable degradation of the audio going in?


Naw, it's fine. Biggest butt-pain is the lack of any input metering other than one LED.
RustyO
tIB wrote:
I've always wished the arpeggiator could be used with the internal tracks not just the midi. Would give the sequencer so much more legs.


Midi Out to Midi In?

Ever tried that with a filter/router/midi tool box in between?
SubliminalSandwich
RustyO wrote:


Midi Out to Midi In?

Ever tried that with a filter/router/midi tool box in between?


Ive wanted to try the midi out>midi in so I can record crossfader/knob movements to the midi tracks. Adds a whole lot more than slide parameter locks.

Im all for live performance but With the arranger you can select scenes per pattern, so in essence, the whole thing could be automated.

Not tested it yet, but if anyone gets it working, let me know how the autochannel/midi setup is configured.
tIB
RustyO wrote:
tIB wrote:
I've always wished the arpeggiator could be used with the internal tracks not just the midi. Would give the sequencer so much more legs.


Midi Out to Midi In?

Ever tried that with a filter/router/midi tool box in between?


I haven't; I want it to be there as part of it and not as a hack.i run the cirklon into mine so that gives me the chance to do more complex sequencing.

The other thing I think they could do to power up the sequencer is add a random playback mode and have different lengths for the recorder tracks (independent of the playback tracks).
stk
Another question,
how does the OT respond to MIDI prog changes? Can you, for example, switch between banks with Prog Changes?

Cheers
flts
thanks for all the tips, i've copy-pasted the coolest ones to my personal notebook so i can look at them while i tweak lol

i was supposed just to borrow my friend's OT for a few days just to try out what it's about because he was selling it, spent a day with it and ended up buying it myself because it's so fucking brilliant machine.
Arders Bergdahl
neilbaldwin wrote:
My biggest tip for the Octatrack: try thinking away from time-stretched drum beats.

[s]http://soundcloud.com/neilbaldwin/shipping-forecast[/s]

"Why the Octatrack is the greatest creative sampler.

I was playing around with a setup on the Octatrack that used 4 tracks each of which were assigned different effects and each of which sampled all or some part of the other tracks.

I'd left the Octatrack switched on for a couple of days with this setup still loaded but I was recording a couple of guitar parts for another track and I looked across and saw that there was activity on the Octatrack's inputs. Curious as to what it was, I turned up the mixer and it was actually noise from my guitar amp that I'd accidentally routed to the Octatrack's inputs. Hitting play on that self-sampling setup, a bizarre soundscape unfolded using nothing but the hum of of my guitar amp as a source. What's even more curious is that I muted the input before recording any of this track. It's all created out of a single 32-step sample of just guitar amp hum."


And in case any new Octatrack users missed the Elektron Users 'labs', here's my entries for the first one that uses nothing but a 2-second sample of white noise for source material:

[s]http://soundcloud.com/neilbaldwin/sets/elektron-users-octatrack-lab -2[/s]

thumbs up I agree with all you say.. BUT I have started playing the octatrack WITHOUT ANY INPUT AT ALL, as usual using three pickups.. but letting them sample main or other tracks.. on this first expeiriment i started with on short loop (3 steps i think) sampling main, i think a track with dark reverb listening to the recorder of that pickup machine started off thing.. so this is what it became..

[s]http://soundcloud.com/anders-bergdahl/a-beginning-the-first-part[/s  ]

Almost make me think that i don't need a Buchla hmmm.....

AND I CAN'T LINK TO SOUNDCLOUD.. HELP very frustrating
JeshuaW
Arders Bergdahl, take out the "s" in https and the link should work for you!

Liked the sounds you were making. I too should have an Octatrack by the end of this year or early 2014. smile
Arders Bergdahl
JeshuaW wrote:
Arders Bergdahl, take out the "s" in https and the link should work for you!

Liked the sounds you were making. I too should have an Octatrack by the end of this year or early 2014. smile


Thanks
...but i still cant get the soundcloud link to work... oops
GovernorSilver
Test post to try to help Anders:

[s]http://soundcloud.com/anders-bergdahl/a-beginning-the-first-part[/s  ]

Hmm.. my own track:

[s]http://soundcloud.com/governorsilver/practice-set-for-nov-9-show[/s  ]

Third test soundcloud:
[s]http://soundcloud.com/cyberspace/vatto-volca-acid-test-take-one[/s]

I don't get it. The third one embeds properly. The first two do not. All have the proper http.
Bath House
Here's something I still don't get: why/when would someone want to use recording triggers that aren't one-shots? When/why would you want your sample to constantly be overwritten?
iVardensphere
Because then you can think of it as an extravagant delay with sequenced effects. You can pull the same trick on the Harvestman Tyme Sefari 2. It records and overwrites every time to produce a delay effect... only this 'delay' can be as long or short as the sequence you choose. Try using the 8T as a send/return effect when doing this so you can control the wet/dry. It'll blow your mind.

Bath House wrote:
Here's something I still don't get: why/when would someone want to use recording triggers that aren't one-shots? When/why would you want your sample to constantly be overwritten?
Bath House
iVardensphere wrote:
Because then you can think of it as an extravagant delay with sequenced effects. You can pull the same trick on the Harvestman Tyme Sefari 2. It records and overwrites every time to produce a delay effect... only this 'delay' can be as long or short as the sequence you choose. Try using the 8T as a send/return effect when doing this so you can control the wet/dry. It'll blow your mind.

Bath House wrote:
Here's something I still don't get: why/when would someone want to use recording triggers that aren't one-shots? When/why would you want your sample to constantly be overwritten?


As cool as that sounds, why would that be the default functionality for a device that's designed for sampling and hanging into sounds?
RustyO
Bath House wrote:
Here's something I still don't get: why/when would someone want to use recording triggers that aren't one-shots? When/why would you want your sample to constantly be overwritten?


Looping transition trick (via crossfader or parts)

Constantly record your music; and then swithc/fade from "live" to "Recorded" then segue into a new song.

Or constant over dub mode as you see fit
hpsounds
neilbaldwin wrote:
And in case any new Octatrack users missed the Elektron Users 'labs', here's my entries for the first one that uses nothing but a 2-second sample of white noise for source material:

[s]http://soundcloud.com/neilbaldwin/sets/elektron-users-octatrack-lab -2[/s]

That's the BEST stuffs I've EVER heard from the Octatrack ! thumbs up we're not worthy love

Hédi K.
newgreyarea
RustyO wrote:
Bath House wrote:
Here's something I still don't get: why/when would someone want to use recording triggers that aren't one-shots? When/why would you want your sample to constantly be overwritten?


Looping transition trick (via crossfader or parts)

Constantly record your music; and then swithc/fade from "live" to "Recorded" then segue into a new song.

Or constant over dub mode as you see fit



HAH!!!! I never even considered planting a Rec Trig on the channel I use for this! I've been doing it manually for no good reason this whole time!! I feel so dumb!!
dogoftears
elektrokick wrote:
Hey folks, I'm considering an Octatrack for sequencing and recording my portable euro rig while I'm away from the studio, and I wanted to echo the unanswered question earlier in this thread about the AD conversion. How does it hold up for recording modular/analog synth signals? Any noticeable degradation of the audio going in?

Cheers


they are good, fine, but nothing special-- IMHO.
i've used the OT for 3 yrs now and i used to do a lot of sampling via the inputs. but these days for serious OT pattern construction i work with finely crafted samples that i've already recorded thru my Antelope Orion into the computer. I find you get much better fidelity results from the OT when yr able to pay attention to specific aspects of gain staging that are difficult to discern using just the OT's simple 1 LED level meter.

when you are recording thru the OT's inputs, try and get the level meter right below clipping if you can-- basically yellowish. and always normalize yr sample after recording (and make sure "gain" is set to 0.0 dB in audio editor attributes). this should give you the most possible headroom when constructing patterns.

i've also found that the OT's outputs are pretty quiet, especially when you've gainstaged everything in yr pattern to give you decent headroom (as in, the loudest/bassiest track is *not* set to max track level, and everything else is well below that). so i've taken to running the whole thing thru an Overstayer Instrument Driver when I go out to play live. Otherwise I have to turn the gain up on the DJ mixer quite a fair bit (much higher than the CDJ's, for example). The Overstayer is dialed to its most transparent settings but still supplies some minimal level of glue and color.

here is a recording of OT jamming thru the Overstayer, using all one shot sample collections recorded thru Orion:
[soundcloud url="https://api.soundcloud.com/tracks/141814465" params="color=ff5500&auto_play=false&hide_related=false&show_artwork=t rue" width="100%" height="166" iframe="true" /]
https://soundcloud.com/dogoftears/dogspiral-live2014

i'm also playing a shallow rack full of Bugbrand modules thru a pair of inputs, as well as a Tetrax Akihabra thru the other pair of ins. So yr hearing the summed results of a bunch of samples+live synths all thru the Overstayer. I think it's a decent example of just how "good" the OT can sound in terms of fidelity.
skychance
help
skychance
waah
SubliminalSandwich
Perhaps skychance should make at least a token effort to make conversation while attempting to reach 100 posts..

I could start a poll perhaps?
mapmap
does anyone know if it is possible to turn off the BPM detection when using pickup machines?

i don't want it to change the global bpm after recording... i just want it to stay as is.
StoneLaw
I've been thinking about an octatrack...

