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WIGGLING 'LITE' IN GUEST MODE

Are you using Octatrack?
MUFF WIGGLER Forum Index -> Play Out! Performance Modulars Goto page 1, 2  Next [all]
Author Are you using Octatrack?
ResistSound
I notice a lot of live modular sets seem to contain the Octatrack. If you are using it would you mind briefly describing why/how you use it? I'm very curious to see if this could play a role in my setup but I'm not quite sure how I would incorporate it, or if it makes sense for what I do.
sellanraa
I use it as sort of a loose live sampler generally. Though I could tighten that up if I wanted, I prefer the more reel to reel musique concrete aesthetic. Otherwise, it clocks my modular using the Doepfer Dark Energy as the go-between. It's a great complement to a modular, but I don't want to use the space in my modular case for a midi interface which restricts what I can do with it.
smilinggoat
I mostly DJ at gigs then have some things set up on my Octatrack that I can go into if the crowd is feeling the direction. I beat match the Octatrack by tempo readout and make adjustments by ear, then using one of the Cue outs, I use that to send clock to my Euro. I haven't used the Euro at a gig yet, I'm not ready for the transport & safety concerns, but it works well in rehearsal =)
Smais
I sold my OT to fund building my eurorack but I really miss it. When I had I used it for pretty much everything I did, like a stiff army knife. Will probably get another after my modular is more complete.
Rolyporter
could never part with mine. Hunting round here to find ways to incorporate it with modular setup
deaddogsinhalf
I spent a long period of preparing my live set around a recorded backing track and some synths/bass, then it grew to a floppy-based sequencer running a drum machine and sampler. Then a friend of mine lent me an Octatrack for a few weeks, and I ended up selling all the things I love to buy my own..

It's the brain of my life set up now, both as a sampler, mixer and sequencer for my analog outboard gear. At the moment the modular part of my set up is just the recently aquired NLC CellF system, but I have more on the way to fill up my box.

I'm basically planning on sequencing midi from the octatrack into a midi-cv converter, and further on buy a midi-trig module and find some nice drum voices to replace my Vermona DRM1.

It's hard for me to judge how its all going to fit together re: workflow and how it feels live, but figuring that all out is part of the fun.
metaBit
I sold my Octatrack to buy more modules, but I've missed it ever since. I loved it for being able to live sample my modular and/or playback prerecorded live takes of my modular as I patch something new. Planning to get an Octatrack for this again in the near future.
PompeiiRuler
For improv jams I run modules to the AB, CD inputs as Thru machines and use the OT as a mixer.
Set up scenes to fade in and out of the Thru machines, each with their own FX modulated inside the box.
computer controlled
It used to be the center of my live set up. I've done sets with just that and the x0xb0x. I would run the x0xb0x into one of the inputs, and just run the main outs to the sound board. It can be used as a 4 channel mixer, effects and all. Killer piece.
xenosapien
PompeiiRuler wrote:
For improv jams I run modules to the AB, CD inputs as Thru machines and use the OT as a mixer.
Set up scenes to fade in and out of the Thru machines, each with their own FX modulated inside the box.


Are you using line-level output modules inside the modular??
I find that if I go straight out of a VCA or mixer module into the OT, I clip the inputs like crazy... some modules more than others...

will pick up a small portable mixer to circumvent that.

apart from that, I use the OT in a pretty standard way: part drummachine / sampler, part backing track and mostly MIDI sequencer (via my hexinverter 4x midi2cv module)
eircom
I've just started building my first modular (currently a 6U 90hp monorocket filled by mostly make noise stuff + mi frames) but a long time octatrack user. i have yet to play live but generally i use octatrack + pittsburgh midi2 to get 2ch of midi (no cv besides pitch but you can use second channel for velocity, placing notes in sync with ch1 from lowest to highest accordingly). i also use both cue outputs to ouput 2 different clocks to the modular (yeah, waste of 2 audio tracks on the octa but you get to sequence frames with irregular / microtimed clock, very cool). Midi2's sync output is rather useless because it trigs only on 1st beat. I'm using pittsburgh outs to send audio back to octatrack for sampling / layering.
autopoiesis
One idea that I want to explore when I get a Disting is to dedicate one of the OT's audio outs to the envelope follower + pitch-to-CV mode. Looking forward to putting the OT's prowess at mangling audio amplitude and pitch through its paces for generating organic CV shapes.

xenosapien wrote:
PompeiiRuler wrote:
For improv jams I run modules to the AB, CD inputs as Thru machines and use the OT as a mixer.
Set up scenes to fade in and out of the Thru machines, each with their own FX modulated inside the box.


