Same as FOUT = steps.
Imho the best value is the smalest.
And I’ll add FIN curve is always the same too. It adds silence before.
Easy to check.
So, beware : FIN and FOUT have same curve, silence added, smallest value is probably the best (FIN).
FOUT changes recording length.
Major problem, unless you know it and use that intentionally.
Just to make things a little more complicated…I think when using Pickup Machines it applies a crossfade, rather than adding time with FIN and FOUT.
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Good point. With Overdub ON of course.
OT master clock. (slaved it doesn’t work)
I’d also use minimum values for that.
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That’s so annoying, as that’s how I’d like it to work with a record trig and defined record length. That it doesn’t is really perplexing.
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@sezare56 , I’m really struggling to get this setup right, would you be able to elaborate on the right track/trigger combos?
I am not home, I will try to make a decent video about it when I am back.
Some more infos here :
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Would a “simple” example of reverse delay help? I think more elaborate stuff would basically build from these ideas.
T1:
Set it to a THRU track. Place a playback trig on 1 so you hear the audio. Add any effects to taste with the idea that we’ll be looping the effected audio from this track.
T2:
Set it to a FLEX track that uses R2>RECORDING2 as the source. Place playback trigs on 5 and 13. Both of those trigs will need microtiming of +1/384 or more.
Adjust RATE on the SRC page to -64.
On the AMP page set ATK to 4, HOLD to 3.875, REL to 4.
On REC1 menu set INAB to -, INCD to -, RLEN to 4, TRIG to ONE, SRC3 to T1, LOOP to OFF.
On REC2 menu set FIN to 0, FOUT to 0, AB to 0, QREC to OFF, QPL to OFF, CD to 0.
Place Record trigs on 1 and 9.
T3:
Set it to a FLEX track that uses R3>RECORDING3 as the source. Place playback trigs on 1 and 9. Both of those trigs will need microtiming of +1/384 or more.
Adjust RATE on the SRC page to -64.
On the AMP page set ATK to 4, HOLD to 3.875, REL to 4.
On REC1 menu set INAB to -, INCD to -, RLEN to 4, TRIG to ONE, SRC3 to T1, LOOP to OFF.
On REC2 menu set FIN to 0, FOUT to 0, AB to 0, QREC to OFF, QPL to OFF, CD to 0.
Place Record trigs on 5 and 13.
If everything is working as intended, you should see the animation on the Recording pages have the record head go to the right, then the playback head go to the left.
The key idea is that you’re sampling T1 for 4 trigs on T2, then 4 trigs on T3, then 4 trigs on T2, then 4 trigs on T3. But you’re also playing back the reversed audio (microshifted 1/384) for 4 trigs on T3, then 4 trigs on T2, then 4 trigs on T3, and 4 trigs on T2.
A key relationship to keep in mind is the RLEN and HOLD. HOLD needs to be less than RLEN.
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That helped a lot… what I had going on before was also weird and interesting. I had some kind of loop feedback happening on my track 2 due to cueing it and also having that play the same record track based on cue, but pitch was shifted so it kept increasing the pitch each time…
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Weird can be good, but weird and interesting is even better.
Hah, yeah, I didn’t mean for this thread to be an “exercise left to the reader.” I thought my OP was fairly clear but apparently it was not. I’ve got the day off from work tomorrow, so I’ll try to post a sysex or OT file of the project template (whatever I can figure out how to do, because technology is hard). Hopefully folks can download the template file and play with it
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A fun variant is to make a delay line with feedback. Instead of T2 sampling THRU audio on T1, have T2 sample both input A and T2. The VOL control on T2’s AMP page becomes a “feedback” control for the delay line. At 0 you get infinite feedback, negative values (like -10) attenuate the repeats.
Beware! It can blow up into runaway feedback.
Pitch shifting the delay buffer gives you fun compounding pitch effects. A low pass gives you analog echo effects. All sorts of fun stuff is possible (phasing, bit reduction, amplitude modulation, …). All with the potential for runaway feedback, so be careful as you experiment.
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I exported the project folder from my setup, in case anyone wants to try it. I have no clue if this will work or not, so if you download it, please let me know. It is setup to listen to Input AB in stereo. I didn’t crank up the input gain or direct levels too loud, so you may have to adjust to taste. If someone confirms that it works, I’ll try to update the OP.
T1/T2 = Reverse delay
T3/T4 = Reverse octave delay
T5 = Pitch shifted 5th delay
T6/T7 = Stutter delay
T8 = Master reverb
OCTACOSM.zip (69.9 KB)
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works! very good implementation of your ideas you mentioned. had to make little adjustments (midi settings, turning down the direct output of the AB inputs in the mixer, …) for using it in my setup. i was expecting a lot more of clicks while the ot is playing the flex recorded material, but there are almost 0 glitchy artifacts. very cool!!
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@cogsy thanks again, this thread inspired me a lot even abroad without OT. I dreamed about it and have a crazy template in my mind. Seriously it took my mind for hours, hoping to make something asap.
2 tracks as objective.
CUE feedback for craziness.
Including lfo on delay in the feedback…
Coming back to France next week to experience it again ! In a better Microcosmic way I hope ! Anyway I won’t buy it, I’d rather buy ZOIA again for sure.
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Curious why zoia? Didn’t follow up on chat, but was looking for zoia.
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Why ZOIA ?
Because it a very open modular thinking hardware…
Anything can be anything.
Midi to audio, audio to midi.
Dynamically (envelope follower), FM/AM, midi or audio as source. It can be a midi processor…
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I would say ZOIA is in some way comparable to the OT.
There is a lot of freedom, and a lot of complex things are possible…if you invest time.
It’s made for tinkerers.
That said, it does have its limitations. I often hit CPU limits when trying to do many things at once. I am still holding out for ZOIA mkII with more power (maybe an extra set of in & outs too).
That would be an immediate purchase for me.
When CBA Onward first came out I made this, which may help you see why ZOIA is so amazing.
However, I think this patch took nearly two weeks, if I remember correctly 
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I wouldn’t say that.
ZOIA has amazing capabilities, but Octatrack sequencer is already implemented. You don’t have to set it.
Meaning you don’t have to wake up earlier compared to ZOIA to record and sequence samples, slices, etc…
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True, maybe I phrased it wrong.
They are not the same.
Octatrack does have a more fixed architecture and guardrails, whereas the ZOIA has none of that.
But they do share the commonality of being somewhat open-ended and flexible.
Not many hardware devices that I have tried are like this.
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I definitely miss ZOIA for dynamic stuff, everything that…most of newer Elektron machines miss btw.
Machinedrum has some dynamic features…
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I hoped ZOIA could be my “pocket OT” one day but…I guess my pockets aren’t big enough, eventually my brain !
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