I thought I saw mentioned in this thread, can any confirm that there is a mode on the machine that makes it so when you switch patterns on the octatrack it will switch the same patterns on another elektron machine like an A4? So like switching octatrack pattern H1 to H2 would change the Analog four from pattern h1 to h2? This might push me over the top for an octatrack!
extra testicle
StoneLaw wrote:
I've been thinking about an octatrack...

I thought I saw mentioned in this thread, can any confirm that there is a mode on the machine that makes it so when you switch patterns on the octatrack it will switch the same patterns on another elektron machine like an A4? So like switching octatrack pattern H1 to H2 would change the Analog four from pattern h1 to h2? This might push me over the top for an octatrack!


it can be set to send out program changes and the other machines will follow...but the other machines can also be set to change patterns from midi notes, which is what i use more.
Ashi
so I managed to pick one up yesterday and it's amazing, especially how quickly I seem to be able to remember all the shortcuts! Mr. Green

Haven't started to record anything and only worked with the supplied samples so I have some questions regarding preparing my own samples before loading them:

- drums: is it best to make short loops w/ different sounds and use the slicer to save on tracks? I might just make one track kick and offbeat snare/hh and then 2-3 tracks with loops using the slicer heavily

- is there a best practice to work with single-cycle waveforms? I planned to make a sample with a few in and again slice. Is the 2 octave pitch shifting range enough or should I make one sample in the bass region and one with higher notes?

- can I simply re-name the folders in USB disc mode as the naming on the octatrack is annoying to work with?
Ashi
edit: double post...
Arders Bergdahl
Here is the Octatrack used for some granular stuff turned into a "grain rhythm" on a Pickup machine (loop) (if you set loop length before recording (here it is set to 3 steps) it will start in rhytm and end after specified number of steps in rhythm with the BPM on the octa, just to anser a question above, sort of):
[soundcloud url="https://api.soundcloud.com/tracks/168995414" params="auto_play=false&hide_related=false&show_comments=true&show_use r=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

This is notes on the setup (copied from the soundcloud comments.. ):

Flex 1:Grained ”voice” random on len and start and lfo on rate.. short hold , fader linked to hold. A rather random pattern with locks on balance so that it pans, get almost random in stereo.. a chaotic pattern. Sends to cue as well

Pickup machine sampling/looping flex 1 via cue, 3 step loop.. the multiple, add to loop and also replace.. loop gets to 12 steps.. the short grains add to a rhythm, then multiply, move fader, add to loop, maybe replace.. (use one2 so that double tap on left record button becomes replace) repeat until you like what you hear..

Flex 2: samples Pickup machine loop and has some comb and filter action connected to fader

Flex 3: same sample as 2 but a “melodyâ€Â , similar fader action as 2

Flex 4: similar to 1 but different sample, drum beat, also 1 has tstr while 4 has pitch on rate.. similar deal with LFO’s and fader as 1 as well (this one appers as the pitched chaos stuff rather early

Flex 5 samples flex 4 as does 6.. just different pan, rate and pitch…
GovernorSilver
I finally started playing around with the Retrigs, Sample Start, and LFOs as described in this old thread:
http://elektron-users.com/index.php?option=com_fireboard&Itemid=28&fun c=view&id=170081&catid=9&limit=10&limitstart=0

The little twist I put on this was:

1. Pickup Machine on Track 1
2. Flex Machine on Track 3, sample slot set to Recorder 1 (Track 1's recorder)
3. Record loop on Track 1
4. On Track 3, assign LFO1 to RTIM and LFO2 to sample start, LFO wave set to Random for both.
5. On Track 3, set FX to Comb Filter

I used these tricks in band rehearsal last Sunday - starting off with looping my viola into the Pickup Machine track:

[s]https://soundcloud.com/bashateez/zoom0004[/s]
blinosynth
all erased?
:(
so sad
meatcliff
oh no :(
kons
d'oh!
SubliminalSandwich
When my arrangement changes parts the mute assignments for the current step don't cut off the previous steps audio.. when there is no change in part, there is no problem
Anyone know why this is?
Ish
iVardensphere wrote:
I rarely use it in the studio. It's a full time live piece for me that has replaced what need I had for a laptop. Load stem tracks for whatever you're doing into a machine and get going (all warped to tempo).

Then I stream sound from my modular rig straight in without worrying about envelopes or midi to cv conversion or all that stuff. As fun as working with cv is, sometimes it's just an unpredictable pain in the arse when you're trying to do a show.

I then run the audio through a 'Thru' machine and gate, sequence effects, mix, mangle, record on the 8T.

I bloody well love the 8T. love



Does anybody have any audio or video examples of this kind of integration with a modular? Something like this is what I'm aiming at, basically live sampling my Eurorack and mucking with the audio chunks in real time, but I'm unsure whether the Octatrack is right for me. After all, I could always build a phrase looper in Reaktor.

Anyhoo, I'm curious how versatile the Octatrack is in this regard (catching live elements and integrating them into the ongoing composition without stopping the sequence). I know you have to set the dedicated phrase looper machines up beforehand, but once they're set and capturing, how much can you alter the audio? Can you reloop it, effect it, drop P locks on it, cut it up, etc?
sellanraa
I don't have any audio or video but it's definitely out there. I've been tinkering with just that though over the past couple months. I just rout my AUX sends from my mixer to the OT inputs and can go crazy sampling. I had it automated to sample certain lengths but lately I've had more fun just with improvised sampling of little snapshots with one hand and trigging those samples automatically while I tinker with the other hand. I'm trying to look at it as a musique concréte machine basically right now. Loose tape-style functions mainly tweeking speed and pitch and just exploring those (relatively) basic functions.

You could of course just as easily have super complex setups where it's interacting with your modular.

I have a Dark Energy as my go-between which limits the possibilities for the DE, but it send out a clock to the modular when I want it synced.
Mavis Concave
Awesome thread! Thank you!
Ashi
Ish wrote:
iVardensphere wrote:
love

Does anybody have any audio or video examples of this kind of integration with a modular? Something like this is what I'm aiming at, basically live sampling my Eurorack and mucking with the audio chunks in real time, but I'm unsure whether the Octatrack is right for me. After all, I could always build a phrase looper in Reaktor.

Anyhoo, I'm curious how versatile the Octatrack is in this regard (catching live elements and integrating them into the ongoing composition without stopping the sequence). I know you have to set the dedicated phrase looper machines up beforehand, but once they're set and capturing, how much can you alter the audio? Can you reloop it, effect it, drop P locks on it, cut it up, etc?


I'd say it's pretty much perfect for that - I never used the pickup machines (I heard they're a bit annoying to work with but that might have changed) but using either thru machines or flex machines works amazingly well. I usually set up 1-2 channels from the modular coming in from a uJack into thru machines and if wanted additional tracks as flex machines, which are used to play recordings of the modular.

Thru machine: you can set up triggers, amp env, panning, volume, two effects with full p-locks to mess with the incoming audio. I usually use them to add effects but not much more...

Flex machine: set up to sample a recorder slot (check manual for details, it really helps) which is always available. Hit record when you want to get a (quantized if wanted) loop of the input you're recording. Then you can do the full smaple mangling of the OT with the recording. You could even record a new loop into the track recorder, which is then fed into whatever you set up...

there's no need to stop the sequencer at any point
petersandbach
The OT is incredibly clever and wildly deep. I've had mine now for several months and only scratched the surface! At the moment I'm just running my small modular through the OT as a mixer, sampling as and when and building up tracks from sampled loops. The sequencer adds lots of functionality to my 3u Eurorack via a Doepfer MIDI to CV and the crossfader is awesome for live mangling of sounds.

As far as I can work out the OTcan be the solution to whatever complex sampling needs one might imagine...
nepsis
My Octatrack just came in on Monday, and I'm loving it! It's peanut butter jelly time! I didn't really know the arranger existed before I bought it, that made me super happy! Though, it'd probably be more truthfully named the Tracker.
papertiger
dogoftears wrote:

i've used the OT for 3 yrs now and i used to do a lot of sampling via the inputs. but these days for serious OT pattern construction i work with finely crafted samples that i've already recorded thru my Antelope Orion into the computer. I find you get much better fidelity results from the OT when yr able to pay attention to specific aspects of gain staging that are difficult to discern using just the OT's simple 1 LED level meter.


I've just ordered the first few modules for a modular which I intend to use with an Octatrack. I found this post interesting because I've been thinking about the question/issue non-stop. I know that I'll find my own way/reach my own decision once I get the modular set up and start working with it and the OT, but I'm torn between starting with recording into the laptop through an Apogee Duet and prepping samples that way, or going directly into the OT.

Has anyone else gone the same way as dogoftears? or do most of you sample directly into the OT? or, let me guess, the answer is, "it depends"? razz
syzygywell
papertiger wrote:
dogoftears wrote:

i've used the OT for 3 yrs now and i used to do a lot of sampling via the inputs. but these days for serious OT pattern construction i work with finely crafted samples that i've already recorded thru my Antelope Orion into the computer. I find you get much better fidelity results from the OT when yr able to pay attention to specific aspects of gain staging that are difficult to discern using just the OT's simple 1 LED level meter.


I've just ordered the first few modules for a modular which I intend to use with an Octatrack. I found this post interesting because I've been thinking about the question/issue non-stop. I know that I'll find my own way/reach my own decision once I get the modular set up and start working with it and the OT, but I'm torn between starting with recording into the laptop through an Apogee Duet and prepping samples that way, or going directly into the OT.

