Hi, I’m fairly new to the OT, and I’m wondering how I get a pad or drone to loop. That is to say, when I trigger, the attack of the sound plays, it loops the sustain, and then when I the note ends the release phase happens. Kinda like how you can do that in Kontakt. Also, is it possible to have it so that new trigs don’t restart the “envelope” but rather trig the sustain? So that theoretically the first trig of the sound would start up the pad, it would sustain while the song goes on, and then release when the last trig is pressed (the trig would basically note length the sustain and then play the release unless it’s retrigged to sustain by another trig).
I think you can do this in the audio editor. From the manual (Page 97):
A loop is indicated by an “L” marker. Move the loop point by turning the B knob. When moving
the loop point marker the sample exact position of the loop point and the loop length
expressed in bars will be visible at the bottom of the screen. If a loop point is set, the sample
will play from the start point to the end point, then loop from the loop point to the end
point. When the RATE parameter of the PLAYBACK MAIN page is set to a negative value,
the sample will be played from the end point to the loop point and looped from there
That being said, I am not sure you can get the flexibility of Kontakt. In Kontakt you can have the loop play during release, or the sample play on past the loop marker after release. I don’t think 
has that much flexibility with loops in that sense.
its all about the p-locking… dont think “kontakt”… think 
So the end point isn’t a hard end point? As in, when the looping is done will it still play the tail of the file?
what im saying is there is probably a way to do what you want using p-locks or another feature, or maybe it will force you to do something different that ends up working out better anyways… its hard to explain if you are new to these boxes, give it some time
Well this is my first year owning Elektron gear. In Feb I got an Analog Four, April I got an Analog Rytm. But the OT imo is it’s own beast, and much more complicated than it’s sucessors (I feel like Elektron refined their system by the time the A4 came around, the OT is more of a transition piece.)
yes id agree that the OT is a far more complicated sequencer, with more options and more granularity… it even has more LED states (green, red, yellow, flashing, dimmed)… just looking at it boot-up compared to the AK/A4 - i think it has quite a bit more dedicated code or cpu time allocated to the UI… thats just a guess but it would make sense because the OT has no synth engine (beyond time-stretching)
its a funky box… id say timeless - which is good for a sampler because 90MB is less than a joke these days
it does seem a bit of an anomaly compared to the current way of doing things, sometimes more simplistic, sometimes more refined (editing multiple trigs is the only thing i can think of here)… i might even call the analog series a bit “dumbed down” in comparison, in some ways (of course the new probability stuff brings the complexity back a bit…) but then again i really like to nerd out on this shit, so it was probably a wise move getting closer to the general crowd 
i was thinking the overbridge stuff was leading into some more proprietary hardware stuff, like their “turbo midi”… with the computer connectivity just being a side effect or R&D aspect - and if that was the case, i would expect another “master brain” unit to tie it all together, you know - “one ring to rule them all”… thats probably just a dream tho
@kwamensah I don’t have my with me right now, but look into the manual pp. 69-70 : the AMP SETUP menu offers to set AMP to several values including “ANLG”
ANLG will not necessarily make the envelope start from zero once a sample is being trigged. Instead, when a sample is trigged the envelope attack will start from the current envelope level.
The is not that complicated : its complexity comes from the many possibilities it offers and its modularity.
In this case, I just looked into the different AMP envelope settings, and found what seems you were looking for. Sometimes you’ll look for workarounds that need to be able to sum up different parts, but in this case I found that the place where the parameter could be found makes sense.
Don’t hesitate to read the manual again, as well as @Merlin’s Thoughts on OT…
This should make sense for you as well more and more 
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I’m starting with @cuckoomusic videos since I find the manual extremely intimidating without a starting point. I’ll eventually get to the manual but I figured I’d ask here since this was one specific thing that I wasn’t sure how the edit screen worked with regards to looping samples.
No pb, dear. Sorry if I seemed a bit too RTFM… Not my intention. But the manual IS the starting point !
As painful as it can be, it makes a lot of sense !
Now tell us Nauts if the solution works, when you have some time to test it 
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the track I’m trying to do it on has analog enabled, but it didn’t resolve the issue of the attack of the sound resetting every time it’s triggered.
Sorry, I’d need my OT to help you more…,
Is Len parameter sufficient to overlap the next trig ?
Wouldn’t trigless trig be what you’re looking for, after your first trig ?
Trigless trigs (Fn+trig) offers to lock a parameter such as pitch without trigging the sound.
You might then want to set the AMP envelope to TTRG.
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What you said… Trigless trigs might be a good start here.
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So I tried trigless trigs and that gets me part of the way. I’m now encountering 2 issues, I still get an envelope reset when the 4 bars are done, and I’m getting an audio drop out on the 4th bar. And I’m getting an audible click at the end as well.
edit: I think what’s happening is the trigless trigs are allowing the file to continue playing, instead of looping a section of the file. After the file finishes, it stops, then starts up again.
The OT is very complex - not complicated - but complex enough - so it’s absolutly normal to need some time to digest all those many pieces of different information, until the most of it makes sense and is well memorized.
There is really no need to read the manual first page to last page, but it was very helpful during my first weeks with the OT, to have it right next to me - just in case …
I was often scatching my head for quite some time, until I decided, it was enough scratching, picked up the manual, and found exactly, what I needed. IMHO this manua is written very well.
Maybe set the first trig as a one-shot trig that you would activate once in a while by pressing yes ?
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My understanding of is the end point is a hard end point. I think when it gets to the end point, the sample stops playing or goes to the loop point, depending on the playback settings. Again this is all from the loop settings in the audio editor. The power in is accessibility of samples.
In Kontakt, you can do basically whatever you want with the envelope. You can have the loop play, loop ping pong play, loop play until the end of sample, past the end point of the loop, play from beginning. Kontakt is deep. Especially with the scripts.
If that’s the case it kinda makes the Octatrack useless for playing back pads/atmos/drones.
What is wrong with a long tail reverb on a track?
there is verb on it, but too long of a tail will make the mix muddy. I guess I’ll stick to my original plan of having the pads go on my A4 (or PreenFM2 if I can actually ever track one down)