Stereo delay

Elektron Gear Octatrack
#1

Hi there,

Did not find my answer on the forum/internet so I post my question here.

I plugged a synth on one input of the OT. I set up a Thru Machine on T1 and then a delay. How do you proceed to make a smooth transition of the delayed signal from the left to the right ear (or from the right to the left ear whatever)?

I mean I’m not talking about the Ping pong effect in the setup menu of the delay effect which able the delayed signal to go from Left to Right, Left to Right and so on (or Right to Left depending of the value set for the BAL parameter). No I’m talking about a transition L >>> R.

After some adjustments I managed to apply this to the raw signal but not to the delayed signal. For that I set up an LFO (wave “/”) which modulates the BAL parameter and I hear very well the signal (a note with sustain) moving graduatelly from my left ear to my right ear.

Unfortunaly I’m unable to reproduce this technique to the delayed signal (for example a note without sustain). The sound stays stuck in my left ear and do not migrate to the right.

If you know what I mean, help is welcome.

#2

Can’t test it because i don’t have my OT at hand, but you could test:
T1: THRU with delay
T2: NEIGHBOR with your BAL transition setup

Does this work?

#4

Delay effect is post amp bal setting… I don’t think neighbor amp settings do anything.
I think you’d have to sample it. You can use a play trig microtimed a hair past the record trig (as it would be a Src3 recording) to have it continuously sample/playback in near realtime if you don’t want a hard baked sample…

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#5

Are you sure? I thought the whole signal from T1 incl. FX will be catched by the NEIGH track (T2). Will test it ASAP. :slight_smile:

#6

@spktkpkt : unfortunately this does not work. On the Thru Track, even with p-locks it does not work (including slides).

@Open_Mike : Ok, that’s a pity we can’t do that without sampling… Nevertheless I’m interested by the technique you mentioned. I’ll give it a try this evening. When I’ll have set up all the parameters for real time sampling and processing, I’ll just have to P-locks my BAL values right or set an LFO, right?

#7

How have you set this up? I mean:

  • set T1 to THRU and add the delay, no BAL setup here
  • set T2 to NEIGH and do your BAL setup on this track
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#8

Yeah… You can have your thru track muted and have the next track a flex/buffer recording Src3: the thru track, use a solid record trig step one, play trig step 1 but microtimed one notch to the right. Then use your lfo->balance…

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#9

Yes this is how I set it up but no it doesn’t work.

#10

Ah ok…i thought this would work, damn. :expressionless:

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#11

Neighbor amp settings don’t do anything, you use the source track…

#12

Ok thanks, will try that thing.

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#13

I see. Thanks. :slight_smile:

#14

Their setup pages still control fx1 and fx2 envelope behavior, but I haven’t found a use for main page settings… Seems weird they’re there, they’re not on master track. Maybe there’s some secret thing…

#15

Plocks with slide trig probably more straight forward than lfo now that I think about it.

#16

With resampling you can do what you want and add more fx with Playback and AMP pages, pitch mod, pan, atk, rel, reverse…

And @Grace_187 are you Rthur?
Stereo delay neigbour track?

#17

Once you turn things to samples that’s when the OT can really cut loose… :wink:

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#18

as I was reading this thread I was thinking this is an instance where physically routing the CUE outputs to the audio inputs to do a ‘fake SRC3’ via the audio inputs to feed the ‘fake neighbor’ could be useful. In my imagined scenario the fake neighbor would be a fully wet delay channel so the latency this technique would introduce is not as inherently problematic. Never actually tried something like this though :thinking:

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#19

The advantage is the possibility to add more fx, no need to add +1/384 microtiming for playback…
Works well with internal SRC3 CUE rec…

Yep I mentioned here :

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#20

hehehehe I actually forgot for a minute when starting to read this thread that the delay can go fully wet until I realized I make the delay fully wet every single time I set it up for beat repeats :joy:

main thing I wanted to point out for anyone that goes down this path is that in this particular esoteric fake src3 cue>fake neighbor scenario is that if it’s not a fully wet delay channel the introduction of this latency may be problematic for your mix depending on what you’re trying to do and can/will result in phasing issues

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#21

I used that Flex / Neighbour with CUE principle here :

A cowbell only track with reverb, thru a pitched delay feeback to reverb or something like that. Kind of filtered panned shimmer reverb.

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