Has anyone else gone the same way as dogoftears? or do most of you sample directly into the OT? or, let me guess, the answer is, "it depends"? razz



Hey Lady nice to see you here!! w00t SlayerBadger! congrats on the modular. Try going directly into the Octatrack and then recording into the duet. The octatrack makes a great mixer/sampler. It does depend though if you want to catch it on the fly or if you want to treat the sample somehow with software you have in the box. Otherwise the octratrack is fine for recording and chopping a sound. You are just going to have to play with it to find your preferred method because it is so flexible. -Instruments of Flight smile
papertiger
syzygywell wrote:


Hey Lady nice to see you here!! w00t SlayerBadger! congrats on the modular. Try going directly into the Octatrack and then recording into the duet. The octatrack makes a great mixer/sampler. It does depend though if you want to catch it on the fly or if you want to treat the sample somehow with software you have in the box. Otherwise the octratrack is fine for recording and chopping a sound. You are just going to have to play with it to find your preferred method because it is so flexible. -Instruments of Flight smile


awww, thanks! grin I'm really excited. a lot of the stuff will arrive Monday. It's peanut butter jelly time!

I like the idea of going into the Octatrack best because it will force me to make decisions/choices about what to keep and work with instead of recording lots of pieces of audio into the laptop with the intention of panning for gold during another session. Realistically, I won't end up listening to that stuff because TIME (ugh), so it's probably best to force the choice as I'm working.

And surprisingly, I'm "getting" the OT way more this time around, which is a REALLY pleasant surprise. It's still pretty fcuked in some ways, though. d'oh!

Thanks for the input and the support. This is fun!
tIB
papertiger wrote:
dogoftears wrote:

i've used the OT for 3 yrs now and i used to do a lot of sampling via the inputs. but these days for serious OT pattern construction i work with finely crafted samples that i've already recorded thru my Antelope Orion into the computer. I find you get much better fidelity results from the OT when yr able to pay attention to specific aspects of gain staging that are difficult to discern using just the OT's simple 1 LED level meter.


I've just ordered the first few modules for a modular which I intend to use with an Octatrack. I found this post interesting because I've been thinking about the question/issue non-stop. I know that I'll find my own way/reach my own decision once I get the modular set up and start working with it and the OT, but I'm torn between starting with recording into the laptop through an Apogee Duet and prepping samples that way, or going directly into the OT.

Has anyone else gone the same way as dogoftears? or do most of you sample directly into the OT? or, let me guess, the answer is, "it depends"? razz


I'd have thought sampling into something like the duet (and then post processing) would get you better results but if time were an issue skipping that step would save you a ton. That said I dont have fond memories of the audio editor in the ot... or the OT in general really, though I have considered a return myself recently.

Nice to see you here and about to fall into the rabbit hole... w00t
papertiger
tIB wrote:
I'd have thought sampling into something like the duet (and then post processing) would get you better results but if time were an issue skipping that step would save you a ton. That said I dont have fond memories of the audio editor in the ot... or the OT in general really, though I have considered a return myself recently.

Nice to see you here and about to fall into the rabbit hole... w00t


Thank you, Sir. I'm glad being here means I'll see you around... smile

I've seen threads on Muffs re: using the OT and a modular -- some people record via high quality audio interfaces then transfer to the OT; some people use audio interface modules to go from the modular to the OT; and some people go directly into the OT. I think I'll just have to figure out what works for me...especially since time is in an issue/factor.

As for the OT...well, you know my history with it, so I'm shocked, and more than pleasantly surprised, that I've actually been enjoying using it since I got it about a month ago. I guess the third time is the charm. Or perhaps taking it for what it is and moderating my expectations is the key. Mr. Green

In any case, other than getting used to working with patterns and the Arranger, things are going quite well. So far. (We need a fingers crossed emoticon...!)

M
tIB
It's interesting- ive had a few ideas of late I could realise with it. I think I'd go at it from a different angle if I go for it though- ignore the MIDI side, actually use it as a sampler instead of the live effects thingy I used to. IDK- I previously found it so fussy I wasn't at all sad to see the back of it, and I'm having a blast with the little deformer so perhaps I'll leave it- I could probably get what I want done (to some degree) with an a5000.

Anyways, my fingers are crossed for you and I'll be keeping an eye out- you are my 'third times a charm' guinea pig! What you bought then?
papertiger
tIB wrote:
I previously found it so fussy I wasn't at all sad to see the back of it, and I'm having a blast with the little deformer so perhaps I'll leave it- I could probably get what I want done (to some degree) with an a5000.


Well, it's still the OT, so it's still slightly fussy, but it's possible I think that way because I expected major fussiness going in and have been pleasantly surprised (encountering only minor fussiness? hihi ). I will say that even though the OS is still a bit obtuse in parts, it is nowhere near what it was when it started/first came out. I think it has come a long way. The fact that sampling is actually easy and fast is so welcome -- I would never have applied either of those words to sampling on the OT in the early days...

As for the OT as a sampler, I think one of the things that helps is to understand and accept what the device can't do. It's not even close to being something like Kontakt -- it doesn't have the "modern" sampler features we are used to -- or something like an A5000. That being said, I think an old school approach (1990s stylee?) with an Elektron twist is what it's all about. Old school in the sense that you'll be applying effects and resasmpling, rather than using sophisticated granular or other algorithms to manipulate the sample; the Elektron twist, of course, being parameter locks and the sequencer. To me, it just takes a different mindset from other samplers.

tIB wrote:
Anyways, my fingers are crossed for you and I'll be keeping an eye out- you are my 'third times a charm' guinea pig! What you bought then?


Lol, thanks!...? ;-)

I'm starting with a 6U case and the following modules: Kenton Modular Solo (to use the MIDI side of the OT with the modular); and the Intellijel Shapershifter, Korgasmatron II, Dual ADSR, and Linix modules. Starting "simple." We'll see if it takes and where I should go from there. . . !
tIB
papertiger wrote:

Well, it's still the OT, so it's still slightly fussy, but it's possible I think that way because I expected major fussiness going in and have been pleasantly surprised (encountering only minor fussiness? hihi ). I will say that even though the OS is still a bit obtuse in parts, it is nowhere near what it was when it started/first came out. I think it has come a long way. The fact that sampling is actually easy and fast is so welcome -- I would never have applied either of those words to sampling on the OT in the early days...


Yeah, I had one fairly recently so know the current state of it- I never really enjoyed using it although it was much more manageable once I got one that actually worked. The early obtuse-ness coupled with a faulty unit was as infuriating as it sounds.

Quote:
As for the OT as a sampler, I think one of the things that helps is to understand and accept what the device can't do. It's not even close to being something like Kontakt -- it doesn't have the "modern" sampler features we are used to -- or something like an A5000. That being said, I think an old school approach (1990s stylee?) with an Elektron twist is what it's all about. Old school in the sense that you'll be applying effects and resasmpling, rather than using sophisticated granular or other algorithms to manipulate the sample; the Elektron twist, of course, being parameter locks and the sequencer. To me, it just takes a different mindset from other samplers.


If it had granular tricks I'd still have it- there's a ton of potential in the box but it's never really felt maximised to me. I'm not really in love with their sequencer anymore either- that record tracks are tied to playback tracks always annoyed me, and that there is only forward play mode... and the arp being midi only...argh! it's all coming back to me!

Quote:
Lol, thanks!...? ;-)

I'm starting with a 6U case and the following modules: Kenton Modular Solo (to use the MIDI side of the OT with the modular); and the Intellijel Shapershifter, Korgasmatron II, Dual ADSR, and Linix modules. Starting "simple." We'll see if it takes and where I should go from there. . . !


Good luck! I'm very out of touch with the euro world so can't really do the 'that sounds fun' thing- they'[/quote]re just words to me!
papertiger
tIB wrote:
If it had granular tricks I'd still have it- there's a ton of potential in the box but it's never really felt maximised to me. I'm not really in love with their sequencer anymore either- that record tracks are tied to playback tracks always annoyed me, and that there is only forward play mode... and the arp being midi only...argh! it's all coming back to me!


I'm thinking that it's just not for you.

Another draw for me to the OT is the fact that I'm limited in time and space so I've been looking for a machine I can do it ALL on. Like pull it out onto the porch, or the couch, when I have a bit of time and just have fun making noises. The OT came up again and again as the solution and that's how I ended up with it. (Laptop was never in the running because I'm at a damn computer all day at work).

tIB wrote:
Good luck! I'm very out of touch with the euro world so can't really do the 'that sounds fun' thing- they're just words to me!


Well, I'll take the well wishes however they come. smile I'm nervous, but excited. It's like this whole thing...not modular...more like... MODULAR...oooooh razz
GovernorSilver
papertiger wrote:

As for the OT as a sampler, I think one of the things that helps is to understand and accept what the device can't do. It's not even close to being something like Kontakt -- it doesn't have the "modern" sampler features we are used to -- or something like an A5000.


I agree. Like everyone else in the OT world, I have my own list of features I wish were there, but I'm more about focusing on what I can do with it rather than what it can't do.

I've seen calls for true granular synthesis (grains with individual parameters) but I'm satisfied being able to fake it by using LFOs to module retrig, RTIM, sample start, etc.
papertiger
So here is an attempted contribution to the actual subject of this thread (tips and/or tricks).

