I love the OTs effects, especially when you stack neighbor tracks and put a lot of work into scenes.
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Seems highly unlikely that there is any conversion from 24 to 16 bit because the DSP used in the octatrack (Freescale DSPB56721AG) is 24-bit. They wouldn’t save anything except sample ram by truncating the lower 8 bits.
Even though I’m completely happy with the OTmk2, I find it hard to understand why companies like Elektron don’t just use the best converter chips available. I’m pretty sure the better chips don’t cost that much more considering the price they sell the OT for. Maybe I’m wrong.
One could buy op amps for 50 cent, 5€, 25€, now multiply that with 100.000 … or more.
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Agreed. On their own on used on the “wrong” type of sound they can sound a bit weak - I’m looking at the reverbs here (other than Dark) - but with a bit work and experimentation they can sound great.
It was mentioned above that they were better than the MPC Live’s FX. I would argue that they are just about on a par. The Live has some useful stock FX that I had a lot of fun with but nothing that sounded as nice as the OT’s dark reverb (my favourite FX by far).
Part of the issue with the OT’s FX is with some of the non intuitive ways the settings are set up. Once you learn how to use them though they become very useful.
Yes and OTmk1, let alone mk2 being digital should have digital outputs bypassing the DAC altogether
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I find most audio processing is hard to judge as good or bad. I think listeners respond mostly to change. I always like the ‘sound’ of reverb and delay being switched off, going to dry - so I’m always fighting the ‘natural’ conclusion that dry is better for my material.
The OT has scenes on a crossfader so it has that potential for dynamism. Great for creating fresh material. Perhaps more of a struggle when using OT fx for getting a mix on material which doesn’t need any more dynamism…
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Personally, I don’t recommend it. I did it too, and the sound improvement is 0,001% and the risk to damaging the machine is too big.
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my take:
Hats:
- original
- OT
- original
Kick
- original
- OT
- OT
SEM:
- OT
- original
- OT
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I understand this statements.
BUT…
if we consider an orchestra with sections. Of course we do not like all the instruments in the same way and could classify them in a subjective order of taste. However, the magic of the whole can operate if the music is good and in this case each instrument get its place and its importance.
So it’s a matter of the Man behind the machine to make the most of it, in the whole setup.
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When operating in 16 bit mode it definitely converts to 16 bit or the converters themselves operate at 16 bit, that’s the entire point of 16 bit mode existing - to save RAM when you use track recorders. What I’m speculating is that the converters always run at 24 bit and it’s just plain truncation without any dithering when you’re in 16 bit mode, because the coloration sounds like undithered truncation to me, but I’m just speculating about that part.
Anyway, in either mode the OT sounds OK to me but there’s definitely a very audible difference between 24 and 16 bit modes and that could be a big part of why some people have much different experience than others.
Of course 
I see. I misunderstood you. I guess they could be doing that…
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For me it worked to add a reverb and a delay as send fx as cue out…, to give the sound a tail When muting.
Sold my Octatrack because of the hazzle, I think too quick… I know a lot of lovers.
may i ask you which interface did you used for recording the OT?
Buy another one!
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Yeah, I was using Live as my main thing for years, and the FX always drove me crazy.
Reaktor always sounded better to me, same with the OT, but thats mainly due to scenes and neighbor tracks.
Cool,yeah, I think I misunderstood you, too.
scarlett focusrite 18i20, not the best but I think the sound is pretty great still.
I can send you the test results if you want! Still waiting on more ppl to weigh in
focusing on writing in forums about focusing on tech and not making music
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