Are you using line-level output modules inside the modular??
I find that if I go straight out of a VCA or mixer module into the OT, I clip the inputs like crazy... some modules more than others...

will pick up a small portable mixer to circumvent that.

apart from that, I use the OT in a pretty standard way: part drummachine / sampler, part backing track and mostly MIDI sequencer (via my hexinverter 4x midi2cv module)


To avoid clipping I use Koma attenuator cables between my VCA outs and OT ins. About 2/3 attenuation works for me to set and forget.
xenosapien
autopoiesis wrote:
One idea that I want to explore when I get a Disting is to dedicate one of the OT's audio outs to the envelope follower + pitch-to-CV mode. Looking forward to putting the OT's prowess at mangling audio amplitude and pitch through its paces for generating organic CV shapes.

To avoid clipping I use Koma attenuator cables between my VCA outs and OT ins. About 2/3 attenuation works for me to set and forget.


Yeah, that envelope follower is a good idea.
I´m planning to do that with my electric bass guitar and see what kind of crazyness I can get "hands-free" out of my modular rack, will use my spare Doepfer Mini-Case as a breakout box to have the envelope follower+input module/amp sitting on top of my bass amp. Sounds like fun smile

@attenuator cables:
that´s a great idea, I have two of these = stereo. will give it a shot.
modularrydavid
One thing I'd really like to know is if it bangs. I've heard conflicting reports. I do not want to use it as a sound-design mangler. I want to use it as a drum machine sampler. My reasons are durability (unlike MPC1000), great sync/clock (unlike MPC1000) and memory/physical outs and ins. Maybe some looping too.

I am coming from MPC3000, 909, 808...banging hardware that is solid and sounds great live (although the Rolands do have drifty clocks).

Friends say putting the same samples in OT and MPC and A/B'ing results in an unfavorable outcome (only in terms of strength of sound) for the OT. That might be a dealbreaker for me despite everything else being great. Honest feedback please. I can't haul my 3000 around Europe...too heavy and vintage.
Montgomery Word
PompeiiRuler wrote:
For improv jams I run modules to the AB, CD inputs as Thru machines and use the OT as a mixer.
Set up scenes to fade in and out of the Thru machines, each with their own FX modulated inside the box.


OMG THANK EWE FOR THIS.
Been thinking of thru machines but not that I could do some modules on a/b and others on c/d with scenes.

DOPE.
yarns gets here in a couple days...
xenosapien
modularrydavid wrote:
One thing I'd really like to know is if it bangs. I've heard conflicting reports. I do not want to use it as a sound-design mangler. I want to use it as a drum machine sampler. My reasons are durability (unlike MPC1000), great sync/clock (unlike MPC1000) and memory/physical outs and ins. Maybe some looping too.

I am coming from MPC3000, 909, 808...banging hardware that is solid and sounds great live (although the Rolands do have drifty clocks).

Friends say putting the same samples in OT and MPC and A/B'ing results in an unfavorable outcome (only in terms of strength of sound) for the OT. That might be a dealbreaker for me despite everything else being great. Honest feedback please. I can't haul my 3000 around Europe...too heavy and vintage.


I wouldn't worry about that. all of these reports I've read were from people citing some mythical esoteric aspect that magically made MPCs sound better than the Octatrack.
it is, in fact, very clean in comparison - but I treat my samples before I load them in the Octatrack, and you can still filter (+envelopes) them in the Octatrack as well. FX too of course.

mine is shaking walls.
if you can't get good sound of it, don't blame the machine.
modularrydavid
Thanks for this feedback that addresses sound. Trying to decide btw OT and RT.

BTW, the bang is not mythical, at least with SP1200 and MPC3K/60. I can attest personally. But I heard reports of OT bring thin next to even the 1K, which is not a praised MPC sound-wise (and one that I do not own). The A/B comparison wasn't theoretical, but rather came from a heavily-toured duo who play with Octa and MPC-1K. At home, they loaded a lot of the same samples into both and said OT was decidedly thinner-sounding (maybe what you're calling clean). Maybe compensating by treating samples first is enough Thanks.
Montgomery Word
modularrydavid wrote:
Thanks for this feedback that addresses sound. Trying to decide btw OT and RT.

BTW, the bang is not mythical, at least with SP1200 and MPC3K/60. I can attest personally. But I heard reports of OT bring thin next to even the 1K, which is not a praised MPC sound-wise (and one that I do not own). The A/B comparison wasn't theoretical, but rather came from a heavily-toured duo who play with Octa and MPC-1K. At home, they loaded a lot of the same samples into both and said OT was decidedly thinner-sounding (maybe what you're calling clean). Maybe compensating by treating samples first is enough Thanks.


As an owner of an Octatrack, SP1200, MPC60, and many more samplers, I can say this; the Octa's sound is my least favorite. Mpc2000xl being worse, op1 about tied. I have a ***hard*** time making the Octa sound deep, but it may just be me, since I hate clean sounding electronic music.