One thing I haven't seen mentioned is that it is possible to record/sample the audio resulting from crossfader tweaks on the OT itself. Say, for example, that you've got a nice something going on Track 1 with some great crossfader scenes. You can sample/record the audio of yourself performing on the crossfader by selecting any of the track recorders and using Track 1 as the source -- that's it. I thought that it might be trickier than that, but I was pleasantly surprised at how easy it s.
petersandbach
jumbomonkey wrote:
Octatrack Know-How series

Lesson 1 - Sets, Audio Pool & Projects
‪Lesson 2 - Selecting A Machine & Assigning Samples‬
‪Lesson 3 - Manual Sampling‬
‪Lesson 4 - Recorder Trig Sampling‬
‪Lesson 5 - Working With Scenes‬
‪Lesson 6 - Individual Track Lengths‬
‪Lesson 7 - Trig Modes‬
‪Lesson 8 - Pickup machines‬
‪Lesson 9 - The audio editor and loop slicing‬

‪Octatrack Pro Tip‬ series

‪Lesson 1 - LFO Designer‬
‪Lesson 2 - Part Variations and Quantized Sampling‬
‪Lesson 3 - Sampling and crossfader transitions‬
‪Lesson 4 - Controlling Slices With The Crossfader‬
‪Lesson 5 - Rearranging a sample‬
‪Lesson 6 - Internal resampling for adding pattern variations‬
Lesson ‪7 - Single Cycle Waveform Pattern‬
‪Lesson 8 - Remixing Loops with the Audio Editor‬
Lesson ‪9 - Track Trigging‬

‪Octatrack Tip Video series‬

Lesson 1 - Amp page and Amp Menu
Lesson 2 - Playback page and Menu
Lesson 3 - Slices and Retrigger
Lesson 4 - LFOs Part 1
Lesson 5 - LFOs Part 2
Lesson 6 - Resampling
Lesson 7 - Midi

Guinness ftw!


This is why I love this forum! Thanks for the link. applause
RustyO
petersandbach wrote:
jumbomonkey wrote:
Octatrack Know-How series


This is why I love this forum! Thanks for the link. applause


x2 This is fun!
Zon
I was wondering if someone did some changes to the Personalize page, something that makes things more intuitive or easy?

Also this thought creeped into my mind. I was thinking of using the OT as a playback machine live, get some full backing tracks on it. But say you accidently pressed one of those tracks to stop, you'd basicly be fu'd right? hmmm..... Since you'd have to start the backing track all over again while you're in the middle of a set?
CXIV
I gotta put mine to use more often, I sometime just over look this as a tool
GovernorSilver
Zon wrote:
I was wondering if someone did some changes to the Personalize page, something that makes things more intuitive or easy?

Also this thought creeped into my mind. I was thinking of using the OT as a playback machine live, get some full backing tracks on it. But say you accidently pressed one of those tracks to stop, you'd basicly be fu'd right? hmmm..... Since you'd have to start the backing track all over again while you're in the middle of a set?


The OT is one of those machines you have to practice with regularly, so that you're less likely to make mistakes onstage.

I've made some mildly embarrassing mistakes myself on the gig. It happens. That was before I learned how to use Parts to reset all my settings (track levels, LFO rate and depth, etc.) to where I want them to be to start the set.
speak_onion
Zon wrote:
Also this thought creeped into my mind. I was thinking of using the OT as a playback machine live, get some full backing tracks on it. But say you accidently pressed one of those tracks to stop, you'd basicly be fu'd right? hmmm..... Since you'd have to start the backing track all over again while you're in the middle of a set?


If you have a backing arrangement that you never want to get out of sync, then just bounce it all to a single audio file. No need to separate on multiple tracks if it's always going to play together.

Alternately, you could cut it into multiple sections (verse, chorus, that kind of thing) and have a pattern for each that starts each file playing with a one-shot trig.
Zon
speak_onion wrote:

Alternately, you could cut it into multiple sections (verse, chorus, that kind of thing) and have a pattern for each that starts each file playing with a one-shot trig.

Yea that's a great idea, thanks thumbs up At least you won't lose the whole thing should anything happen.
Ish
Zon wrote:
I was wondering if someone did some changes to the Personalize page, something that makes things more intuitive or easy?

Also this thought creeped into my mind. I was thinking of using the OT as a playback machine live, get some full backing tracks on it. But say you accidently pressed one of those tracks to stop, you'd basicly be fu'd right? hmmm..... Since you'd have to start the backing track all over again while you're in the middle of a set?


Here's a post from the Elktron forum I'm migrating over hear because the idea was frankly pretty fantastic(ly out of the box, for how I think at least). It was stated in response to somebody inquiring how people played their Octatracks, in particular utilizing long stems from prerecorded tracks.

gbravetti wrote:


The arranger is an awesome tool to play live.

Don´t think on it as the Ableton Live arranger where you basically use it to define a structure.

The OT arranger is more like "scenes" on ableton Live, you can create loops, jumps, offsets, mutes, etc.

You can create rows to set a suggested pattern order but then you can choose when to jump to a particular row.

Also you can leave and back from/to the arranger seamlessly.

You can define which OT Scenes will be selected for a particular row.

You can use REM rows to have labels so you´ll know what is what, useful if you need to learn a lot of patterns, relations, sequences etc.


The offset can be very useful.

You can use the Offset parameter to convert 1 pattern into several virtual patterns, this is useful specially if you use loops.

Lets say you have 2 samples of 4 bars each that represents part A and B for a song.

You can use a single pattern to hold both of them on a single track and then use the arranger to choose which one will play and when.

The key is make an 8 bar pattern then put sample A on the first half and sample B on the second. Then on the arranger setting an offset of 0 for that row/pattern will play A, and an offset of 64 will play B.

The key for this is to use per track scale and set for the track that will play A and B a Pattern Scale of 64/64 1/2

This will make that track twice it size but you won´t get extra steps, there always will be 64 steps max, so to achieve that, the steps for that track will run at half the speed. That means you loose resolution but that doesn't matter for this track. This track only needs a single trigger on the very beginning to trigger a sample.

So render A and B to a single Wave, so bar 1-4 is A and 5-8 is B, then create on the OT a 2 slices sample.

Place a trigger on step 1 playing slice 1, and 1 trigger on step 33 playing slice 2. Because it speed is the half, Step 33 correspond to step 65 at normal speed.

If you press play now you will see that for that track the step will reach step 32 and then will back to the beginning (I asume you have master length to 64).

Now place that pattern on the arranger as a row with a length of 64 (and 64 repetitions to keep it playing)

Pressing play now will play A

Now in the arranger duplicate that row but now set an offset of 64

If you press play now being on that row, all tracks will play starting from step 65. The other tracks will play step 1 because there is no step 65, but for the track that holds A and B there is Step 65, in matter of fact it is the step "33" the one that holds B. So You will listen to B variation of this loop

Having this two rows on the arranger allows you yo jump from one to another whenever you want, so this way the arranger works as a helper and not as a structure ruler.


Note that you can set a Scale of 1/8, this mean you can hold 8 sample variations per pattern, or even more using other tricks, like offseting to a part that hasn't any trigger for that track will keep playing the last triggered slice.

Using this technique you can have full backing sons divided in "moments" and use the arranger to play them automatically or manually.



Hope you get some ideas from here, there are many things to write and very short time, sorry.


http://www.elektronauts.com/topics/view/11633

edit:

Addendum post in that thread (in response to somebody asking why he opted for that approach since two patterns are so simple):

gBarvetti wrote:


I made an example with a sample made of two parts. That´s pretty easy to do with two patterns as you said.

Now think on a song divided in several parts, let say an 8 bar part for the intro, 16 bars for the A part, a break of 8 bars, then 32 bars for B part, etc etc. With the technique I described you can put all those parts in a single pattern and use the arranger to play them thanks to the offset parameter.
peachfuzzmcgee
Well, I just got an octatrack and for the love of god it's super obtuse. I did everything the manual sampling video said and nothing worked, over and over, only got to work mysteriously like three times. It's been right around 2 and half hours. It apparently has something to do with play trigs and recording trigs but I do it all in the order that they said.

Guh

I thought the mpc 60 sample chopping was confusing originally and the next day I was flying through it, not so here.
Matos
It's easy once you get it. If you want you can FaceTime me tonight and I'll walk you through it. If you ever used a machinedrum or monomachine it's a similar thought process start with a track, assign it a flex.choose a recording track, and you are pretty much set. Once you get a working set up, save it as a template for the future. Just get use to the function + button paradigm and explore. It quickly comes together.
Klipspringer
peachfuzzmcgee wrote:
Well, I just got an octatrack and for the love of god it's super obtuse. I did everything the manual sampling video said and nothing worked, over and over, only got to work mysteriously like three times. It's been right around 2 and half hours. It apparently has something to do with play trigs and recording trigs but I do it all in the order that they said.

Guh

I thought the mpc 60 sample chopping was confusing originally and the next day I was flying through it, not so here.

Hah! You're not alone. When I got mine last year it took a post on Electronauts to figure out how to even record something. Take the video tutorial offer up as it's really easy when you get the hang of it and it's so powerful.

I find new things to do all the time like creating feedback with a pickup machine:

http://www.elektronauts.com/topics/view/425
Zon
Ish wrote:

Here's a post from the Elktron forum

Thanks thumbs up

How do you guys go about recording tracks that you create with the octatrack? I suppose alot of people go for the OT to get away from DAWs, but i still find myself hooking mine up to a pc for recordings. Any nice setups?
SubliminalSandwich
Zon wrote:
Ish wrote:

Here's a post from the Elktron forum

Thanks thumbs up

How do you guys go about recording tracks that you create with the octatrack? I suppose alot of people go for the OT to get away from DAWs, but i still find myself hooking mine up to a pc for recordings. Any nice setups?


