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@neddavine: be prepared for some serious headaches using the OT as the main sound processor and getting a good mix into Ableton post-FX. Might work on your monitors, but throw it all out to one stereo track (or 2 pairs of stereo)- UGLY stuff.

You’re going to want a small analog mixer unless you’re totally focused and put everything where it belongs in a mix as you go on the OT and record one track at a time (never been able to do it without some EQ and PRE/POST FX monitoring on a mixer). Really hard to tell if every part of an FX module is midi synced and tuned the way you want it until it crackles it’s way through a digital recording you just make OR you solo the parts effected by the FX, edit, THEN bring in the rest and edit some more.

In other words- your tuning of an effect meant to send to only 2 of 8 tracks is really hard to differentiate from tuning it for the track as a whole. Took me years to really figure that out for all FX processing outside of the DAW environment with external HW.

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Good advice, although personally I try not edit effects on solo’d tracks. If I do they tend not to fit in the mix, unless of course I am trying to create some specific sound that is FX based.
It’s like compression. If I apply compression to a snare, there is little point doing it while the track is solo’d as you get no sense of how the snare fits with the rest of the mix. For me effects come after I’ve built the track and then I tune everything to fit together. at least I try lol.
External effects is certainly harder , but for me my biggest issue is getting the chain I want. If I am using a reverb pedal, then I cant apply effects on the OT unless I apply them to the dry signal record that and then reprocess the whole thing. I mean putting the OT chorus on a track AFTER reverb would suck, so doingt things like that can be a a pain in the arse OTB.

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Well some FX are global or applied pre/post compression to a group (like drums) and some are meant to tame or smooth out things relative to the mix- but some (like guitar FX, specifically) are kind if he “lead” FX of the track because it’s there to accentuate your lead track in that part of or the entire song. In which case (usually for a bass line where my low-mid and low bands are also being occupied by some drum tracks…) I do any modulation that isn’t MIDI sync related FIRST, make sure it stands alone, then build the mix around IT. Then introduce MIDI and LFO stuff and tweak with everything else brought in around it.

Also: I think a good little analog mixer with quad mono or 2 stero sends with send amount on every track for all 4 send inputs would change your opinion on how/where/why to introduce FX. Obviously you gotta get a good mix going before any FX are applied- but sometimes you want the mix to act as an instrument in and of itself via scenes- as in sometimes you need to gradually make things pop in and out above and beyond the original mx- without having to own a minimum $2,500 digital mixer with scene changes and motorized faders or be routing. Touches of FX+EQ (gasp) pre master track! can accomplish this.

For instance, the filters on the OTO Biscuit are so powerful and creamy smooth, I can just patch that signal in and have a totally different “scene” to mix (without the bitcrushing, of course: which is a mixing nightmare lol)

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i’ve been meaning to reply to this thread for a while…

i have recently been developing a project based on op-1 feeding my pedal board and including other live musicians. the result is pretty experimental… sometimes dronie, sometimes noise, lyrical, ridiculous… it’s been fun and the reception to the live shows has been pretty good.

after buying/trading/selling quite a few pedals, i am down to this (but i am looking at acquiring a few more very select pieces in the near future)

here is a link to some of the recordings made with this setup. they are all unedited ATM, and pretty long. hopefully someone has the patience to listen :astonished:
[url=“http://www.brightinfinite.com/experiments”]

http://www.brightinfinite.com/experiments

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picture won’t upload for some reason? anyone know the secret?

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BTW, the timeline and cathedral are both on my board. i’m gonig to add a mobius soon and then some botique kind of stuff. i love the cathedral capable of a wide variety of sounds and can get very weird. eeeaasy to dial in rgeat sounds quickly.

47

I love my Eventide Pitchfactor . I bought it primarily for pitching my vocals, but then realized that it can actually make my Octatrack play polyphonically in a way. Also the “crystals delay” is insane.

