Octatrack real-time production session with re-sampling and scene development for variations [video]


#1

in this real-time sample-based music production session with the Octatrack I start off in slots mode to begin building a simple pattern and develop it further with typical Elektron step-sequencing techniques. I then employ a re-sampling approach to generate additional ideas in a flexible way that reacts to parameter/scene manipulations, and I experiment with some of my typical scene lock targets for developing scene variations

the raw ideas that emerged in this session developed into Cosmic Connection (i got)

:00 sample pack auditioning via slots mode
:35 live record engage, pattern length change
:57 kick + vocal chops pattern punch-in, grid record edit
1:20 filter + compressor adjustment
2:10 neighbor machine (dark reverb)
3:16 pitching kicks + chops
4:05 clap, independent pattern length
5:14 clap sound design
6:18 bass pattern and p-locks
8:15 bass filter + compressor
8:51 release time modulation
9:42 re-sampling channel setup
11:02 re-sample playback and tweaking
12:14 re-sample re-pitching
13:07 master track compressor
14:05 closer look at re-sampling
15:15 comb filter for re-sampling channel
16:46 note on comb filter harmonics
17:32 scene workflow note
17:51 scene variation development
18:40 note on scene interaction with re-sampling
19:07 bass filter scene locks
19:27 re-sampling channel scene locks
20:20 clap scene locks
20:40 vocal chops scene locks
21:51 more re-sampling scene locks


#2

oh yes ! you did it again :wink:


#3

Particularly enjoyed this one. I’m kind of 75% done something and this gave me a few ideas to get it the rest of the way.


#4

Your videos are really really well done, it’s extremely useful to follow your thought process and the simultaneaous realisation of your intents on the OT. The pace is perfect, easy to follow. Thanks many!


#5

Amazing work. Brilliant.


#6

@ML thank you!! :bowing_man: am working to keep up the production pipeline :muscle:

@nutritional_zero thanks much!! for me a big advantage of this kind of gear and these approaches is being encouraged to think in a more ‘lateral’ way than the typical ‘linear’ conceptualizations of production workflow that are easy to thoughtlessly repeat until you’re ‘backed into a corner’ in a creative sense

@pinup57 thank you! definitely not easy videos to produce, on a variety of levels

@jbone1313 wow!! thanks!! is very interesting to try and capture these moments in time


#7

Getting around to watching this, great work. Never triggered samples with slots mode but now I see the benefit…Cool.


#8

You lost me at about 11 minutes with the (live?) resampling channel and the cue stuff…I know that’s a route I haven’t gone down yet, so I’m a bit behind. What’s the general way to go about this?

EDIT: At about 18 minutes you deactivate scene A, what’s the logic behind this?


#9

thanks!! slots mode is pretty awesome - I don’t tend to work with very many pre-recorded samples (sometimes none) so when using a pre-made sample pack like this it’s a good chance to leverage it. I think I’d use slots mode a lot more if it was able to trigger the record buffers

no general way to go about re-sampling as it’s highly contextual. I generally refer to the type of re-sampling demonstrated in this video as ‘live’ since the recording is periodically ‘refreshed’ from the live audio and the sequencer is never stopped

I prefer to keep one of the scene slots deactivated rather than have it set to a blank scene, this way I know that particular side of the crossfader is always going to be the ‘default’ part settings even if I have been mucking around with the scene assignments


#10

A fantastic video, thanks!


#11

Hey great video thanks for this!

I’ve stumble into some kind of a bug experimenting with the re pitching (12:14 on video)

When the record trig and playback trig are on the same step I can’t pitch down but only up
If I micro move the playback trig one tick everything works fine

Anyone has experienced this?


#12

hi, thank you!

this is commonly known behavior and I can’t really consider it a ‘bug’, per se, more of an ‘undocumented feature’. Based on my current knowledge I have to conclude it is due to logic that causes playback to stop when a record buffer is being simultaneously accessed by a flex machine while being recorded into, and the playback head and recording head ‘touch’ or ‘cross’ - by careful management of your playback triggers in relationship to the record head (such as the micro-timing you mention) you can avoid/mitigate halting playback if desired. Presumably this kind of internal logic was implemented to prevent users from the glitching/popping/crackling/feedback that would generally occur when ‘crossing heads’. These and some related things with record buffers I’d like to eventually cover in a dedicated video when I am able, there are a few nuggets sprinkled throughout some of my other videos though


#13

As others have said, this is really good stuff. I’d definitely encourage you to keep going in this direction. This kind of articulate mid-to-expert use of the octatrack is pretty underrepresented on youtube, imo.

One feature I didn’t see you use in the video that I think would help a lot is adjusting the per-track level (track key, then level knob). Getting the balance right between the vocals, clap, and bass would make the track sound more cohesive.

Did you record the video voice-over after the fact? I can see how that might increase the video editing burden, but would allow for you to just play while doing the actual octatrack work, and then retcon the thinking afterwards. I bet with a bit of iteration, planning, and practice that could make for some super-good results.

Regardless, I’m inspired to go play now, and I’m grateful to you for that.

Stay rad.


#14

narration is recorded later, except for very early videos

when making a beat in ‘time limit’ like this any element that is not 100% priority is to be skipped - do not fuss with details too much, just get the ideas down and move on

edit: also for this particular format it is not meant to have much planning or practice - these are largely un-structured actual production sessions and not something I’m engineering in any particular way to be filmed except for a focus on moving fast (long time fan of against the clock series)


#15

Makes sense, was merely suggesting that basic volume leveling may be 100% priority (assuming you’re aiming at making something that sounds good). Now, mixdown in general is known to be cumbersome on OT, I just meant to imply that basic leveling is pretty easy (there’s a mostly dedicated front-panel control, a rarity on the OT, ha!) and could help a lot.

Definitely not trying to take away from what you’re doing. Again, it’s good, and I’d encourage you to keep it up.

re: planning or practice, I didn’t mean to imply preparing more for a given session, just keep doing sessions so you become increasingly facile.

:slight_smile:


#16

Greats vids man. “Subscribed”


#17

I see thanks for clarifying.
Still i have trouble grasping the fact that we can pitch the playback up but not down.

Keep up the great work very inspiring!

P.s. don’t want to sound presumptuous but did you know you can press a second time on the scale button to adjust step length to multiple of 16.


#18

Top quality as always!


#19

Another great video. Thanks!
I’m really enjoying the resampling ideas in your videos.


#20

Do you need another me too message? Well, I’ll deploy one and say that I’ve found this to be a really helpful video especially given where I am in my tentative steps into Octatrackery. Been dipping in and out of your others. Really appreciate the effort to record these. Cheers!!