I've been pondering this myself..

I've been using outboard eq and reverb unit hooked up to the cue outs.. and producing entirely in the machine, mixing down to new samples...

I see it as a live box too.. so with some care in preparation, I can just record what I play..

I also make up multitracks by recording patterns/sections to a wav file internally and export those..

4 outs can be a pain.. but these other methods have advantages..
papertiger
Zon wrote:
How do you guys go about recording tracks that you create with the octatrack? I suppose alot of people go for the OT to get away from DAWs, but i still find myself hooking mine up to a pc for recordings. Any nice setups?


I've recorded the Main Out into an iPad and iPhone (I have a soundcard that works with iOS devices). Then i just posted up or shared via email or soundcloud.

I loved this method as it allowed me to bypass the computer almost entirely, but the new Soundcloud app is terrible for anything except listening to music.

I also know a guy that uses one of those Zoom recorders (although that probably has to go into the computer for distribution via soundcloud otherwise).
Barfunkel
papertiger wrote:


I also know a guy that uses one of those Zoom recorders (although that probably has to go into the computer for distribution via soundcloud otherwise).


I use a little Zoom H4n 2-track recorder. No multitracking, just an OT + 3 other pieces through a small mixer and into the recorder.

I don't make professional quality music though, just tinker about with my toys. Multitracking (or TONS of outboard) is mandatory if you want to sound like the pros.
ipassenger
papertiger wrote:

... new Soundcloud app is terrible for anything except listening to music.


What have they done to it, it's crap now. :(
papertiger
ipassenger wrote:
papertiger wrote:

... new Soundcloud app is terrible for anything except listening to music.


What have they done to it, it's crap now. :(


Yep. I was floored. You can't even comment on sounds anymore. The degree to which they're failing to capitalize on the "social" aspect of it for musicians is mind-boggling to me. I'm not usually one of those kinds of things, but I know that a lot of people are and it's the force behind things like Instagram, Facebook, etc. The new apps is a huge step backwards in terms of utility.
papertiger
Barfunkel wrote:
I use a little Zoom H4n 2-track recorder. No multitracking, just an OT + 3 other pieces through a small mixer and into the recorder.


What do you do with the sounds after you've recorded?
Barfunkel
papertiger wrote:
Barfunkel wrote:
I use a little Zoom H4n 2-track recorder. No multitracking, just an OT + 3 other pieces through a small mixer and into the recorder.


What do you do with the sounds after you've recorded?


Transfer the files to a computer, then upload to Soundcloud.
GhostlyMostly
Barfunkel wrote:
papertiger wrote:
Barfunkel wrote:
I use a little Zoom H4n 2-track recorder. No multitracking, just an OT + 3 other pieces through a small mixer and into the recorder.


What do you do with the sounds after you've recorded?


Transfer the files to a computer, then upload to Soundcloud.


I also have done this over the past few years. My Zoom isnt as nice as the H4n but it gets the job done. I think the later models have the input volume level options, which for me is key and a safety net working with different machines-modular-elektrons and other synths and pedals.

After a session, I plug the Zoom into the puter and drag and drop the file(s). Thats it, done... Then from there I can upload to soundcloud with a few clicks.

What I really love about the OT is that it takes WAV files. I can have a 20 minute session with my modular and then take that recording from the Zoom and drop it into the OT and just give it another rinse, layer it with other recordings etc. Its great for live gigs too.
If you want a simple cleanup, you can "Normalize" the levels in the OT as well.
Ps, I am just getting back into the OT after it sat for a year and a half eek! zombie MY ASS IS BLEEDING
GovernorSilver
Zon wrote:
Ish wrote:

Here's a post from the Elktron forum

Thanks thumbs up

How do you guys go about recording tracks that you create with the octatrack? I suppose alot of people go for the OT to get away from DAWs, but i still find myself hooking mine up to a pc for recordings. Any nice setups?


I recorded most of my OT stuff into a Zoom R8 multitrack recorder. I either have the OT main outs directly plugged into the R8, or the OT sitting in my mixer send bus, with mixer main outs going to R8.

The R8 records into WAV files, which are then copied over USB to a computer for upload to Soundcloud.

Maybe not a "nice" setup but it gets the job done for me.
GovernorSilver
peachfuzzmcgee wrote:
Well, I just got an octatrack and for the love of god it's super obtuse. I did everything the manual sampling video said and nothing worked, over and over, only got to work mysteriously like three times. It's been right around 2 and half hours. It apparently has something to do with play trigs and recording trigs but I do it all in the order that they said.


Man I tried helping you talk yourself out of it but you went and got it anyway. seriously, i just don't get it

I keed, I keed....

Ok, give us some details:

1. What machine are you using to sample (Flex or Pickup)
2. If Flex, what do you have SRC set to?
GovernorSilver
papertiger wrote:
Soundcloud app is terrible for anything except listening to music.


I've been messing with IOS music making for a couple of years, but have never used the Soundcloud app, actually. All the complaints in the IOS Musician FB group were enough to dissuade me.

Just about all the IOS DAWs have internal Soundcloud upload functionality. Audioshare also has it. So I've never had a reason to use the Soundcloud app.
papertiger
GovernorSilver wrote:
I've been messing with IOS music making for a couple of years, but have never used the Soundcloud app, actually. All the complaints in the IOS Musician FB group were enough to dissuade me.

Just about all the IOS DAWs have internal Soundcloud upload functionality. Audioshare also has it. So I've never had a reason to use the Soundcloud app.


It was nice to be able to listen to people's music and leave comments, etc. on the app since I rarely, if ever, listen to music on a desktop/laptop (usually on an iPod or iPhone).

Like you I sometimes I also use iOS music apps and am thankful that they integrate with Soundcloud (especially Audioshare!). But, I think it's disappointing that you can't manage your Soundcloud profile/page on an iOS device in the same way that you can on a computer. For example, I don't think that I could, from Audioshare, create a new playlist for a group of songs that should go together and then upload them to that playlist on Soundcloud. (Perhaps I'm wrong...) It seems like such a no-brainer to have the app mirror the functionality on the website, especially given that recording and publishing using only an iOS device is more than a possibility these days.

The Soundcloud app was previously on the way to having all of that functionality in earlier versions of the app, before they stripped the new version down to being a listening app over anything else. It' a shame.
papertiger
[quote="GovernorSilver"]
peachfuzzmcgee wrote:
Well, I just got an octatrack and for the love of god it's super obtuse....

Ok, give us some details:

1. What machine are you using to sample (Flex or Pickup)
2. If Flex, what do you have SRC set to?


+1 -- we can try and help you out, but we need more details!
peachfuzzmcgee
GovernorSilver wrote:
peachfuzzmcgee wrote:
Well, I just got an octatrack and for the love of god it's super obtuse. I did everything the manual sampling video said and nothing worked, over and over, only got to work mysteriously like three times. It's been right around 2 and half hours. It apparently has something to do with play trigs and recording trigs but I do it all in the order that they said.


Man I tried helping you talk yourself out of it but you went and got it anyway. seriously, i just don't get it

I keed, I keed....

Ok, give us some details:

1. What machine are you using to sample (Flex or Pickup)
2. If Flex, what do you have SRC set to?


No one can stop me from being irresponsible with my money NO ONE!

Either way I'm using a flex machine, I go choose record buffer one, go to mixer menu and put dir to 127 I go to the record setup AB menu, set it on one2, select my bar length, and make sure AB or CD is selected, hit record ab/cd and the track one button. Finally I press the record button and set a trig on 1 and finally press play.

More often then not I get silence regardless what I hear.

also I conceptually love what the idea could possibly do once I get down to it. Although I have to get passed those hurdles, I just love the form factor for something that does so much. I just got to get it doing those things.
GovernorSilver
peachfuzzmcgee wrote:

Either way I'm using a flex machine, I go choose record buffer one, go to mixer menu and put dir to 127 I go to the record setup AB menu, set it on one2, select my bar length, and make sure AB or CD is selected, hit record ab/cd and the track one button. Finally I press the record button and set a trig on 1 and finally press play.

More often then not I get silence regardless what I hear.


Make sure you have a playback trig on that flex machine track. You may have (inadvertently) set a recording trig only without setting a playback trig to, well, play back the audio. One way to make sure is to pull up the Track Trig Edit Menu. From p. 88 of the manual:

Quote:
TRACK TRIG EDIT MENU
This menu is opened by pressing [FUNCTION] + [BANK] when the GRID RECORDING mode is active. The TRACK TRIG EDIT menu offers both an overview of all the trigs belonging to the selected track and the possibility to place a wide variety of trigs on the sequencer. The visible trigs belong to the currently selected pattern page. Toggle between the pages by pressing the [PATTERN PAGE] key. If the track page consists of less than 16 steps, that will be reflected in the graphics of the menu.


I struggled with recording vs. playback on flex machines too. I somehow was ignorant of the Track Trig Edit Menu. But there's a lot of stuff in the manual I didn't notice or remember when I first got my OT.
GovernorSilver
papertiger wrote:

It was nice to be able to listen to people's music and leave comments, etc. on the app since I rarely, if ever, listen to music on a desktop/laptop (usually on an iPod or iPhone).


Oh ok this makes sense. I do all my Soundcloud listening on my desktop - so it's the opposite. It's a habit from the days I had a limited data plan with my phone carrier.

