How many ? 
42 
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Ah, I love the minutiae of zero crossings in the morning.
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And the curve is almost constant. If you increase FOUT, it adds silence. Same for FIN. Here is an example with a 64 steps recording, FIN and FOUT set to 32 (Pickup recording)
Clickup Machines - #38 by wolfgangschaltung
@Fin25 More notes to take in above thread.
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Same here!
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Haha I used to read the manual on my phone back when I was pushing my oldest son in the stroller, years ago.
Just out of curiosity, are the people having problems with clicks using an external clock source? If you’re having problems with clicling loops and you use external clock, try switching to internal clock and see if that fixes it. That’s definitely not the only thing that can cause them, but it’s a likely one and I don’t see it mentioned much in conversations about clicks or sync issues.
I’ve never successfully gotten the OT to work reliably with any external clock at all, and one of the issues is that because even the most stable MIDI clock isn’t even close to sample accurate, ANY kind of looping audio has inconsistent pops and clicks at the loop point with external sync. Preumably dedicated loopers are all designed to not do this, probably they record a few hundred extra samples at the end of the loop and crossfade that with the start of the loop or something along those lines, but the OT doesn’t so it’s a lot more susceptible to clicks.
Pickup machines in overdub mode might have less trouble with this but I will never know because I don’t think I’ve ever gotten a PUM to complete one full loop with external clock before it gives an error and stops, and I’ve never been able to even start overdubing without an error.
If I’m in a situation where the OT can’t be the master clock, I don’t sync it a all - I send transport and tempo control from the actual master clock source to start it in time and then let it run free. It’s internal timing is so tight that I’ve started it from Reaper and let both run free for over two hours without any noticeable drift at all. Literally over 100 times (between streams and practicing I’ve done about 96 or 97 sessions like that in the duo I do most of my streaming with). The OT timing is as stable as any piece of gear I’ve used in my life, as long as it’s the master, but with external clock it’s really only OK if you don’t use flex machines for seamless loop recording or playback USING TRIGS (it’s the timing of the trigs jittering with the external clock that seems to be the issue, so playsfree tracks or endless loops that are started with a one shot trig and then run independent of the sequencer haven’t caused trouble for me), and don’t even think about pickup machines.
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3 years in. I really thought FOUT was doing something to the end of my sample. Granted I’m mostly a thru machine guy and use my OT as main mixer, but…
Try saying that in Jay-Z’s cadence.
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Sooo, it basically only exists for use with pickup machines?
I can confirm that using internal clock instead of external clock does solve some of the click issues. At least now the clicks at the loop point are consistent.
I was using an E-RM Multiclock as the external clock. Now I am using the Octratrack internal clock.
Still no solution to predictably fade/crossfade them out of course.
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Yeah, I’ve learned through hard experience to use theOctatrack as my master clock even though the MPC is the hub/brain/whatever of my setup.
This concept (and thank you for the detailed breakdown) of only sending the OT transport and simply matching clock is something I’ve had decent results from.
It reminds of an interview…was it Autechre…talking about this: modern gear actually being pretty consistent and just needing a way more occasional nudge than constant clock - made a case for, and talked about having implementing a system that sent clock info, a pulse, every say, 4 bars, and thus eliminating a lot of the jitter-y stuff. Just an interesting concept that clock might cause more problems than it solves at times. Derail over.
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I don’t think so, maybe they existed before Pickups, which came with an update…
Maybe some users find it useful for one shot samples, end of a sequenced loop, as a defined short fade out (FOUT can’t be use a long fade out).
I prefer AMP Hold/Rel settings for more possibilities.
Another option.
Micro fades in AED, very simple to do and for lots of material will work fine, IME.
You can set zoom level, and view type, highlight around 30 samples, add fade. Probably a good idea to save sample first as it is destructive, then if you don’t get result desired revert to saved and do again.
One thing to note, after doing this you need to save the sample again when happy, you can easily tell which samples in the slot list have been modified and not saved by a flashing x.
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I looked it up in the manual (RTFM? eww!) - It looks like the fad in/out option in the AED EDIT menu is only available to flex tracks… in case any other octa amateurs (like me) couldn’t find it.
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