You’re making me want to dust off the octatrack and dive in again. Amazing stuff
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This thread has me thinking about how you might use the Octatrack to mimick the Chase Bliss Mood pedal… hmmm. Maybe too big a project for an OT beginner? What do you think?
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I think anything ambitious is good for beginners. Some similarities between Mood and Microcosm no ? I could be interested in those pricy pedal if I didn’t have OT…and Tempera. Killer combo in this fx domain. 
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Added a few things…APXT2 straight in, no samples, just OT sampling/fx processing.
Edit : made from scratch inspired by several Microcosm features, but Octatrack has its own character I think. 
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I don’t have an octatrack, but this idea of recreating other pedal effects, and the beautiful execution of said idea, is incredibly interesting. I’ve enjoyed reading this. Thanks!
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Thanks ! This @cogsy thread did the same for me ! Actually I barely used my MKII before, too new (even if 2nd hand out of warranty, but pristine condition).
I think my OT black MKII is the most beautiful Elektron machine ever made. 
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This is crazy awesome! Acoustic guitar has never sounded like that before. 
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Octakoustik !
Also sensible to voice with this guitar. I used headphones and I suspect potential huge feedback with speakers ! Probably interesting.
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The odd part I’ve found is that the T1 and T2 for example won’t playback the P-locked recorder buffers.
I have alternating buffer and playback trigs so a buffer is always being played whilst the other is recording. The only ways I can get it to work is if I increase the retrig number, the trig count or I shift the microtiming of the playback trigs by a min of +1/192
Try with Timestretch off (TSTR).
If you use SRC3, use +1/384 microtiming on Flex track.
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I’m struggling to get this going with just two tracks. For the life of me I cannot get a recording buffer to play in reverse. I’m sure I’m making a beginner’s mistake, but I don’t see it.
My idea was that track 1 would record a four trig long loop on 1 and 9. It would record input A and track 2’s playback. Playback would then be on beats 5 and 13.
Similarly, track 2 would record a four trig long loop on 5 and 13. Inputs are A and track 1’s playback. Playback trigs would be on Beats 1 and 9.
That works … except when I try to reverse the audio playback. Then I get silence.
Any tips?
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a classic tip here:
when you are a) on a track you’d like to record onto, b) have your recording trig set and activated (red), c) the play trig set and d) the sequencer running and e) open the recording setup 1 page…
… you should be able to see the playhead and recording head indicated by triangles moving along the shaded buffer line below. If the two indicator triangles cross each other on the way your playing will most likely be interfered by recording to that buffer pos. Which is the sole trick to avoid to make it work, no matter how (fx properties excluded) you acheave that.
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Thank you! That helped me figure out what was going wrong. I had FIN/FOUT up a bit (trying to eliminate some pops). With them set to 0 I saw the record head go right, then the playback head go left. Exactly what I wanted. But when I increased the FIN/FOUT values the playback head disappeared.
The solution was finding the right microtiming adjustment to keep the heads moving. I ended up moving the record heads slightly early and the playback heads slightly late. I’ll keep futzing with it.
Thanks again!
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Increasing FOUT increase recording length, which explains why it doesn’t work : recording has to be finished to be reversed.
I never use FOUT. AMP HOLD / REL instead.
The fade out curve is constant, whatever FOUT duration is (in steps).
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Do you use FIN? Or ATK instead?
uuh, good question as simple as it might be to ask it. What is the unit of FIN? ms/ticks/samples/microtiming of one step ? I assume a partial of one step, am i right? I can be utterly wrong
FIN goes up to 64, so I assume steps. Smallest non-zero value is .063, which is probably 0.0625 … 1/16th of a step. All of the microtiming adjustments are smaller than that.
now just for the math, is there one of the FIN values (likely to be applied same for FOUT) that allows to have one entire step less for the recording span in steps and compensate for the FIN add in front to finish on time?
I’m still learning the intricacies … but I don’t think FIN changes the recording time, just FOUT.
My big lesson is to ignore setting FIN/FOUT and handle that with the amp envelope. I find attack and decay at 4 works for my typical sources (synth or guitar). Hold is set just under the record buffer length.
I have a neat sequence going where one reverse buffer is length 3, one is length 4. Predictably unpredictable.