I've noticed other websites have also struggled to maintain their IOS apps - some end up just coding/styling their sites to be more mobile friendly - eg. Weather Underground, which had bad reviews for their app, so they gave up and now it's just more mobile friendly.
meatcliff
figuring out how to record stuff was the biggest hurdle when i first got the OT, but after re-reading the manual and watching a tutorial it eventually clicked.

re: mixer menu: setting direct to 128 isn't needed for recording. it will just mean you get external input passing through no matter what, so anything you play into AB will pass though. think of the direct volumes as mixer channels for the ext direct to the main outs.

here's a step by step to sample an external input with a trig:
1. double tap the track you want to use, set it to flex, and then assign the appropriate recording buffer for that track.

2. press fn+record to enter recording setup, press record, set your trig on step 1. it will use any settings you enter in the rec setup menu. if you want the trig to be a one shot, press FN+the trig and it will turn yellow.

3. at this point, when you press play the track status on the side of the screen will change from a square to a circle. if the rec. settings screen is still open, you'll see the tape wheel moving. once it hits the RLEN limit, it will change back to the stop symbol and the wheel will stop moving. if you don't have a playback trig on the same track, it won't play that back as the pattern loops around.

4. to play back the buffer you just recorded, hit exit if you're still on the rec settings screen, and place a trig on the track. it will then play back anything that it previously recorded.

to re-arm the recording buffer, press enter+track.

if you aren't getting sound:
- keep in mind that track volume/cue routings/fader locks can keep you from hearing things, so start with a fresh project.
- are you seeing meter activity on the LEDs by the record button?

if you have direct levels up and aren't getting any signal passing, something else might be wrong.
peachfuzzmcgee
Well it seemed to work, now I need to figure out what I can do with the samples. I just realized how much I suck at programming a cool sounding drum piece without the MPC pads.

Is there a way to just play a pattern with the trig buttons and then play it back? is there a way to input triplets/32nd/64th notes through the 16 button sequencer? Sorry if these are super simple questions. I just am so used to the mpc second record+play and just hit some pads.
davidh
yes, simply press play and record, and you get live recording of the pattern
papertiger
peachfuzzmcgee wrote:
Well it seemed to work, now I need to figure out what I can do with the samples. I just realized how much I suck at programming a cool sounding drum piece without the MPC pads.

Is there a way to just play a pattern with the trig buttons and then play it back? is there a way to input triplets/32nd/64th notes through the 16 button sequencer? Sorry if these are super simple questions. I just am so used to the mpc second record+play and just hit some pads.


You're going to want to turn off/on quantization depending on how you want things to be recorded on the sequencer (just FYI). Also, keep in mind that the tracks are monophonic, so your drum sounds *might* get cut off, depending. There are also different triggering modes with the sequencer keys (slots, slices, chromatic, etc.), so also keep that in mind.

I feel shitty saying this, and I hope you don't take it the wrong way, but in learning the OT I think it really does help to read the part of the manual that's relevant to what you're trying to accomplish, try out what you're trying to do, read the manual again, try it again, and rinse and repeat.

It's best to take small bites/do specific things, like what you're doing, and get those down. As I mentioned above, even something as simple as playing sounds back via the chiclets can seem complicated! zombie
dijksterhuis
You can record Sample trigs, Chromatically played Sample Trigs (within 2 octaves) or Sliced Sample Trigs by using the Trig Modes...

The default mode is "Track".

In this mode, press Record + Play. Then tap out the pattern you want on trig buttons 1-8 (i think... Might be 9-16).

Plenty of fun! Especially when you start doing it with slices...

All this starts halfway down Page 82 of the manual (94 if you are looking on a PDF).

http://www.elektron.se/sites/default/files/products/files/octatrack_ma nual_OS1.25.pdf

EDIT: 100% agree ^^^. Keep the Manual next to you for a good month or two at least.
davidh
papertiger wrote:
even something as simple as playing sounds back via the chiclets can seem complicated! zombie


haha I noticed that the Octatrack makes easy things complicated, and fortunately complicated things easy
papertiger
davidh wrote:
papertiger wrote:
even something as simple as playing sounds back via the chiclets can seem complicated! zombie


haha I noticed that the Octatrack makes easy things complicated, and fortunately complicated things easy


and you're using it in a complete, stable, and refined state. always be grateful. LOL. Dead Banana

stick with it. have a plan. be patient, and take it for what it is. once you start going down the road of, but it should do X, or it should do Y, Z way, you're boned! twisted
RustyO
papertiger wrote:
and you're using it in a complete, stable, and refined state. always be grateful. LOL. Dead Banana


I don't fully agree with this at all, but jeez, yes, so much better then the beta product that was sold/shipped for the first few years.
udbhav
I was trying to use the Octatrack as a gate sequencer last night, and ran into some problems, hoping somebody can suggest an alternate approach. Here's how I had it setup:

2 measure long sample looping on track 1, track 2 as a neighbor machine. W/ this setup, I assumed I'd be able to sequence the amp on track 2 w/ triggers. Not only did that not work, but none of the amp parameters on the neighbor machine seem to have any effect at all. I got close by having the filter on track 2 be completely closed, and then use the depth of the envelope to open it up, but i'd rather just control amplitude and not have it affect the frequency spectrum.
Jasper
udbhav wrote:
I was trying to use the Octatrack as a gate sequencer last night, and ran into some problems, hoping somebody can suggest an alternate approach. Here's how I had it setup:

2 measure long sample looping on track 1, track 2 as a neighbor machine. W/ this setup, I assumed I'd be able to sequence the amp on track 2 w/ triggers. Not only did that not work, but none of the amp parameters on the neighbor machine seem to have any effect at all. I got close by having the filter on track 2 be completely closed, and then use the depth of the envelope to open it up, but i'd rather just control amplitude and not have it affect the frequency spectrum.


I never use neighbor tracks..so won't be much help there. BUT you might beable to achieve what you're going for using track 2's recorder buffers.
Set it to record on each step you want in track 2 (Function+Record AB) lay down triggers on each step u want. Next set the Src3 to track 1. I think this is in the menu that's displayed when you've func+recAB, if not it's just in the regular recordA/B button's menu. (Ordinarily it'd be AB or CD, but if you leave both of those blank and set Src3 to trk1 it'll rec that on the steps you've set). Then function+RecAB to get otta that menu and lay down plyback trigs.

This method might give annoying clicks and stuff when it starts rec'ing whilst playing back from the prev step. I think that's a thing. Proper enelope settings fix that, I always use it for really choppy little glitch type crap anyways.

If my OT wasn't 2000 miles from me atm I'd take a minute to verify my hypothesis. Anyways, I've used this for ulterior purposes along a similar vein.. it's a great way to get cool effects. Set record to different steps than playback, run funny envelopes etc. Really great when you're sampling an adjacent track w/ delay or reverb effects.

Sry for confuse. Fkin Lektron, elegant explanations are rendered near impossible. But once you get it, easy peasy.
Zon
udbhav wrote:
I was trying to use the Octatrack as a gate sequencer last night, and ran into some problems, hoping somebody can suggest an alternate approach. Here's how I had it setup:

What do you use to sequence the amp on track 2? And what happens if you use the same method to sequence the amp on track 1?
udbhav
Figured it out by ditching the neighbor track and using trigless trigs on the sample track to trigger the vca/fx envelope but not restart the sample. Thanks for the help everyone!
Jasper
udbhav wrote:
Figured it out by ditching the neighbor track and using trigless trigs on the sample track to trigger the vca/fx envelope but not restart the sample. Thanks for the help everyone!


There's an elegant solution! SlayerBadger!
travis_blitzen
Hey friends, I have had the OT for a month and it's fucking with my head. Just not grasping many key concepts, regardless of how many times I read the manual and watch videos.

So I am looking to create semi-complex(relatively) arrangements and then have the ability to switch to a new "Track" live utilizing different samples and arrangements. Would I use a "Part" for this.. or would a different 'Bank" contain the components for a new track( ie a new sample group)?

I'm very confused and just want to throw the thing out the window. Realizing that i'm proficient and comfortable in Ableton and feeling like I should make peace with using a DAW live to trigger hardware and manage arrangements- regardless of how uncool it will make me look.

Help?

Thanks!!!!!
travis_blitzen
I don't know if that made ANY sense... just looking to use the OT as a master arranger and sequencer hub for live performance. I'm finding that it is pretty good if I want to stick with a particular groove-type and sample set, but if I want to get into more complex arrangements, it's proving difficult.

Thank again.
BlueWolfSe7en
I find the OT very capable of complex arrangements tbh but I'm used to the Elektron way of doing things.
OT can be many things & therein lies the confusion for a lot of people.
Parts are a weird Elektron thing not found on their other machines.
Think of them as Kits. Each Bank holds 16 Patterns & each Pattern can reference any of the 4 Kits (Parts).

A simple way to start is to use

Bank A, Patterns 1-4 with Part 1
Bank A Patterns 5-8 with Part 2
Bank A Patterns 9-12 with Part 3
Bank A Patterns 13-16 Part 4
(Bank B gives you fresh set of 4 Parts & so on thru all the Banks)


The above gives you 4 songs comprised of 4 sections each. With Scenes & Mutes etc that's plenty for most people.


