In an upcoming live project I’ll be improvising with field recordings and the OT to create…whatever.
In practice I’m finding that while I’m working on processing / placing a new recording, the ones I had already been working on tend to get a little long in the tooth.
I’m curious if ya’ll superstars have some fall back modulation-over-time techniques.
Slow Filter, obviously one. Subtle pitch modulation. Putting Random at a slow speed on send parameters / depth / ect ect…Speaking of, aside from LFO designer, does anyone have any tips on making the Random LFO more “glidey”?
Oooo thats good. I always neglect slides. Unfortunately with everything else going on for this project I barely have a moment to using “patterns”. But anyway, good tip. Thanks!
A few weeks back I played around with conditional % trigless locks with LFO depth locked and a parameter slide to the next trig (which can be modulo, e.g… 1:4 to 4:4) with a different depth value locked. Sometimes the logic gets confused though, the OT seems to handle this better than the A4.
1:8 condition with slow LFO can work nicely too, sometimes the LFO loses timing at the end of 64 bars though, I think this can be avoided using sync trig mode but I haven’t checked properly.
Im approaching the OT for this project more like looper / FX box. I don’t want to restart any samples. I do setup pattern-esque sequences with conditioned trigless trigs on Flex / Sample trax for the filter / lofi amp and / or trigs and log amp envelopes on Thru trax.
It’s not bad. But as Im not yet fast / creative enough to make something interesting from a field recording quickly they can get old…
I’m really interested in modulating modulations but my puny brain doesn’t quite grasp it yet.
Thanks for the faux rando glide! I’ll try it out. After the thing Ill work more on it
By default long samples keep playing on the same track until a trig is reached on the next pattern when you switch to another pattern, this can be disabled globally or per track… As long as there’s no trigs on the same track of the next pattern a long or looping sample will keep playing by default…
Not saying you should do this, just saying you can…
For lfos it’s nice to modulate the speed or depth of your first lfo with the second lfo probably with really low speed and depth. Add a third lfo to modulate both speed/depth of the first lfo, or modulate the speed or depth of the second one.:
I’m aware, yeah. I was responding to @sezare56 's reaction why I wasn’t using patterns.
I understand how to setup modulation to modulate but I don’t understand what exactly it’s going to do. Thus sometimes it’s OK, most of the time it gets out of hand and does not work for what’s going on in other places. I just want to be able to understand it better…
In this example, hold parameter is really important. With Free, Trig, Sync…, it would modulate continuously. With Hold, for each trig, TRI has a new depth value. Under control
TRC are great for variations too indeed. You can plock % TRC trigs lfo’s parameters, and much more. I use it more for midi tracks, but it can save lfos for audio tracks.
@xidnpnlss you need a pattern anyway , I was not talking about pattern changes but about slides at the beginning / end of a pattern. I use trigs and trigless trigs for incoming sound modulations with OT. I like to pitch up / down incoming signal with Flex + recordings, and sometimes trigs are more efficient than trigless.
Hopping it can illustrate what I do sometimes, this is a one bar loop with only Micromonsta (monotimbral 8 voices), controlled by 8 OT’s midi tracks with same channel, sending CC’s to osc 1 / osc 2 / sub / noise mixes, many lfos, TRCs, and modulate again with audio tracks, sometimes using simple TRI lfos with speed = 24, x1.5 tempo related.
One bar / patch / take / no samples. Lofi to accentuate noise / snares, lfo on pitch for kicks.
I’d rather use more patterns for more radical breacks. Here I’m just muting midi tracks one that one bar pattern, tweaking Micromonsta filters mainly. I love Octatrack for that kind of things, pushing far the limits of a little synth ! Huge potential.
Can’t try but Random is steppy, and TRI + Hold too…
Actually IIRC it’s an addition. Random with Depth = 8 will add or subtract 8 values max to default parameter value or plocked value, even scenes.
But sometimes of course you have to do disvisions or multiplications.
For pitch, 1 value = 0.2 semitone, 5 values = 1 semitone, 60 values = 12 semitones.
To modulate pitch with specific musical values at each new trig, I use a LFO Designer with Hold and its speed modulated by a random lfo.
To set an random lfo’s depth, you can use a square lfo, which have same max values.
I’d like to find the smoothest settings, but I think it easier with trigless trigs.
So I’m curious how you do use your patterns, play your (long ?) samples…
So atm Ill play a one shot and either let it play out or loop it with SLI + LEN or by trying to edit track length to it (length is per track and Master in INF).
At which point Ill just setup whatever modulation. The modulation is not time based per se but (maybe) edited so it sounds interesting with everything else going on.
Im sure there are better ways to approach it but this is what Im working with for now.
Gig is tomorrow so I’m practicing with what I know for now. But I’ll definitely take this up after…
, I was not talking about pattern changes but about slides at the beginning / end of a pattern. I use trigs and trigless trigs for incoming sound modulations with OT. I like to pitch up / down incoming signal with Flex + recordings, and sometimes trigs are more efficient than trigless.