There are five track parameter buttons that give access to the settings for each track. The SRC button has been covered and is the function which manages the fundamental sound sources and machines. Following this in the audio path comes the AMP function and it’s track parameter page. AMP is short for amplitude which refers to the strength and level of an audio signal over a period of time. The amplitude, heard by the sounds volume will change over time naturally, but can also be shaped within the AMP page where specific controls are available. In essence the AMP main page provides access to the functions to shape, pan and control the level of the core sound for the track. The AMP setup page defines the behaviour of the AMP functions. The AMP section and its envelope is a key element in sound design and plays a huge role in how the audio will be heard. Whether designing short plucky sounds or long evolving drones the AMP has features to develop the target sound. The envelope and its components shape the overall sound while the AMP main page also has parameters that set the preeffects volume level and the stereo balance for the track. The AMP envelope also has influence on effects FX1 and FX2. Remember that Octatrack audio always works in stereo. It should also be noted that a master track can also has access to an AMP section. AMP 7 The Octatrack Notebook : Reference & Guide 147
148 The Octatrack Notebook : Reference & Guide 7 AMP 7.1 AMP and Audio Structure NOTES The AMP section follows the sound source enabling the amplitude envelope to be applied to shape the sound along with the stereo balance and volume level adjustment. Assignable LFO’s Envelope Pan Level L R Track Envelope can also be applied to the multimode filter or amplitude modulator if assigned into FX1 or FX2 effect slots. Static Track Flex Track Pickup Thru Neighbour SRC Audio Source. [SRC] Setup Page AMP Amplitude. [AMP] Main Page LFO Low Freq Osc’s. [LFO] Main Page FX1 Effect One. [FX1] Main Page FX2 Effect Two. [FX2] Main Page 2 1 B A
AMP 7 NOTES The Octatrack Notebook : Reference & Guide 149 7.2 Amp Main and Setup Pages Main Menu [AMP] (A) (D) (B) (E) (C) (F) (A) ATK Data Entry (B) HOLD Data Entry (C) REL Data Entry Attack Time Hold Time Release Time Controls the attack time starting from the trig / note. This is the initial ‘ramp up’ of the audio level. Controls the hold time (which also covers attack time) starting from the trig / note. Duration is based on sequence steps and BPM Controls the release time starting from the end of hold or note off. This is the ‘ramp down’ phase of the audio level. 0-127, Default 0 0.007-128, inf (default) 1 - 126, inf (default) (A) VOL Data Entry (B) BAL Data Entry (C) Data Entry Volume Level Balance Not assigned Sets the volume of the track delivered to the main and cue output. This is pre-effects. Controls the audio signals position within the left and right stereo field. -64 to +63 - 0 Default -64 to +63 - 0 Default
150 The Octatrack Notebook : Reference & Guide 7 AMP NOTES + AMP Setup Menu [FUNC] + [AMP] (A) (D) (B) (E) (C) (F) (A) AMP Data Entry (B) SYNC Data Entry (C) ATCK Data Entry AMP Envelope Behaviour Synchronise to BPM Attack Phase Shape Controls the behaviour of the envelope on the audio level. Selects whether the envelope should be synchronised with the main BPM Selects Log as exponential or linear shape for initial attack phase of the envelope. ANLG, RTRG (default), R+T, TTRG On (default) , Off Lin (default), Log (D) FX1 Data Entry (E) FX2 Data Entry (F) Data Entry Envelope for FX1 Envelope for FX2 Not Assigned Selects behaviour of the envelope on the multi-mode filter or amplitude modulator if loaded to FX1 slot. Selects behaviour of the envelope on the multi-mode filter or amplitude modulator if loaded to FX2 slot. ANLG (default), RTRG, R+T, TTRG ANLG (default), RTRG, R+T, TTRG
AMP 7 NOTES The Octatrack Notebook : Reference & Guide 151 7.3 Amp Envelope Basic Functions Amp track parameters consist of a number of envelope configurations based around the AHR envelope model. The envelope shapes the start - attack time, the general duration - hold time expressed as sequencer steps relative to BPM and the end - release phase of the sound as it evolves over time. Images shown are for illustration purposes only. ATK (Attack Time) (Time based on seq steps) HOLD REL (Release Time) Trig ON ATTACK (time) HOLD (time) RELEASE (time) Trig ON ATTACK (time) HOLD (time) RELEASE (time) Note ON Note OFF ATTACK (time) HOLD (time) RELEASE (time) Note ON Note OFF ATTACK (time) HOLD (time) RELEASE (time) Trig ON AHR Envelope Parameters AHR Envelope with Trig control AHR Envelope with Note control eg Keyboard On/Off Attack, release and the hold are time based parameters. Hold in total, also includes the attack time phase. Release phase will be initiated immediately on a Note Off signal if it occurs before the end of the hold time phase. If attack time is longer than hold time, the release phase will be initiated when attack phase is completed. Release phase will be initiated immediately upon completion of the hold phase if it ends before the Note Off signal. If hold setting is set to inf (infinity) using a keyboard will play the notes while ever the key is held or for duration of the sample.