Of course any of the Patterns can switch to a different Kit (Part) on the fly at any point. Once you get the hang of this system then you'll be free to mix it up however you want. Flex on one Part. Statics on a 2nd. Thru on a 3rd or whatever.
Getting to grips with the button combos is another frustration but well worth learning. Stick with it, it becomes 2nd nature pretty quickly & before long you fingers will just do it.
Any specific questions, fire away & I'll try to help
Cheers
travis_blitzen
Thank you for such a clear response! You really helped me clear up some of the strange logic that I've been trying to wrap my head around. Very grateful and will definitely ask if I have more specific questions!!!
BlueWolfSe7en wrote:
I find the OT very capable of complex arrangements tbh but I'm used to the Elektron way of doing things.
OT can be many things & therein lies the confusion for a lot of people.
Parts are a weird Elektron thing not found on their other machines.
Think of them as Kits. Each Bank holds 16 Patterns & each Pattern can reference any of the 4 Kits (Parts).

A simple way to start is to use

Bank A, Patterns 1-4 with Part 1
Bank A Patterns 5-8 with Part 2
Bank A Patterns 9-12 with Part 3
Bank A Patterns 13-16 Part 4
(Bank B gives you fresh set of 4 Parts & so on thru all the Banks)


The above gives you 4 songs comprised of 4 sections each. With Scenes & Mutes etc that's plenty for most people.


Of course any of the Patterns can switch to a different Kit (Part) on the fly at any point. Once you get the hang of this system then you'll be free to mix it up however you want. Flex on one Part. Statics on a 2nd. Thru on a 3rd or whatever.
Getting to grips with the button combos is another frustration but well worth learning. Stick with it, it becomes 2nd nature pretty quickly & before long you fingers will just do it.
Any specific questions, fire away & I'll try to help
Cheers
justscratch
hyena
people!
i'm waiting shipment of a second hand octatrack this week, so very excited. i traded my machinedrum for it. i will use it along with my 12u euro and some silly diy instruments with piezos. will gig with it and work with it in the studio.

i'm reading every resource i can put my eyes on. a question for you octaveterans:

is it somehow possible to set it up so that i can capture loops realtime without stopping the flow and have it auto-slice the captured loop so it can spit it out chopped and diced on a pre-prepared track with trigs and random lfos and stuff?
thanks in advance!
BlueWolfSe7en
OT is deep & there are various ways to do thiis. There are a lot of options which can initially make it confusing but it's worth the effort.
Initially try this.
Double tap a Track. Load a Flex machine.
Enable grid record.
Then Function + A/B & Funtion + C/D will allow you to setup what, how & when it records.
You can simply place a trig & it will loop record.
You can place a one shot trig that activates when you press enter.
In grid record, enter only activates the selected track.
No grid record, enter activates ALL one shot trigs on all tracks too, worth being aware of!

In the Funtion + A/B and C/D menu you can setup quick record which is my preference. Choose QREC Plen.
Now when the OT is running you simply hold Track & Press A/B or C/D to record those inputs. It will activate at the beginning of the the next GLOBAL bar.
Track & Midi will record either the Main outputs or the Cue bus. Option in the menu.
Make sure where it says for eg. INAB that you dial in A/B underneath.
If this is blank you'll be left scratching head & recording fresh air :-)

Once you've captured a sample you can place trigs with different Start points or chop it in the sample editor & place trigs with different Slice points.
What is really cool is that once these are placed, any new material you record will automatically have these Start/Slice points applied!

Btw, once you've setup your machines & record options, SAVE THE PART.
Part, is like a kit on the MD. It's worth noting that each Bank has 4 Parts (Kits) to choose from. Very different to the MD where you can have a different kit for each Pattern if you so choose. This pissed a lot of people off :-) You can switch them on the fly tho.

When you say 'Loop', the OT excels at grabbing audio & mangling/chopping but as a conventional 'Looper', building up layers on one track etc. Then this is not its strong point.
You can explore the 'Pick up' machines but most people have given up on them for various reasons. If the OT is Master clock then they're ok, just ok imo. Slave the OT to incoming clock & you'll encounter an infamous bug that by all accounts can't be fixed, oh well!
If I want layers I just use the delay engine & fire stuff in there.
You can of course bounce tracks down to achieve this but it's pretty long winded really.
It's a massive leap from the MD to the OT so take your time to really understand it, it can be pretty daunting to begin with. When it clicks tho it awesome :-)

Edit. In the Sample Editor there are options for size of Slice Grid, & for distributing Linear or Random locks. Remember to place trigs in advance.
RustyO
hyena wrote:
people!


person!

Theres an Italian facebook group for Elektron users, might be someone local, or else I know some Italian cats.

BlueWolfSe7en wrote:
It's a massive leap from the MD to the OT so take your time to really understand it, it can be pretty daunting to begin with. When it clicks tho it awesome :-)


Out of all the awesome advice given in that post, I'm going to highlight this snippet.

I think you (or anyone else) is best suited with just using Flex/Static machines, then bring in Paramter Locks, then Sample Locks, then Scenes, then Parts, then Neighbor, Thru, Midi etc etc... leave Pickup machines to last imho.... unless you need/want them as BlueWolfSe7en explained.
hyena
@bluewolf7: mate, thank you veeeery much, this is very precise information. after reading the manual like 3 or 4 times in a row what you are saying is pretty clear, i just have to put my hands on it now.
i will give the pickup machines a try anyway, the opportunity to build sound-on-sound style is very tempting. consider i'm doing it with a tyme sefari mk2 so with the octa, even flawed as it is, it will be day and night!
thanks again for all the valuable informations!

@rustyo: yeah i know that group , already a member. if i have to be sincere i'm afraid there's not so many power users there, especially octa-wise.
given that i know octa being one of the most complex modern hardware soundboxes around i'm pretty confident i'll develop my techniques pretty soon. aside my music production and performing activity i'm a teacher and counselor focusing on music making and audio technology so i'm pretty trained in going inside new toys, changing setup pretty rapidly and stuff. thanks for your advice nonetheless smile
GovernorSilver
Mark Mosher's Swarmatron-inspired idea that makes use of chromatic trig mode and Scenes - demo and instructions here:
http://markmoshermusic.com/2016/02/27/011-swarm-of-the-nanobots/

So far I've just set up two Tracks, each triggering the same synth wave (from the stock sample pack), but with different sets of FX, scene locks, stereo panning, etc. Neato stuff...

I'll probably try a short sample of my viola next.
stk
The real shame about the octa is that it could have been so good.

I do still love the thing, but damn (yes I just got bit by this buggy fucker deciding it doesn't want to read my previously perfectly fine card anymore. Fuck you very much electron).

Dead Banana
sleepmcevox
I just got an OT a couple of weeks ago, having been using software-only for years. I love it. You lose a certain amount of control, especially in that it only has four outs, but it more than compensates in immediacy and weirdness. I tried fighting that at the start, but have now just decided to go with it, and play to it's strengths. So new tracks I've made are now less polished, but more immediate. w00t
sleepmcevox
http://www.mediafire.com/download/i9ml7drzfyplp4m/Volca.rar

Maybe this isn't the right place for this, but with search being broken and all, I sampled and made chains of a Volca Beats, ready to go straight into the OT. Just in case you wanna make your $1000 sampler sound like a $100 drum machine This is fun!
dijksterhuis
sleepmcevox wrote:
I just got an OT a couple of weeks ago, having been using software-only for years. I love it. You lose a certain amount of control, especially in that it only has four outs, but it more than compensates in immediacy and weirdness. I tried fighting that at the start, but have now just decided to go with it, and play to it's strengths. So new tracks I've made are now less polished, but more immediate. w00t


I think the OT is great for software peeps. It's basically using keyboard shortcuts for everything...!
StudentsOfTheFuture
Is there a way to set it up so that trig buttons send a midi trig like with the sample tracks? I just want to be able to press a button to hear the sound I'm editing without having the play the whole sequence (as with the audio tracks).
moseley101
Having just bought the machine a week ago, I've been having fun recording a series of single 'hits' from my modular and then sequencing then in the ot with LFOs manipulating start and retrig length. Lots of lovely Autechre-esque glitchiness Dancing Star
RustyO
This is fun!
damase
Quick question for fellow OT users
When i record enable my flex looper(looping master track) it usually gets the ADD and PLAY symbols on the LED screen, and records everything audible including its current buffer into the record buffer of the same flex track. This is what i want, and it works %90 of the time.

Sometimes though, it just gives me the ADD symbol with no PLAY, and erases/silences its current buffer before recording the audio into the new buffer.

I looked through the manual and couldnt find this specific info of what the difference is, or what i am doing differently when this happens

Thank you
Mosiej
Anyone know if its possible to change scense on the OT via scence selection on the analog RYTM?

That would be amazing.

thanks
RustyO
Mosiej wrote:
Anyone know if its possible to change scense on the OT via scence selection on the analog RYTM?


Yes. But you'd probably need some kind of doovalaky inbetween. Chek the midi specs. I use Octatrack as master, controlling Rytm and Virus with lots of midi shenagians... zombie

PS: Check out guga's SMD for some more midi fun and games.
Mosiej
thanks !! however, what's a doovalaky? :(

Any tips on how to get started? I know the AR shows the Midi channel for scenes, however I cannot find such a thing on the OT
hairbow
More than happy to be proven wrong, but I highly doubt you could change OT settings with the AR. I know it can send MIDI information, but it'd be a miracle that the AR and OT share the same exact MIDI CC channel.

