OT TRig Conditions (TRC) thread


You can really think long and hard about polyrhythm/polymeter and do maths - or you can just freestyle from a simple spot and see what you get:
You need to make sure you have pattern length per track enabled (func+bank/edit to get into that menu) and then try setting the master pattern length to infinite (function+page and it’s the number at the bottom), then enter a single trig on the first step of every track you plan to use - then just adjust the individual pattern length for each track to whatever mis-matching numbers you like. Preferably numbers below 32. (Bass Drum 8 steps long, Snare 5 Steps long, HiHat 3, Random Percusson sound 13 etc) Take it from there, experiment and develop it - have fun!


They removed the “coming soon” on the support page guys…


What to make of this ?




so right now, they have their

  • digitakt mess… 3 months without the necessary update
  • an overbridge product they sold with the DT but still has no delivery date, just a vague option…
  • OT MK2 with flaws
  • a promised OT MK1 update that can’t be delivered as all the other stuff messed up

I would not expect too much right now…
I am glad I sold my DT before they dropped the price.
I hang on to my OT, MnM and MD… They are doing just fine.


That is a long Long video you’re asking for. So many different ways to use the OT




Ah geez. I did that by mistake yesterday… Don’t worry, it’s still coming.

Octatrack MKi vs MKii
Analog Four MKII out now!

It does you no good to label yourself that way. Read the wiki-articles that I linked with the polyrhythm video.Watch the video again.


I’m sure you can grasp it.

And a tutorial series in a curriculum style would have to be a paid job. It’s just too vast to cover the way you’re wishing for. And I’m not sure that would be the way to go seeing as there are many possible use cases for the Octatrack.

(this is turning OT - any mods wanna make a new thread or merge existing?)


A post was merged into an existing topic: Analog Four MKII out now!


Stoked it’s back! :unicorn:

Patiently anticipating…


Well, I’m paying Ask video :slight_smile:
I didn’t realize there was WIKI articles in your YT video. I’ll check it out. I have to slow down a bit. I’m way ahead of myself, but it drives me nuts not knowing what I’m doing.

Guys, I sold my DT because of the constant crashes and bugs. I got the OT thinking that it would be better. And it is. Once I switched out the CF card, I haven’t had as many freezes. The only big issue is the input LED’s (RED) which is a bug. So far I’m pretty happy with the thing.


Let’s keep it on-topic going forward, please :thup:


You could use a random LFO to do this, @Jameshenry. Assign the LFO to the bit depth, hit play, and you’re winning.


I just dig into the trig conditions - had about 10 minutes on it - and was blown away. It basically means that you can create semi-generative patterns, especially when you combine the trigs with neighbour tracks.

I’m blown away with how powerful they are as an ‘added value’ function to the already-awesome sequencer.

Now to think of some clever ways to use them…


Combined with Trc and lfos, you can even go further randomizing specific values :

Set an lfo designer with your values (scaled pitch for ex)
Choose it as lfo 1, hold mode.
Use another random lfo 2 to modulate lfo speed 1.

Every time a trig is true, you’ll have a value of lfo designer randomly.
Great for generative music, you can choose many specific musical values for Pitch, Start, Len, Rate, RTRG, RTIM, Comb Filters note, delay time, etc…
Same for midi.


Combining trigs with neighbour tracks of different lenght should be interesting!


Holy frickin’ spit, Batman. If I could buy you a beer I would; that is some clever stuff right there. SO much mileage out of a single, one-note sample…!


And you can add 24 lfos to that note with midi tracks ! :loopy:


Conditional lock trigs are my jam.
It’s like a third kind of modulator. Existing in a space between envelope and LFO.

These further cement the notion that on an Elektron, the sequencer is integral to sound design.