there you go:
That was just mean spirited
Very buggy! Lost a project during a big show Some days ago. Disaster.
Pick up machines have many bugs.
Yesterday I cleared scenes but it still applied an effect.
It’s a lot of fun, with a steep learning curve, but also very unreliable.
Sorry, can’t help it. Please stop me. https://assets.bontards.com/upload/90/903e4634d4477375cc792ee86f835f2715e4802e/the-bee-gees-stayin-alive-rso-3.jpg
In my experience you can make anything on the 8 -except- what you want to make. As such it becomes more of a philosophical choice.
The Bee Gees are incredible.
-big and handsome
-wrote too many hits, gave some away to other singers (eg. Woman in Love)
-best falsetto in the Bee Gees
-wrote Stayin’ Alive
-probably less handsome than Barry
-hoard your puny hits
-not even IN the Bee Gees
-didn’t write Stayin’ Alive. Didn’t even write Night Fever
I won’t hear a word against them
Yeah, you can’t even talk about the Bee Gees if you haven’t at the very least given Odessa some serious time.
Guilty is an awesome album composed/written and at first, played by Barry Gibb. Listen to the demo he made to pitch it to Barbra Streisand. He sang his and her parts, played all the intruments, and the few he couldnt play, he vocalized. Its amazing.
Agree, the octatrack with a modular is a fantastic combo.
You can just record your performance or record multiple layers to build a more complexe track.
With your recording, you can completly remix/messed it by playing it chromaticaly or by creating slices.
Still not bought it? You possibly never will now I’m an unlikely OT user. I’m not into dance/techno and mostly play acoustic instruments. I do like the OT for the surprises it generates although it takes me a while to set it up. Much simpler picking up my ukulele!
Ugh, all that Hair…
PS. I never say OMG
I can’t stand this thread.
I think I’m going to play with my balls.
Sheeeeeit, if this gon’ be that kinda party, I’ma stick my OT in the mashed potatoes!
It really depends what your workflow is like, and if the OT will improve it or not. The OT makes sense as its own center of the universe thing, basically substituting for a DAW. If you intend to use hardware and a daw together to write music, the OT might needlessly complicate your workflow…BUT due to only having 2 stereo out pairs you’d need to bounce out your internal tracks two at a time if you intend to record them all into a daw or similar to properly record/master them… For me, this has meant putting all my drums on a drum bus, and being limited thusly in the mixing department. Also, I have had to record all my synths separately, and that creates a need to recreate the fx trigs/parameters in a daw that I would otherwise have set up on Thru tracks in my OT… Which kindof takes away from the whole doing-everything-in-a-box feel if you have to then do it all in a box, take some of the stuff out of the box, and then recreate what you did in one box in another box.
I’ve started working a lot with glitchy breakcore stuff, and I’m finding that the OT is super capable in this regard, but it’s harder to fine tune things vs using a tracker. The built in timestretching/pitch stuff can suddenly make your trig slicing sound really weird/bad unless you go in and manually edit the slices or the bpm of the sample itself. That becomes tedious very quickly when working with multiple breaks with tons of slices/trig conditions on multiple tracks. I’ve found solutions to nearly every problem that I’ve had on the octatrack but the amount of time I spend troubleshooting and fine tuning stuff vs actually playing/writing music is kindof intense sometimes.
The polyphony on the midi sequencing is weird too. If you hold a note and then play another note, the new note will always cut off the previously held notes, so you have to sequence that other note in a new midi track if you want to play a melody over held chords or something. Gets annoying if you’re trying to sequence a lot of polyphonic instruments.
After spending a year and a half using my OT almost every day I’ve basically come back to needing to use a DAW, but that’s only because my music has gotten so complex that using a tracker makes more sense during the writing process and for mixing, but I intend to keep the OT for live performances, playing back stems etc.
But by now you’ve probably started using the OT already and maybe this info will only be useful for someone else with the same silly question…
great response thanks. you kinda delayed my GAS a bit honestly which is great as I’m now broke from my modular haha
I owned an OT for a couple of years before selling last year. My feeling with it was that it almost needed to be the ‘main’ instrument that you use, and if it was it would likely be incredible. For me though I found that time and again I had to come back to the manual or look online to figure out how to do something. Worse, I would learn something, then a month later try to do the same thing but not be able to remember all the steps - so back to the manual / online. I found this really killed my flow.
In a nutshell, in my view that is, I think that if you do get one you must spend a lot of time (a lot), really learning it inside and out, and use in continually. If that is not going to happen then I would personally avoid it.
I have the same problem with it, too many things going in life and no continuity with the OT. Whatever, not selling though, still love it too much.
Same boat. I’ve given up trying to integrate it with basically anything else.
When I do dig it out, I like to sample directly in to it then have a play. It’s my only focus during these play times.
If I’m in the mood for some multi-layered song writing, I’ll go to the DAW and dig Push out. If looking for a mental jam with samples, OT here I come.
Got a weekend away with other the family to a little cabin next to Loch Awe (West of Loch Lomond). From the picture, the cabin looks eerily similar to the one in Evil Dead to be honest but I’ll be treating it as an excuse to take the OT for some fun!
I found a solution : I sleep with my OT.