And after searching, it seems like the OT scenes don't exist in MIDI. Given that the crossfader is very fine resolution for interpolation, it makes sense it doesn't exist in MIDI CC
dogoftears
hairbow wrote:
More than happy to be proven wrong, but I highly doubt you could change OT settings with the AR. I know it can send MIDI information, but it'd be a miracle that the AR and OT share the same exact MIDI CC channel.

And after searching, it seems like the OT scenes don't exist in MIDI. Given that the crossfader is very fine resolution for interpolation, it makes sense it doesn't exist in MIDI CC


cc 48-- crossfader
cc 55/56-- scene a/b select
it's right there in the midi appendix.
should work on whatever you set for autochannel.
dogoftears
hello,

2 part question-
1. does any one have a good resource, or would like to share with me, some collections of single cycle wavetables?
and/or
2. has anyone already gone the extra mile and made some sample chains with them? wanna share those?? (i'll buy you a beer or something)

yes, would like to make an 8 part wavetable synth or somesuch with OT. i think because of the pitch shifting limitations of the OT that i'll maybe want cycles in lower and higher octaves?? has any one else messed with this idea?
Scot Solida
You may have seen it already, but a while back I made a sample chain for my Octatrack from a custom wavetable I made on my Wave PPG 2.2.

http://www.theelectronicgarden.com/Scot/WAVE_TABLE.zip
RustyO
dogoftears wrote:
1. does any one have a good resource, or would like to share with me, some collections of single cycle wavetables?


Adventure Kid Wave Forms

dogoftears wrote:
2. has anyone already gone the extra mile and made some sample chains with them? wanna share those?? (i'll buy you a beer or something)


No, but that not hard to do... just lots of them.

dogoftears wrote:
yes, would like to make an 8 part wavetable synth or somesuch with OT. i think because of the pitch shifting limitations of the OT that i'll maybe want cycles in lower and higher octaves?? has any one else messed with this idea?


Octatrack Monolith
dogoftears
thanks guys! i figured someone had posted some earlier but didn't want to wade through.

will explore both your links later today, appreciate it.

RustyO-- i find it a huge pain in the ass to make the chains-- i've almost bought your software just to make them for me.

anyhow, getting back into OT last month or so, for me she's like riding a bike, it all just flows. i still wish for post mute fx trails, but whatever.
RustyO
dogoftears wrote:
thanks guys! i figured someone had posted some earlier but didn't want to wade through.

will explore both your links later today, appreciate it.


You're more then welcome.

dogoftears wrote:
RustyO-- i find it a huge pain in the ass to make the chains-- i've almost bought your software just to make them for me.


It's awesome. Of course I'm biased lol

And the Chainer module is just one part of OctaEdit... there is a shedload more in there as well.
StudentsOfTheFuture
Upload them if you do end up making them!

In the mean time here's the single cycle chains I've found:
http://www.inspektorgadjet.com/video-tutorials/octatrack/ (link under waveforms + slices)

http://innerportalstudio.com/free-octatrack-sample-chains/
jshell
Dumb question, but: sample chains. What are they? Are they just single samples with slice markers (or pre-configured to have everything spaced out for easy slicing)?
Hi5
Something I've come to use on the Octa midi seq side of things with my modular. Create a fairly spartan seq across X amount of steps. Set-up one lfo with the stepped random waveform, speed to 1, triggered per note to control turning on the arpeggiator/mode. Design a arp of your liking and adjust the note lengths of the main seq to have the arp add flourishes/additional notes beyond your main riff. The lfo depth controls how likely the arp is activated per trigger. You can even set-up a similar lfo controlling the note length so that it also dynamically changes per step which will effect how much of the arp actually plays if turned on.

Found this great for bass lines, leads, or more percussive work to add a variability to the pattern without having to change them. Play around with the arp pattern and timing to get a wide range of embellishments to give a simple riff the variability of a live performance.
dogoftears
jshell wrote:
Dumb question, but: sample chains. What are they? Are they just single samples with slice markers (or pre-configured to have everything spaced out for easy slicing)?


the latter, 32 evenly spaced samples (for example) can be turned into 32 slices with a single command in the OT audio editor. then the slice parameter chooses between all the different samples.
eightnine
Does anyone use the MCV4 converter to get the octa to trigger cv? I cant seem to figure out how to get it to send a trigger.
soundslikejoe
eightnine wrote:
Does anyone use the MCV4 converter to get the octa to trigger cv? I cant seem to figure out how to get it to send a trigger.


Are you trying to send MIDI to a module that converts to triggers, or are you wanting to send an audio sample of a time trigger? Both work... different ways but both have worked for me.

Via MIDI, you'll want to setup the OT's midi channel (channel and trigs) and the modules settings (in my case Yarns)

Via trigger sample.... you'll load the trig sample onto a static track, drop trigs in patterns, then route the audio out of cue (making sure no other audio is mapped to cue)
joeyfivecents
When sending midi notes from OT to something like the Volca Bass, portamento/slide is nonexistent, however, if you turn the legato setting (in arpeggiator) to on and make note lengths "inf", every note will slide into the next. You can also p-lock the legato setting for particular notes that you don't want to slide. Pretty cool. I don't think I saw this tip on here but if I overlooked it, sorry.
slicetwo
I learned a cool trick last night. My current flow is taking 1 sample and making a little 4 bar loop out of it on the 8 tracks. I managed to take a pretty one shot synth sound and turn it into a snare drum by cutting the hold and release, then putting chorus with all the parameters except width to 127, then I throw a LOFI effect on it and turn the DIST all the way up. It gives the sound an almost analog snare sound. If you want to take it further, resample it to add EQ and pitching.
bluesdog
I searched for this but couldn't find it:
- I made a new project on the OT and choose tempo 120
- I recorded a loop (that was slower than 120BPM) of the Tanzmaus drummachine into the OT
- I set the correct start and end point of the loop in edit
- when I add the loop to the sequencer and press play I can hear that the original tempo of the recording is maintained but it cuts off at the end of each bar (of course cause the seq is going at 120BPM)
- When I change the tempo to something else than 120BPM the loop is being time stretched: I don't want this.
- I want to sync the BPM to the recorded loop without the OT time stretching/warping/touching/altering/whatever the loop.

Could someone please explain how to do this step by step? (It's my first hour with the OT so go slow on me)
thanks
---------------------------------------------------------------------- -
EDIT: After trying a few things, this is what I came up with:
Going into the edit mode of the recording (T(1-8) + Bank/edit) both timestretch and loop mode have to be OFF. Then exit and adjust the "general" tempo until it matches the recorded sample.

A tip: to change tempo value turn the level knob, to change values AFTER the comma use the up and down arrows.

_________________________________________________________
Orange
Hi
Don't know if I can help you out but why not sample the Tanzmaus at 120 bpm? Connect via midi and you are settled.
If you have sampled the Tanzmaus before you started the new project, the sample should be playing at the same bpm as the bpm of the project.
bluesdog
Orange wrote:
Hi
Don't know if I can help you out but why not sample the Tanzmaus at 120 bpm? Connect via midi and you are settled.
If you have sampled the Tanzmaus before you started the new project, the sample should be playing at the same bpm as the bpm of the project.


The Tanzmaus doesn't have a BPM display. I know I could midi slave it to the OT but I want to avoid midi just for now and first want to be able to manually sync the tempo of the OT to any loop I would record, without the stretch function.
soundslikejoe
Why would you "avoid Midi" if that provided a clean solution? If you want the Tanzmaus to be the clock, you could clock the OT via MIDI.... or make OT the master... but a tight MIDI clock is the best way to get clean samples that don't require any time stretching.
bluesdog
soundslikejoe wrote:
Why would you "avoid Midi" if that provided a clean solution? If you want the Tanzmaus to be the clock, you could clock the OT via MIDI.... or make OT the master... but a tight MIDI clock is the best way to get clean samples that don't require any time stretching.


That's not what I'm asking. Okay forget about the tanzmaus and let's say I sampled a couple of bars of a song from a cd/vinyl or played a guitarpart into the OT. Without stretching what I just recorded I want to set the BPM/metronome to what was just recorded.
That's my simple question
soundslikejoe
More experienced users might have a better way... but...

I would load sample into Static slot.
Open the Audio Editor
Edit the Start point to a clean "Beat 1"
Choose ATTR page
Change Timestretch to OFF
Add trig to Bar1/Beat1
Adjust tempo until Sample played correctly in time.

If the playback gets truncated and you need more than 1 bar.... extend the Playback length for the Track.
GovernorSilver
bluesdog wrote:
let's say I sampled a couple of bars of a song from a cd/vinyl or played a guitarpart into the OT. Without stretching what I just recorded I want to set the BPM/metronome to what was just recorded.
That's my simple question


Try sampling with the Pickup Machine instead of Flex.

Pickiup Machine will automatically set the OT's BPM to whatever you just recorded into it.

Obviously if you sample into Pickup Machine again and the new phrase you sampled is a different BPM, it will reset the BPM to that new tempo. If you don't want the OT to change the BPM afterwards, sample into Flex instead.

Like all BPM beat detectors, the one in the Pickup Machine is not perfect and can sometimes guess a tempo that is completely way off. You'll have to play with it to see if you can get it to work for you.
Dancing_Bananas
I've been looking for an answer to this for a little while.

Is it possible to have 2 Pick up machines recording at the same time?

I'm assuming no and I know I can simulate this with a flex recording from CUE, but haven't found it in the manual and no direct mention I could find online either.
GorillaMuseum
How have I only just found this thread?! <3
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