152 The Octatrack Notebook : Reference & Guide 7 AMP 7.4 Amp Envelope Setup Parameters NOTES Amp AHR (attack time, hold seq steps / time, release time) envelope is also applied to the multi-mode filter or amplitude modulator if either is loaded into the FX1 and/or FX2 slot. ATCK (Attack Shape) SYNC (Synchronise to BPM) Trig ON ATTACK (time) H R A H Sample Triggered Sample Triggered Sample Triggered Sample Triggered ATTACK (time) H R A H ATTACK (time) H R A H ATTACK (time) H R A H AMP AHR Envelope Parameters ANLG - Sample Triggered TTRG - Sequencer Triggered AMP Parameter Options RTRG - Sample Triggered R+T - Sample Trig / Trigless Trig Attack phase, initiated when a sample is triggered, will restart at the current level. In this example during release. Attack phase, initiated when a sample trig or trigless trig is triggered which will restart at the current level of the envelope. In this example during release. Attack phase, initiated when a sample is triggered, will restart zero level. In this example during release. Attack phase, initiated when a sample trig or trigless trig is triggered in the sequencer, which will restart at zero level. In this example during release. Images shown are for illustration purposes only. Sample or Trigless Trig Sample or Trigless Trig Sample or Trigless Trig Sample or Trigless Trig
AMP 7 NOTES The Octatrack Notebook : Reference & Guide 153 7.5 Amp Envelope Influence on Effects Multi-Mode Filter Envelope - AMP controls The AMP setup parameters also controls the behaviour of the multi-mode filter envelope, if it is loaded into one of the FX1 / FX2 effect slots. Option to apply AMP hold to the filter is also possible in the filter effect setup. Filter AD Envelope Parameters Sample Triggered Sample or Trigless Trig Sample or Trigless Trig Sample or Trigless Trig Sample or Trigless Trig Sample Triggered Sample Triggered Sample Triggered ATTACK (time) DECAY (time) A H H ATTACK (time) DECAY (time) A H H ATTACK (time) DECAY (time) A ATTACK (time) DECAY (time) A ANLG - Sample Triggered FX1 If filter is loaded If filter is loaded Base Width Base Width Multi-Mode Filter FX2 Multi-Mode Filter AD Envelope Retrigger AD Envelope Retrigger ANLG RTRG R+T TTRG ANLG RTRG R+T TTRG FX1 Effect Slot AMP Setup Page FX1 Effect Slot TTRG - Sequencer Triggered RTRG - Sample Triggered R+T - Sample Trig / Trigless Trig AMP setting dictates the behaviour of the filter AD envelope. Sample trig will start the attack at the current level. Hold control from AMP is optional for the Filter, set in the filter setup page. AMP setting dictates the behaviour of the filter AD envelope. Sample trig or trigless trig will start the attack at the current level. Hold control from AMP is optional for the Filter, set in the filter setup page. AMP setting dictates the behaviour of the filter AD envelope. Sample trig will start the attack at the zero level. Hold control from AMP is optional for the Filter, set in the filter setup page. AMP setting dictates the behaviour of the filter AD envelope. Sample trig or trigless trig will start the attack at the zero level. Hold control from AMP is optional for the Filter, set in the filter setup page. Images shown are for illustration purposes only.
