This is a bit of a shite analogy but if you were a teacher with a truly brilliant but hugely lazy student would you just work with what the student is prepared to do? Or, more likely, would you push/coach/encourage him to fulfil his potential?
The OT is a flawed genius. People juts get frustrated as it’s difficult not to imagine that with a little help a killer editor or Strom like system could be pulled together to truly open up the device.
I’m finding my groove again with the OT and using it a lot more but I do think Elektron deserve criticism for pushing on with new releases and development of their OS’s while leaving the OT to gather dust. Hopefully some chap has been beavering away in the background tweaking and developing and something will come out this year to tidy things up bit then pigs might fly and all that jazz.[/quote]
Thank you for pointing out that my personal view is a shite analogy. All i’m saying is that I think its a waste of time to be worrying about the negative and it makes it far more fun just to go with it. I appreciate that others may not share this view, its mine thats all.[/quote]
Eh? I didn’t say that your personal view was a shite analogy. Read the post again.
Some people are naturally bigger happy clappers with life. That’s cool, I’m just not one of them I guess.
This is a bit of a shite analogy but if you were a teacher with a truly brilliant but hugely lazy student would you just work with what the student is prepared to do? Or, more likely, would you push/coach/encourage him to fulfil his potential?
The OT is a flawed genius. People juts get frustrated as it’s difficult not to imagine that with a little help a killer editor or Strom like system could be pulled together to truly open up the device.
I’m finding my groove again with the OT and using it a lot more but I do think Elektron deserve criticism for pushing on with new releases and development of their OS’s while leaving the OT to gather dust. Hopefully some chap has been beavering away in the background tweaking and developing and something will come out this year to tidy things up bit then pigs might fly and all that jazz.[/quote]
Thank you for pointing out that my personal view is a shite analogy. All i’m saying is that I think its a waste of time to be worrying about the negative and it makes it far more fun just to go with it. I appreciate that others may not share this view, its mine thats all.[/quote]
Eh? I didn’t say that your personal view was a shite analogy. Read the post again.
Some people are naturally bigger happy clappers with life. That’s cool, I’m just not one of them I guess.[/quote]
You said it was a “bit of a shite analogy”. Which part would you like me to read again.
I’m starting to think that the OT is a box with with heaps of functions but none of them fully polished.
But I still love mine, and the sound quality is great.
It’s a valid point about the neighbor tracks. It would be cool if it was more of an AUX SEND type setup. Fortunately, with a tiny bit of tinkering you can have that. Just use a THRU track instead of a NEIGHBOR and wire the CUE output (set it to “studio” operation first) to one of the input pairs. Optionally send the signal through some outboard pedals or effects for added madness. But, importantly, your cue level will be the AUX SEND. If you want to get even deeper under the hood, you can also sequence or lfo the CUE level by attaching a midi cable OUT to IN and controlling CC47 from a separate midi track.
As for the pickup machines, I would scratch them altogether. Not because they suck particularly (matter of debate, sure), but because there’s a vastly deeper and more flexible method. You are probably aware of this, but hear me out. Instead of the PU machines, create a template with several (8?) FLEX tracks assigned to the recorder buffers and record each new take on a new track. Each track can take audio from the inputs, and also internally MASTER, thus allowing bouncing any combination of tracks for endlessly complex sound-on-sound textures. The individual tracks also assume the role of undo layers. The sequencing limitations you’re facing should be non-existent with this method. Overall, the modularity of this setup is pretty stunning.
For ducking effects, you can also create REAL side-chaining using the AUX SEND trick above and fine-tuning a compressor to the THRU track.
You said it was a “bit of a shite analogy”. Which part would you like me to read again.[/quote]
I don’t want things to turn petty so will keep it short: I was making the sh1tty analogy, not you.
Now, context set, hopefully wires can now be uncrossed!
I don’t want things to turn petty so will keep it short: I was making the sh1tty analogy, not you.
Now, context set, hopefully wires can now be uncrossed! [/quote]
Absolutely. Of course. Have a nice evening (day wherever you are).
[quote=““100 Elektra””]
Maybe I’m missing something here, but I have the OT midi sync’d to the machinedrum and it certainly seems like time stretch is working, regardless of the machine used. I can control the tempo with the MD just fine, turning the OT’s stretch knob does what you’d expect it too…
[/quote]
Yeah, I don’t know what I was thinking. For some reason I thought timestretch was dependent on the OT being the master, but that’s only for pickup machines… I corrected the original post.n there’s enough misinformation on the net as it is.