I still like it, but it maxes out fast when combing modular and anything else. I have to turn down the whole studio to work with it.
modularrydavid
Thanks Montgomery Word. I like feedback from people with real-world experience. I have all the ancient boxes and my "bang standard" is high. This is what i was worried about...but y'know, confirmation bias...
sensanalog
Thanks for the insight and comparisons between the ot and vintage samplers. I will keep my octatrack but you just confirmed that I need an mpc 3000 in my life. Time to scour the for sale threads!
xenosapien
I do not have an MPC to compare to, but I know what "bang" you refer to... and yes, the Octatrack does not have that.

It is, however, quite easy to get - in my opinion. I grew up with all these tracks produced on MPCs, so I know what it´s supposed to sound like... in my opinion, clever saturation and downsampling BEFORE loading tracks into the octa can solve all that.

Personally, I prefer having a clean machine that can be loaded with dirty samples, but I definitely "get" the affection for those dirtied-up, rough sounding samples. I used to have an electribe es-1 and noticed that kicks and hihats from that sounded a lot crisper and punchier... then I looked up the specs, found out it was 12bit, fiddled around a bit with my samples before putting them in the octa, and voila.

it works - for me wink
modularrydavid
Thanks xenosapien. I will keep this in mind!

xenosapien wrote:
I do not have an MPC to compare to, but I know what "bang" you refer to... and yes, the Octatrack does not have that.

It is, however, quite easy to get - in my opinion. I grew up with all these tracks produced on MPCs, so I know what it´s supposed to sound like... in my opinion, clever saturation and downsampling BEFORE loading tracks into the octa can solve all that.

Personally, I prefer having a clean machine that can be loaded with dirty samples, but I definitely "get" the affection for those dirtied-up, rough sounding samples. I used to have an electribe es-1 and noticed that kicks and hihats from that sounded a lot crisper and punchier... then I looked up the specs, found out it was 12bit, fiddled around a bit with my samples before putting them in the octa, and voila.

it works - for me wink
artistcalled6
I use mine as a mixer, sequencer, fx processor and sampler. I sequence midi 3 for bass, then use yarns in it's various modes to sequence more voices and/or drums. I do end up leaving record trigs in various place and chopping up things by assigning the xfader to slices. It also frees up some LFOs for things like volume and panning. Only 4 inputs which kind of sucks for what I would want it to do, but anything leftover gets run through my main mixer.
Montgomery Word
xenosapien wrote:
I do not have an MPC to compare to, but I know what "bang" you refer to... and yes, the Octatrack does not have that.

It is, however, quite easy to get - in my opinion. I grew up with all these tracks produced on MPCs, so I know what it´s supposed to sound like... in my opinion, clever saturation and downsampling BEFORE loading tracks into the octa can solve all that.

Personally, I prefer having a clean machine that can be loaded with dirty samples, but I definitely "get" the affection for those dirtied-up, rough sounding samples. I used to have an electribe es-1 and noticed that kicks and hihats from that sounded a lot crisper and punchier... then I looked up the specs, found out it was 12bit, fiddled around a bit with my samples before putting them in the octa, and voila.

it works - for me wink


Oh!!! Don't get me wrong. I'm not selling the Octa!!
I just like to use the sp1200 for my drums, then use the samples of my whole tracks in the Octa. Then it sounds nice!!! If I didn't have the sp1200, id use the mpc60. If I didn't have that, I'd use the sp202 on standard mode, pitched up b4 sampling, then down in the 202. That's what I did for YEARS to get that dirt-bump!!!! Pro tip.
But you could use lots of stuff. There's so many options. Dudes used to even sample drums to cassette with uber saturation before sampling into their sp1200's. Awesome.
The octa's so great with modular, a midi module, and ableton in sync. I HIGHLY suggest it.
One thing I've been thinking for ease of use, could I write my awesome melodies in ableton and record the midi in the Octa?
slaughtrhaus
I use my Octatrack as the centerpiece to my whole studio. Sequence, run thru tracks, FX, do full "arranger" mode tracks, etc. In my Euro I have a Mother-32, which has an assignable cv out that you can assign to respond to CC. Bam! OT LFO>Mother-32>Piston Honda= big wavetable fun. Also using the OT LFO to control the rate of the Mother's LFO is tits.

As far as the whole "thin" sound thing my opinion is that is an unfair judgement. What I sample in comes out identical to my ears. The thin characterization comes from people wanting it to do "quick and dirty" stuff like older samplers (Akai, Ensoniq) do. This "thickness" is more like a lack of resolution and clarity to my ears, but yes thick nonetheless. Both paradigms have their place IMO, doesn't need to be either or you just have to know what you want. Both religions will try and get you to drink the kool-ade on this one, it isn't worth it. Om
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