154 The Octatrack Notebook : Reference & Guide 7 AMP NOTES Amplitude Modulator, Lo-Fi Collection - AMP Controls The AMP setup parameters also controls the amplitude modulator behaviour, if it is loaded into one of the FX1 and FX2 effect slots. The AMP setup page FX1 and FX2 parameter options that apply to the filter are; Images shown are for illustration purposes only. Sample or Trigless Trig Sample or Trigless Trig Sample Triggered Sample Triggered Start Cycle Start Cycle Start Cycle Start Cycle ANLG & RTRG - Sample Triggered R+T & TTRG - Sample or Trigless Trig A sample trig will restart the phase of the amplitude modulator in the Lo-Fi effect if assigned in FX1 or FX2. A sample trig or trigless trig will restart the phase of the amplitude modulator in the Lo-Fi effect if assigned in FX1 or FX2. Amplitude Modulator FX1 If Lo-Fi Collection is loaded If Lo-Fi Collection is loaded FX2 Amplitude Modulator Phase Restart Retrigger Phase Restart Retrigger ANLG RTRG R+T TTRG ANLG RTRG R+T TTRG FX1 Effect Slot AMP Setup Page FX2 Effect Slot
AMP 7 NOTES The Octatrack Notebook : Reference & Guide 155 7.6 Master Track A master track may optionally be assigned as track 8. The only AMP parameters available to the master track are the FX1 and FX1 settings normally found on the AMP setup page. These parameters are based on the the interface to the multi-mode filter and amplitude modulator. ▌SELECTING THE AMP PARAMETERS IN MASTER TRACK 8. 1. Select the master track, track 8. Press [T8]. 2. Press [FUNC] + [AMP] to open the AMP setup page. Alternatively double Press [AMP] to open the AMP Setup page. 3. The AMP main page will show blank. The only options available are setup FX1 and FX2. +
156 The Octatrack Notebook : Reference & Guide NOTES
Parts are one of the least understood features of Octatrack and are often overlooked. In fact it is ok ignore them, but this does mean missing out on a useful and creative feature. Parts operate in the background generally out of sight. However one part is always selected and active at any time. Track assignments, samples selected, parameter configurations etc are set up and stored in the current part. A part covers all tracks and a maximum of 4 parts are stored in each bank, meaning 4 alternative configurations can be stored across the four parts. Think of a part like a preset or patch. Changing parts for example during a live set provides a great way to make variations, changing settings while playing the same pattern, maybe changing samples even. This is where the use of parts really excel. Another way to create variation is in the use of scenes. A scene can be assigned to each of the two scene slot locations, A & B. Each part can hold 16 scenes which can then be selected for assignment to a slot. The trig buttons are used to access the 16 scenes. A scene can store a series of parameter states in slot A and B and the crossfader then will transition between the two states. This offers quick, DJ style creative variations and by loading and changing scenes on the fly, a wider performance experience comes to the fore. There are multiple means to create variation and movement in Octatrack but Parts and Scenes provide an immediate and contained method and one that should be embraced within your workflow. Parts and Scenes 8 The Octatrack Notebook : Reference & Guide 157
158 The Octatrack Notebook : Reference & Guide 8 Parts and Scenes 8.1 Parts Overview Parts are often the source of confusion in Octatrack. There are 4 parts stored per bank. To get a clear understanding of parts its good to firstly understand what their purpose is. Parts provide the opportunity to switch between 4 different parameter configurations (stored in each part) for the same pattern. This offers the ability to change the sound, almost like changing presets. This is a great way to add variation during live and improvised sessions. Intrinsic pattern elements such as trigs and locks are separate and specific patterns themselves not configured under parts. Parts are not always used to their full potential. They work in the background storing the parameter