Standalone probaply, manually adjusting tempo. But I’ll have to see what works best.
Hah, nice!
Timestretch is not very good…if you record drones or else, try to keep original recording tempo.
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New os for Aeros. Not sexy enough for me, yet.
What’s cool for me is that a recorded loop coming out of the iPhone sounds identical to what I just played. I’m run the iPhone looper in parallel to my guitar signal via the UCA222 (which has a monitor switch which sends the input straight to the output). When I record a loop it gets added to the live signal, and pretty much sounds identical, which IMO is exactly what a looper should be doing.
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Just wondering, in which situation would you send many notes to the rc505? My master is AR which doesn’t send out any notes. But if your notes are on a different midi channel than configured on the 505, it still fluctuates?
I guess if the 505 is everything you want (except for the looks probably) filtering out midi notes should be fairly easy I guess?
And the 505 timestretch sucks very badly indeed!
Could you check if it fluctuates at the beginning, with something already recorded, when you start from the AR (master) ?
I guess extra midi data disrupt clock interpretation, whatever the midi channel is, resulting in slights tempo variations. It seems to be ok with a few CCs, no notes.
Yes. I can also send clock from DT or DN without notes, control recording with 2 footswitches…
Or RC505 master. Works with DT. I didn’t try with OT yet, but I’d much prefer OT master. OT is the chief!
Quick check here. by lack of sine wave I used a saw wave from Analog Keys.
long note in sequencer, started recording on 505 when note was already playing.
I stopped the AK before looping on the 505, because it is set to direct overdub, and I didn’t feel like diving in to change that.
then I started recording the 505 output in Ableton live, and then I hitte play on the AR which makes the 505 start too. here is the clip:
and this is what it looks like:
I don’t have the time now, but I will save it and do the same thing again while throwing some midi notes at the 505
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Seems Ok. Does the AR also send clock or just transport?
both. and I use the Midihub as midi router
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Yeah, I planned to keep it within a few bpm +/-.
The reason why I’d want a looper is basically for transitions when playing live (what hopefully isn’t too far away in the future…). Bonus points for lp/hp filter and the ability to serve as a kind of simple sample player.
I want to keep my setup as simple as possible.
I did some testing with my H9 as looper for transitions and then with OT (played a small set at home) and basically came to the conclusion, that it feels very liberating for me to have a simple looping device connected that is always ready to catch a loop, but does not require much attention otherwise.
The liberating magic of simple, intuitive gear…amazing… 
But I also came to the conclusion that I would prefer to use my OT for transition looping instead - what’s holding me back is that with OT playing drums, sampled basses/single cycle waves, droney stuff on one track and thru machines + master track - I’ve maxed out my eight tracks.
So I can go into two directions - get a simple looper like the RC-202, Ditto X4 or maybe EHX 1440 or get a Model:Samples, TR8s or Rytm.
I’d love to try the Model:Samples actually, @AdamJay seems to have a lot of fun with his M:S, OT and Typhoon setup, but the M:S only has six banks per project.
Ofc I could load a new project on the M:S with OT in the mix easily.
OT has to be master. 
Filtering notes would mean I’d have to bring an additional device on stage. 
How bad is the timestretch really? Can it be exploited in useful ways (turning drums into grainy, stretched drones etc)?
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16 banks 6 banks and 6 tracks indeed.
I thought it was 16 banks. I have it at home, my friend don’t use it. I think I prefer Digitakt in all aspects, for size format, different led colors for trigless, much better display, 8 audio + 8 midi tracks (M:S send notes only with its sequencer), DT can record directly…
Worse than OT’s for sure. Yes, can be use creatively, at 30 bpm or doubling tempo fir instance…
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According to the manual 16 patterns in six banks per project (=96 patterns) per project.
Compared to 16 patterns in 8 banks (=128 patterns) for other Elektrons and 16 patterns in 16 banks (=256 patterns) on OT.
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Edit : 96 patterns for MS, so 6 banks indeed…
6x16 patterns.
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Probaply me too…and from DT it’s not far to a second hand Rytm -> make my head explode^^Aarrghh!
I’ll sample some christmas preparation noises and the snoring cat with my OT now and stop thinking about all that stuff here. 
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I planned to make some looping tests with OT and RC505 this afternoon…
I sold it in order to simplify my workflow with DT. Maybe I’ll go back to it later…
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I’ve found the 6x16 patterns to be more than enough for long live performances. Thanks to fills, and a very knobby and fast interface, pushing a single pattern very far in a composition is much easier than on the other non-Model Elektrons.
In fact, with OT next to it, live looping and slicing it to make interesting effected layers, just about all of my tunes on MS are in one pattern.
Of course, that’s techno, and other styles may require more, but if you had to use 2 patterns, that would be 48 tunes in a project.
Or 4 patterns per tune would be 24 tunes in a project, which is still loads of tunes.
The lack of a sample slot list to manage also makes it more compatible with working out of a large project. For example, on Digitakt, you have 64MB ram and only 128 slots to work from, and using chains on DT is far more cumbersome than OT,Rytm,MS chains.
You’re more likely to run out of unique samples to use in those 8 DT banks far sooner than you would 6 banks on MS.
And that’s because MS gives you 576 slots for samples. 96 patterns x 6 sample tracks.
Which is a lot more flexibility for using 64MB ram in a project vs 128 slots and the same 64MB ram on the Digitakt.
I much prefer having 4.5x more sample slots (MS) at the cost of 2 banks, personally. Especially when creative use of a looper like OT takes a pattern to interesting places.
YMMV
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+1
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My approach is sort of the opposite: I do most sequencing on a Digitakt, while the OT serves as a mixer / fx (DT uses a THRU machine + a NEI machine on tracks 1 & 2); I have a buffer for transition looping on track 4 (since it’s the closest to the YES button, so I can press T4+YES single-handedly to activate a one-shot trigger to start recording the loop).
Tracks 5, 6 and 7 are dedicated to playing stereo loops (although I’m trying to keep that to a minimum - 1 or 2 loops, T5 y T6 ideally).
I think that for drum machine sequencing purposes, the Digitakt sounds/feels great, specially once you build muscle memory for some of the more jam/improvisation-oriented features (control+all, reload a specific sound/page, delay and reverb parameters, pattern mutes, etc).
Also, I feel like the envelopes and the filter are much more musical and responsive than those on the OT.
Haven’t used a Model:Samples but at least from the videos I’ve seen online, I do feel like it sounds weaker than a DT. I know it’s a lot cheaper as well so…
As I’ve mentioned in another thread, I’m getting more and more comfortable with my DT+OT setup. I was using a FaderFox UC4 as well, to have quick access to some parameters… but I’m getting used to not using it, plus it also forces me to focus on less things, and make track less busy/complicated.
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Smart! I’d do the same if I didn’t already have a lot of Parts that have Tracks 4 occupied as a neighbor FX track.
Might have to rearrange, even if it does take a couple days.
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I also use T4 for Track + MIDI button (SRC3 recording on MKI). Recording main with QREC, which can behave as a one shot rec trig.
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