I’vebeen usign it in a completely different way recently, since I started using Ninjam in Reaper for real-time online collaboration.
I’ve got a small Eurorack case set up specifically for processing live input (there’s one oscillator in there but I only use it as a modulation source), a Mother32, a Tanzmaus and a Redsound Elevata each going mono into one of the inputs on the OT. It’s set up with cuing in standard mode instead of studio, and it sends clock and transport but only recieves transport and uses its internal clock (only because of erratic behavior from pickup machines with even the most stable eternal clock I can get from the USAMO).
Right now I use two patterns, one dedictated to arrangement and looping and the other to manipulating the loops I’ve recorded.
Pattern 1 part 1 has thru machines on the first four tracks, corresponding to the inputs of the same number. There are also record trigs on the first step of tracks 1-4. Tracks 5-7 all have pickup machines set up in one2 record mode with play and record quantized to multiples of 16. All three of them record from the output of the thru machine that the guitar passes through (I had them all recording from different tracks originally but I never ended up using anything them for but the guitar). The scale is set to per track with a master length of 64. Track 8 is 64 steps long and has a flex machine triggered on step 1, playing from the track 8 record buffer.
Pattern 2 part 2 has flex machines on all 8 tracks. 1-7 are set to play the record buffer of the track they’re on. Track 8 has a rec trig on step 1 and is continuously recording from the master but has no play trigs.
Pattern changes are quantized to pattern length.
For control I’m using an Morningstar MC6. It’s mostly set up like the example PUM control scheme from the manual, but button 1 is in toggle mode. On odd presses it simply switches to pattern 2, so if I’m looping and sequencing in pattern 1 I can hit button 1 and at the end of the current cycke it will switch to pattern 2, all of the live input will be muted, and tracks 1-7 will be playing loops of the last 64 steps before the pattern change so I can start messing with them, while recording a stereo mix of the last 64 steps of everything I’m doing on track 8.
On even presses, button 1 switches back to pattern 1 while also cuing tracks 1-7 (set to mute while cued), so I’m back to recording again but the live input is cued and because there’s a play trig but no rec trig on track 8 in pattern 1 the main output is now playing the last 64 steps of the mix of what I was doing in pattern 2, similar to the crossfader transition trick. I can build up a new arrangement in headphones and then bring it in however I feel like. I haven’t settled on what I prefer for transitioning from the track 8 loop to the new arrangement, so this last part will probably evolve a lot over the next week.
For context, until a couple weeks ago I’d been using it almost entirely for MIDI sequencing and live effects and hadn’t sampled anything on it in probably a year minimum. Before that I was doing almost all sample based stuff in it for a while, and felt really limited by the MIDI sequencer.
i have an OT2 incoming myself
