Octatrack Tips & Tricks (OT Tips)

Can you time stretch the name processing algorithm?

Voraciously enjoying the vivacious vivification.

Back to regular tips and tricks, it would seem the Octatrack Autochannel is only engaged when the Midi side of the OT is active.

Otherwise, when working on the Audio tracks, the Octatrack’s Midi side of things only responds to the incoming Midi channel in a regular fashion - eg. if Channel 9 is set to Autochannel, and Midi side is active then playing on Channel 9 will have access to any channel that a Midi track is set to …

whereas if the Audio side is active, then the Midi side of things is only going to respond with a Midi track that is also set to Channel 9.

At least this is how it seemed to work the other day. Maybe i became slightly confused when trying to work with the Octatrack, three hardware synths, midi ins, outs, thru’s, and a Machinedrum.

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HOW MIDI IS ROUTED
If an audio track and a MIDI track share the same MIDI channel, the MIDI track will block the audio track from sending out data while the audio track will block the MIDI track from receiving data.

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fascinating! in this scenario however the Midi tracks in question were all between 9-16, and the Audio tracks, although Midi channel activity not being used, were on Midi channels 1-8.

anyway i could be mistaken, maybe Autochannel does work when the Midi light is not lit, it just seemed to only work as Autochannel when the Midi side was ‘active’ (for want of a better word).

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That’s it.

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Something useful i discovered tonight is using the Noise Gate (Proj Control Inputs) as a cue-send effect …

Earlier in the evening i was recording a flute line multiple times from a vintage physical modelling synth through 3 guitar effect pedals … layering the audio tracks resulted in quite a noticeable noise floor.

Individually they were okay recordings, the hash was very indistinct and unnoticeable. But then layering them each time the hash noise grew in volume.

It was actually a pretty cool warm hash noise, not irritating. And yet not very professional. Very noticeable.

I should have put a low-level Noise Gate on the appropriate inputs to start with. At first it seemed like the layered tracks hash noise was there to stay.

But then, tried muting the track, Cueing it through the Cue Outputs, back into the CD stereo input.

Then, while listening, adjusted the Proj Settings noise gate level … too little was sounding ineffective, too much was creating jittery interruptions in the actual audio. Found the sweet spot around 43.9db Noise Gate value.

It would be cool if Noise Gate was an actual OT Effect, instantly accessible, but anyway this was a fairly easy workaround.

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best tip i can give after years is this, its very easy to implement too.

spend as much time as you possibly can on it and don’t be afraid to ask it silly questions, what will you do if i do this? It will respond.

IT WONT BREAK AFTER ALL :sunglasses:

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Make a track with slices or samples locks each 2 step or less.
Press track + stop several times = manual slutter fx.

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set lfo 1 to random and Start Time
set lfo 2 to random and Hold Time
set lfo 3 to sine and Filter Base

to avoid clicks set Att to 1 or 2

while operating Track and Stop, also adjust Rate manually for abstract Pitch comedy.

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Tip to keep the best of a long recording “quickly”, without audio editing : record 64 bars, add 64 slices, and reorganize them.

Memory Config > Dynamic Recorders = yes, Reserve = none
Scale Per Track, Master Pattern Length = 1024 (64 bars)
Recording Setup 2 > Qrec = PLength
Recording Setup 1 > RLen = Max, ONE2

If you use a One shot trig to start recording, press twice corresponding Rec button to stop recording, before the end of the pattern, eventually just after the record starts.

Choose a track with 1/8 scale and divide tempo by 2. Place 64 trigs. Apply 64 slices grid and linear locks.
Reorganize bars.

Resample when finished.

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This is also great for pre processing a drum chain , e.g. Distorted , vocodered , static , even muting if you blank out some of the samples.

Also good for timbre shifts on synth sounds , resonance , filter , anything that can’t be achieved by altering a parameter on the octatrack itself.

Also means you process 1 sample in a daw to change / compress / saturate entire drum kits assuming whatever you do. Is within the same sample length.

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Can’t get this. Sounds good though. any further details? Thanks!

If you plock a chord and activate arp, a midi track will play single notes only.

I used to apply an rdm lfo on arp mode, in order to turn it off and play the plocked chord.

If you apply a rdm lfo on LENgth, the chord will be played with 0 values. More convenient than arp mode.

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I still get an arp with NLEN at zero, just a very staccato one… wonder if it depends on device receiving?

LEN in Note Page. :wink:

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I am having hours of joy mangling my own voice samples. I took a sample of my voice and created bass, synth pad and drum beats with it on my OT. Never realized that I could sample myself and make tunes on it!

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from @sezare56 : use cue outs as final, main as your sends so you can p-lock (and set scene modulation on!) send levels

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Record and play crossfader’s movements and scenes changes with midi tracks, with midi loopback :

  • Connect a midi cable between midi in and out

  • New project

  • Project > Midi > Channels > Autochannel = 1

  • Play a sample on track 1, set scene B

  • Midi mode > Set Track 1 Midi Note Setup > Channel 2, set CTRL1 CC1 = CC48

  • While in Midi mode, Hold RECORD and press PLAY to enter Live Recording mode, press RECORD or PLAY to stop recording

  • You can also record Scenes with CC55 and CC56

Didn’t find that one elsewhere. Link it if so! :slight_smile:

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Oldie but Goldie from old site

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Thanks! Actually it mainly talks about crossfader automation, also about movements record but without success :

Actually I haven’t managed to record crossfader movements.

I forgot scene changes recording ! :thup:
Test…it works too! Add lfos on CC48 to taste. :slight_smile:

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