So you’re basically creating a partial submix of whichever tracks you need to dynamically inter-collide by using the AUX SEND trick I mentioned. It’s not complicated. You patch CUE to one of the input pairs and create a THRU track with a compressor (or two, if you need extreme results). Zero all CUE levels, set a rough compressor setting and start feeding whichever tracks you want to CUE. As you then start feeding in a transient-heavy track you’ll begin to hear the effect. Experiment with the wet (CUE) vs the dry (LEV) levels (as well as VOL under the AMP menu) to taste - and be very mindful of the compressor settings. ATK/REL will shape your sidechain envelope, and the gain attenuation THRS/RAT/GAIN will determine how aggressive the cancelling ends up, as well as how noisy and “dirty” the submix gets. Again, experiment. The cool thing is that you’re not limited to a single sidechain channel - you can mix and match any portion of any of your tracks and use that. Another plus is that this is “true” side-chaining, ie reactive to audio signal dynamics, as opposed to some extraneous programming.
I have never NOT been able to get incredible sidechain results with this method.
It might seem a bit much, but if you get into the habit of using a ninja send, then the sidechain is just a few clicks and twists away.
Thanks for the explanation. Such a creative and interesting method. I was wondering how it worked, only really considering traditional key inputs as how to achieve this - but just using the compressor/cue a little creatively creates the same result!
If you can’t get the sounds you want, get a different box. Or work harder, or work around the limitations. Do you realize how many people out there are making really greatmusic with this machine? They aren’t complaining about specifications or lack thereof. They are making music. It’s been years since elektron has been putting out boxes with very specific design choices, and musicians have been putting in the hours to make their music within that.
No offense…
I’ve been reading “I love elektron” " I hate elektron" for years. Same stuff. Some make music with, some sell, some complain and keep. And elektron just goes on making boxes, and musicians keep on making beats. Where do you fit in to that?
So you’re basically creating a partial submix of whichever tracks you need to dynamically inter-collide by using the AUX SEND trick I mentioned. It’s not complicated. You patch CUE to one of the input pairs and create a THRU track with a compressor (or two, if you need extreme results). Zero all CUE levels, set a rough compressor setting and start feeding whichever tracks you want to CUE. As you then start feeding in a transient-heavy track you’ll begin to hear the effect. Experiment with the wet (CUE) vs the dry (LEV) levels (as well as VOL under the AMP menu) to taste - and be very mindful of the compressor settings. ATK/REL will shape your sidechain envelope, and the gain attenuation THRS/RAT/GAIN will determine how aggressive the cancelling ends up, as well as how noisy and “dirty” the submix gets. Again, experiment. The cool thing is that you’re not limited to a single sidechain channel - you can mix and match any portion of any of your tracks and use that. Another plus is that this is “true” side-chaining, ie reactive to audio signal dynamics, as opposed to some extraneous programming.
I have never NOT been able to get incredible sidechain results with this method.
It might seem a bit much, but if you get into the habit of using a ninja send, then the sidechain is just a few clicks and twists away.
Rock on.
HEX[/quote]
hello, you insist on this being “real” sidechaining, while it’s only a parallel compression method. side chain uses an external signal to trigger the envelope (which you can leave out of the compressed audio), with this method, the track that triggers the compressor envelope will always be audible…
sorry, no hard feelings, it just poked at me, had to say something. thanks for explaining the trick!
Parallel compression is mixing a “drier” and “wetter” version of the same track to smooth out the dynamics, typically of a single perceived musical element. It has nothing to do with what we’re doing here. This is an orchestrated, reactive attenuation of one track, using the output feed from another. You’re right, there is no de facto sidechain trigger in the octa compressor, but the result is unmistakeably a “true” sidechain sound, and function. It’s especially useful for live tweaking, since however you tweak and scramble the “lead” track, the other track will obediently follow with no other input needed. Overall, incredibly versatile and musical-sounding.
I have never needed to use a sidechain setup with a muted lead track. I use it for headroom creation in busy frequency bands and light de-essing, both of which you can do effortlessly. I’m sure there are scenarios where this differs on a metaphysical level, but I prefer to focus on solving problems and sharing inspirations for making music.
its weird to hear people griping about the limitations of the OT when compared to most other samplers i’ve messed around with it just seems to do so much more…
granted i probably use mine to make pretty different stuff than most elektron users but i’ve never felt “hemmed in” in any way by the OT’s limitations.
honestly my head kinda spins when i think about all it can do to a sound… i’ve made whole tracks out of warping and resampling a single sound.
i think a good way to approach the elektron stuff in general is to just like get hands on without any preconceived ideas and just jam and see where it takes you then refine what you come up with later.
i feel like anything you can’t do on the OT can probably be sorted out on a computer once you’re ready to start refining a track and it really is a beast for conjuring up ideas out of nothing.
hands down my favorite piece of gear i’ve ever owned… i may buy a second one.
