Octatrack 64 breakbeat x 16 slices megabreak of doom:


#202

Test with TB 303 bassline.

Download this Exports.zip (4.2 MB) if you that to try.

8 samples, Plocked on 1 bar, each 2 steps.
Scene A = Slice 1
Scene B = Slice 17
Add delay. Move crossfader slowly.

Original bassline :
Roland TB 303 Bassline - Quick Audio Comparison test
http://www.acidvoice.com/#best_clones


Best way to sample an analog bassline?
Single Cycle Waveforms with Octatrack
Single Cycle Waveforms with Octatrack
#203

where i can find the megabreak file?


#204

Hello. I’m still curious about how you came to that idea of megabreak or matrix chain.
Tell us more !


#205

I am also curious about where I can find the megabreak file? much appreciated


#206

I still need to try this, the thought of a “megabreak matrix chain” just sounds too cool… :grinning:


#207

Here are the @wascal files I downloaded before :


#208

Nice one - I have a few more jungle oriented ones knocking around, I’ll see if I can upload them this evening.

@sezare56 :
The original idea was just an expansion of a trick I was doing in my sets where one side of the crossfader played break A (split into 16 slices) and the other side played a variation of break A (actually a different version of the same sample, again in 16 slices) - it was a way of squeezing variation out of a pattern without having to create a new one.

Once I had that working I added another variation, then another (etc). Then one day I had a eureka moment, called in sick to work and spent the day knocking up the 64 breakbeat beast. It was a total pain in the ass but so satisfying when it all came together :wink:


#209

One other tip if you are making your own - these sound way better if you make sure all of your samples start and end on zero-crossing points on your waveforms to avoid clicking :wink:


#210

Yep. In my DAW I use time stretch for each slice to make them equal.

For the acid bass line matrix chain test I made, I didn’t use time stretch or set to zero crosssing, and it was ok.
It can depends on type of sounds I think.


#211

I must be a bit dim-witted but I cannot get my head round this!
Thank you Sezare for sharing the original samples.
I’ve loaded them in static slots 1-16.
Track 1 - Sample A. Sliced in 64 on the OT. Step 1= slice 1 (start point 1) and so on thru to step 64
Track 2 - Sample B. Repeat the process… all the way thru to Track 8 as well as slicing static slot samples i-p in 64.
I then select an empty Scene A and set the start point to slice 1. Select an empty scene B and select start point to slice 64.
My playback setup has Loop set to Auto and Sluice set to on.
Press play and I get a gawd awful racket that is not the Megabreak of Doom, just a demented woodpecker with a jack hammer!!
There is obviously something I have done incorrectly.
Can anyone suggest what it is to this slack jawed bellend as i’m starting to pull my hair out and can’t see the wood for the trees!
:pensive:


#212

This is a complicated thing to understand at first.
I cant really give a detailed answer off the top of my head.
This is all happening on 1 Track though, not all 8.

He’s explaining it with 16 breakbeats here, but this is the part you’ve probably missed


#213

@Chinchilla

Here Wascal’s original instructions, im gonna edit it a tiny bit.

Instructions
Load all 16 wavs that you created into static slots - the wavs you downloaded that sezare56 reposted
Slice each sample into 64 slices (dont snap to zero) -once they are loaded slice them @64 no snap to zero
Enable slice on your Octatrack channel - set the track you’re using to slice mode
Create a pattern on the Octatrack with step 1 sample-locked to slice one, step 2 to slice 2 etc - the important part here is you are creating 16 steps on a pattern, and creating a “sample lock (trig + ^ or dwn)” for each step.
step 1 - sample locked to the first wav on the first static or flex
step 2 - sample locked to the 2nd wav on the 2nd static or flex
and so on through 16

Map X-Fader to one scene mapped to Slice1 and another set to Slice64 - Choose a scene, for Scene A set the Start point to 1, for Scene B set the start point to 64


#214

Thank you my man.
Very kind of you indeed.
I’m going in!!
🖒


#215

You get it workin?


#216

I haven’t successfully conquered the clipping that occurs in between slices.
I’ve tried flex machines vs static machines, and everything I can think of.
I’ve changed all the time stretch settings etc.
Personally I do think it sounds a little better if you turn off loop modeTSTR to Norm or Beat, set rate to pitch.
After that I turned the rate back to 62-60, and it sounded a bit better to me.
I did manage to make 64 breaks of 64step (4bar) loops.
In the process I’m sure I scuffed a few things up.
The process is so laborious it’s hard to go back for fixes.
I chopped my break using Ableton, and although I turned off “fading,” I still feel like it’s doing it.

I feel like I could spend years picking the perfect loops.
I need to be using better samples too.

IMG_8925_3.m4v (5.6 MB)


#217

If you turn scenes A & B off, you can use the start knob to select breaks.


#218

The cross fader approach is fun and playable, but the llfo > start position using Radom or custom waves, is super rad and precise.


#219

This is a pretty cool technique, I’m looking forward to trying it. Looking at the old posts, it seems like Ableton is a clumsy way to prepare the samples, though. It should be much simpler in reaper.

-Collect your 64 breaks into a single folder
-From the media explorer, load them into a new project, on separate tracks (just select them all in the media explorer and drag to the timeline, and choose the option to load each file on its own track). The track namess will automatically be set to the filenames.
-set them all to the same length using your preferred timestretch settings (make sure snap to grid is on!)
-drop markers every 15th note, and then create regions between the markers, making sure the region numbers match the slice number (to make it easier to generate filenames)
-render stems of all 64 tracks into an empty folder, with the bounds set to “project regions” and the filenames set to be “region number + track name” using wildcards. you will now have 1024 files.
-start a new project. In the media explorer select all files whose names start with “1” and drag them to the timeline. At the prompt, choose the option to load them into a single track. You will now have a track with the first slice of all 64 breaks in sequential order. Repeat this for all files starting with “2” and so on until you have 16 tracks with 64 clips on each.
-Select all the tracks and render stems into a new folder again, but this time set bounds to “entire project” and use the “track number” wildcard in the filename field (followed by whatever name you want) to make sure that each stem starts with a number corresponding to which step in your 16 step pattern are in it.

You should now have 16 files, each containing 64 slices with filenames that begin with a number corresponding to the step from the original 16 step breaks that file contains.

It probably sounds a little complicated (and I’m just doing it off the top of my head s I may have left something out) but really it’s not much work at all and it should take 5 or 6 minutes to prepare all 64 breaks this way once you’ve actually chosen them and trimmed them.


#220

I did! You beauty!
It was a bit clippy and it falls apart a bit if you stray too far from the original BPM.
I was slightly disappointed that the samples were of the bum and face variety and not the classic breaks that appeared in the first example vid but, thanks to you my man, we had success.
Thanks very much indeed.
🖒👍


#221

I didn’t have any problem with clicks between slices. I prepared all my breaks meticulously in ableton. I placed all my own custom warp markers and made sure all transients were bang on the beat. When I sliced them I made sure all slices were as close as possible to zero crossing. If that wasn’t possible I put a tiny fade. I used breaks at 174bpm so I placed slices at 8ths instead of 16ths

It took so long. My back and eyes were sore but it sounded great