I am considering getting an Octatrack. Been doing research about it.
I currently have an A4.
I was wondering, can you sample/record crossfader movement or for that matter any audio manipulation internally onto another track for example?
Also any of your other thoughts on the Octatrack would be very much appreciated.
Thanks.
You cannot record crossfader movement as speaking of “automation” (p-locks)
but you can sample what is happening to the audio-side while it gets tweaked with crossfader…and believe me: there are huge possibilities of manipulation and fun…then…you have all this recorded!
I suggest you (if you already haven’t) to take a look at Merlin’s Ot thoughts that you can find in Files section.
Wow fantastic, yea I was mostly concerned with recording audio from crossfader and other tweaking and not automation/plock kind of thing. Great to hear. I’ll be reading the Merlin OT doc…
like sicijk said, you can technically record the sound you are creating with those movements
you could even have a recorder trig that continues to record it…and then mangle from there
you could even use parts to flip back and forth between them…almost endless possibilities really
Cool, I remember reading about recorder trigs in the manual. Don’t exactly remember how they worked but I can’t wait to try all this stuff out on the real thing.
If you’re lucky enough to have 2 Octatracks you can, using midi cc.
But you can’t resample the same sample if you have any parameter affecting rate on that sampler channel. Like lfo or trigg lock. Unless if you sacrifice a channel.
hehe i hope this sentence makes sense… 
Umm, I don’t understand what that means (bit over my head). But I was looking at the manual and from what I understand you can sample anything that would come out of the main outputs.
you can sample…inputs, outputs (main/cue), internal sounds (individual tracks)
If you’re lucky enough to have 2 Octatracks you can, using midi cc.[/quote]
you’re true, infact you can actually record fader CC by looping back the Mdi out into Midi in…only if you plan to use the OT alone…or just alone sometime…
I meant that if you use a track, that is a sampler track and if you assign any rate changes to that track, once you arm to resample it, it will stop playing back that sample and clear the recorder buffer on that track.
Let us say track 4 is a sampler track sampling master track 8.
It has a trigger set to play back the sampled sample.
So if you apply LFO modulating the rate to that track after you sampled you get the scratch effect. Once you want to resample the outcome of that change on the same track, OT won’t let you unless you resample it on another track because it is being modulated by LFO while sampling.
It somehow doesn’t allow you to resample on the same track with rate modulated or in any way changed.
I hope this makes more sense hehe 
even i had to read this several times.
I usually have a remix track in place which records everything I do on the OT, incl. crossfader movements (btw, normal trigs, no one-shot). As long as no automations/scenes etc. are assigned to pitch or time-stretch parameters of the remix track (@Lemajik), everything works fine. you always have a buffer to get back to whatever you’ve been doing before, incl. wild crossfader movements, scene switches, whatever.
The remix track also receives a nice tape dely feedback FX, because it is replaced by a resampled version each and every time the pattern loops. With some high-pass filtering and delay or reverb in the initial signal, that’s great for builds. Just in case I need a break from all the resampling or when it “whoooshes” too quickly, I jump to the first pattern in the bank, where no recording takes place (no recording trig, that’s my workaround to get the one-shot trigs “reversed” because I want to have it recording per default). Of course, you can always switch to a different scene and have the original stuff playing without recorded crossfader movements etc.
One more thing: when my remix track is in focus, I usually do a lot, release some claps/chords/crashes/whatever, which are being modulated by further and further resampling, mix it with some crossfader “scratching” which the remix track also records, and in the end, just one simple crossfader movement is sufficient to return to a simple, clean, combo of kick and bass. Nice.
@Marcofrodo’s initial question: of course you can, and much more.
schhhh…
please people, don´t scare OP.
@MK7, I would love to hear what the hell you´re talking about. Got any example or soundclips?
/Mike
Yes please!!!
Hi Marco,
If you want to save a few bucks, please consider purchasing my OT if you decide to get one.
I’m open to offers.
there you go:
The same technique being applied over and over again. In my opinion, the best one was right before the middle of the recording. The demo is more about resampling in general, but it also includes recording of crossfader movements.
At the high-pass filtered sections, the played back audio is being resampled over and over again, which can create big “whooshes” of feedback delay kind of stuff, and I also moved the crossfader a lot before going back to the standard groove, which creates a lot of modulations and movement. Note: towards the end of the recording, feedback occurs a lot faster than before, because resampling is being triggered there every 4th instead of every bar.
It would much more transparent with just a video, but I was too lazy to record one the audio should still be a lot more descriptive about what I mean than descriptions in words.
Setup:
Btw: Special thanks to Daren Anger! Those DRUMA drums (some of the percussions & one hihat in this recording) sound so lovely!
good stuff MK7
video would be cool…I need to get set up for video recording myself
there you go:
The same technique being applied over and over again. In my opinion, the best one was right before the middle of the recording. The demo is more about resampling in general, but it also includes recording of crossfader movements.
At the high-pass filtered sections, the played back audio is being resampled over and over again, which can create big “whooshes” of feedback delay kind of stuff, and I also moved the crossfader a lot before going back to the standard groove, which creates a lot of modulations and movement. Note: towards the end of the recording, feedback occurs a lot faster than before, because resampling is being triggered there every 4th instead of every bar.
It would much more transparent with just a video, but I was too lazy to record one the audio should still be a lot more descriptive about what I mean than descriptions in words.
Setup:
Btw: Special thanks to Daren Anger! Those DRUMA drums (some of the percussions & one hihat in this recording) sound so lovely!
[/quote]
damN…that song is dopE!..that bass line is super sick! …really like that recording technique
Thx the creation of that recording was also super fun! swing around, play some bass on the keys, press a button here, press a button there, move the crossfader back and forth and back back forth forth to the rhythm, and keep moving around… I mean that’s the whole workflow.
no groovebox or drum machine can replicate the groove of human fingers, when you’re in the right mood.
sounds like you need an analog rytm to let your fingers do the drumming 