Glitch unit to accompany M:C/0-Coast

The Lounge Other Gear
#21

…i see…again…

so now, u have to find the right balance between ur defenition of portability and the point of that “one instrument” argument, since that’s what it all would become…then…
ur whole setup as one instrument…
and with that fitting easy into ur backback anyways, u’d even loose that problem of some for the studio, some for elsewhere to take, since it would be that same one instrument where ever u are…which is THE overall killeragument when it comes to workflow and muscle memory… :wink: …just sayin’…

let the op field be ur daily sonic pocket device…feed ur ot with it’s stems later…and take all the rest from there…

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#22

Well, m8

#23

I have an OPZ, it’s great for sequencing but it’s incredibly non glitchy. The effects and the tape thing are very vanilla and smooth really, and the synth sounds are very very very conventional/ boring.

2 Likes
#24

I see what you mean. I have an OP-Z right now as well (can still return it). What I really like about it is the portability factor and the line module.

#25

It’s benign but not adventurous.

#26

Agreed with @flymo the op-z stock sounds are very safe and contained within their engines.

Best bet for more extreme sounds would be sampling into it or using line module for external effects.

If you want glitchy sequencing I think op-z can do this very well with step components! Tape track can be used to slice and reorder existing output.

Something to consider would also be live swapping between patterns (which have variations) when you are jamming.

#27

But it has about zero seconds of sample time available. I’d love to hear examples of the tape being used to get glitchy, maybe sequencing trigs would do it, I’ve never found it v helpful on that front. If I remember right the smallest segment size is pretty big. I mostly just used opz for mellifluous sequencing especially with that smart transposer thing. Which is the best thing on it in my view.

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#28

From my (limited) experience with the OP-Z, glitchy territory is possible (mainly with step components). Probably not as easy/good compared with the DT/OT. And I’m completely uncertain about the BB in that regard.

Besides, I would like to have multiple drum tracks with the OP-Z, but I guess that’s not possible because every track is stuck to the predefined engine. Probably more options here with the DT/OT as well.

Guess I have to test the DT/BB as well in order to make a sensible decision. OT sounds good, but most expensive by far.

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#29

Really can’t comment on DT/OT/BB having never used them, only know the op-z.

To clarify, there are 4 drum tracks, which slice 12 sec audio across the keyboard; and 4 synth tracks which pitch shift 6 sec audio across they keyboard. You can sample whatever sounds into the tracks. The drum tracks have 2 note polyphony which is very useful. Some people sample a whole kit into each drum track (rather than individual kick, snare, hihats per track), so in two tracks you can get a lot done with two tracks still left for more fun. Of course you can also sample full drum loops and slice them.

@Flymo the sample time is so stingy!

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#30

Out of interest @sehmaschine what do you mean by ‘glitchy’? Do you have any examples of what you are trying to create?

#31

I’m referring to the Mille Plateaux label and similar stuff (SND, Alva Noto, R. Ikeda). That said, I’m looking more for a workflow than a specific sound.

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#32

Ok cool. My take is that is a lot to do with sound design and the samples you put in. I could be wrong.

I’m sure op-z and DT/OT are capable, don’t know about BB. The slight advantage of the Elektron gear might be true 64 step sequencer. (op-z loses resolution as you increase steps and cannot access individual steps once past 16 steps).

I notice that both Ryoji Ikeda and Alva Noto use Max/MSP (according to equipboard).

#33

Since you seem to use the DT with the 0-Coast … it’s not possible to sample exactly a 2 bar loop with the DT, right? Isn’t that an issue?

#34

Maybe consider the gotharman little deformer or tiny little deformer. You can sample, sequence and generally scramble the shit out of stuff in a very glitchy way.

#35

If I was in OP’s position (and I do really love the 0-Coast), I would consider the 1010 Lemondrop used as a live input mangler for the 0C, possibly recording both the dry output of the 0C alongside the Lemondrop to be able to blend/effect them at will in a DAW. Creating glitchy atmospheric chords from a wave folding mono like the 0C would be awesome imo.

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#36

I can chime in on this one. With the DT, you can’t set a record length of 2 bars in advance, but you can get a 2-bar loop by recording a bit more than you need and then adjusting the start/end points in the sample editing window. So it’s not perfectly precise, but once you’re using your sample in the sequencer in context with other tracks, you can probably get the results you want.

With the OT, you could place a record trigger to start recording on beat and set the length to exactly 2 bars, so your sample would come out exactly how you’d want. That’s the OT for you, more buttons to click to get where you’re going but also much more control along the way.