I also use a KP3, mainly bacause of the sampling/slicing feature. It’s kind of what the OT also can do, but with a totally different interface.

Seeetup.JPG1400×484 229 KB

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i’ve got a pitchfactor and kp3 on my board. insane combo.

BTW that’s a great setup, deHaan

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That’s a lovely colour coded set up. Black and red. How does the mpc work with the ocatrack? I had one a while back (before I had any elektron gear) my idea was that it would get me to stop using a computer. I had a 1000 with JJOS 2. Ddidnt get on with it. I found it slow and annoying to use and program and the sequencer wasn’t much fun. However now I am loving the OT I am kind of having second thoughts about the mpc, maybe it was fun and I didn’t realise.

By the way I check out your band, It’s really good stuff. Loved it.

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You can only load pics up 1mb. Maybe thats the issue? I’d like to see your board.

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I just made a quick video showing the grail spring on the cathedral pedal. Have a look of you’re interested. Totally awesome pedal.

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I had this thought regarding the Pitchfactor / OT Poly, so i’m going to get one at Christmas.

At the moment i have:

TC Electronic Fireworx
Strymon Timeline & Mobius
Eventide Space
Kaoss Pad Quad
Mini Kaoss Pad 2
Rodec Sherman Restyler.

53

Yeah, and I am soon adding a MFB-522 drum machine - more black and red :wink:

I think that the MPC and Octatrack are great companions, because the MPC does some tricks that the OT doesn’t (I use it with JJ OS2XL):

  • 32 voice polyphony
  • Crossfade looping
  • The pads are great for live performance - I also use them to trig my Nord Lead, it’s really fun to play with the aftertouch.
  • 64 tracks
  • Automatic transient chopping
    … and a lot more I guess, I haven’t really dived into it yet.

To me the interface of the Octatrack is much more intuitive, so I usually start my songs on the OT, and then add elements from the MPC. It’s really good when you run out of tracks on the OT :slight_smile: I’ve set mine up, so I can sequence drums from the OT midi sequencer, and written the MIDI notes down like this:

1600×1200 444 KB

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Wow, good job, that really sounds good! I’m considering adding one of these for my improvisation setup

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Before going into the world of elektron I used to have a bunch of cheap pedals. my two faves were definately the Boss SYB-3 bass pedal, which tuned drum machines into highly unpredictable and odd acid-y basslines. Always wanted to get one again. The Boss DD-6 was also used a lot, mainly for the reverse delay, great for sound textures and adding some extra plastik to the 303-clone I had at the time.

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Sherman Filterbank rack
KOMA delay
KOMA multimode filter
WMD Acoustic Trauma distortion and amp simulator
Eventide Eclipse
Eventide Space

The digital Eventide FX are always in the FX loop on the mixer. The Eclipse contains the Timefactor and Modfactor plus some of the Pitchfactor algorithms and tons of other goodies. It’s really one of those units that make you go “OMG it’s full of stars”…

The analog gear are all FX that can also be abused in different ways as weird, dirty sound generators. I’ve done whole tracks with just KOMA pedals thru Eventide FX.

Stuff I miss:

A good bucket brigade delay like the MF104.
The WMD Geiger Counter, which I keep selling and buying back, I’ve had three units now.
The Red Panda Particle Delay, which is an amazing granular delay pedal.
The MF108 Cluster Flux, simply because it’s the most beautiful chorus I’ve ever heard with a guitar.
Knas Ekdahl Moisturizer.

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Man oh man, do I want the Red Panda Particle. Really seems to destroy sounds well :smiley:

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I’m thinking of picking up an eventide box. Any suggestions on which one? I have a vox delaylab and a cathedral at the mo. I was thinking about the timefactor even considered a space?

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Really depends on what you are after. Maybe a Pitchfactor would be nice since you already have a delay and reverb?

60

I’ve Just ordered the Zoom MS-70CDR myself. Thanks Nedavine, for bringing this to our attention.