configurations and track assignments and may appear invisible in how they perform this role. In actual fact configurations by default are managed in part 1. So if the proactive use of parts in a workflow is generally ignored, in reality the current part is always in use behind the scenes. Changing to another part will then mean any settings will be applied in the track parameters and configuration changes will be made in the currently active part. So four parts can offer four variations of the pattern. BANK Part 1 Part 4 * Part 2 Part 3 NOTES Part 1 is the default part. Parts can be selected by pressing [PART] then [UP] [DOWN] [LEFT] [RIGHT] then [YES] Parts can be edited by pressing [FUNC] + [PART] to open the pop-up editor. * Edited, unsaved parts. Each pattern is always linked to a part. Machine, Sample & Effect Assignments Parts store configurations Track Parameter Settings i.e. SRC, AMP, LFO, FX Up to 16 Scenes
Parts and Scenes8 NOTES The Octatrack Notebook : Reference & Guide 159 8.2 Viewing the Current Part Parts operate as the host to configurations of track parameters, machines, sample assignment and scenes. The configuration is visible within the specific parameter location, so for example the SRC page will show the machine parameters. However there are a number of areas to view in order to understand the current part in use. ▌CHECKING CURRENT PART. 1. The main page will display the currently active part and its name. 2. Press [PART]. 3. The display will show the parts pop-up menu. The active part will be shown inverted in the 4 part options. The active part can be changed from this menu. The asterisk tag indicates parts are edited but not saved. Navigate parts using [UP] [DOWN] [RIGHT] [LEFT] and [YES] to select. Active part is displayed inverted. The dotted border shows navigation selection. All parts shown along with their defined name. TEST Active part number and the part name Octatrack Track Parameter Main Page Octatrack Part Selection Pop-Up Page
160 The Octatrack Notebook : Reference & Guide 8 Parts and Scenes 8.3 Using Parts Many projects will be developed without consciously managing parts at all. The active part will simply remain in the background while adjustments are made around it. This is ok for many applications. But there are many useful reasons to learn and adopt the use of parts both for creative and practical reasons. Of course there are also multiple ways to achieve the same result with Octatrack so the parts option is one way to perform a task and is always available there should you choose to use it. Note that the Copy [FUNC] + [REC], Clear [FUNC] + [PLAY] and Paste [FUNC] + [STOP] also operate in the part menu. ▌CHANGING PARTS. 1. Press [PART] to open the part pop-up menu. 2. The currently active part will show inverted. Each part may also have an assigned name shown under the part number. 3. Press [UP], [DOWN], [LEFT], or [RIGHT] to navigate to the new part to load. The navigation selection is shown with a dotted box within the part window. 4. The desired part is selected with the dotted bounding box, press [YES]. 5. The new part is loaded and the main display will show the new part number and it’s name. This is linked to the pattern as shown on the main display. ▌RENAMING PARTS. 1. Select the part to rename as this process edits the active track. 2. Press [FUNC] + [PART] to open the part edit pop-up menu. 3. Scroll to the RENAME option using [UP] or [DOWN]. The selected option is shown inverted. 4. Press [YES] to select RENAME. 5. The text edit naming menu will open and present the current part name. Edit to the desired name within the text edit window then press [YES] NOTES
Parts and Scenes8 NOTES The Octatrack Notebook : Reference & Guide 161 ▌SAVING A PART. 1. Select the part to save as this process saves the active track. Edited but unsaved parts are shown in the pop-up parts menu with an asterisk. 2. Press [FUNC] + [PART] to open the part edit pop-up menu. 3. Scroll to the SAVE option using [UP] or [DOWN]. The selected option is shown inverted. 4. Press [YES] to select SAVE. ▌SAVING ALL PARTS. 1. Edited, unsaved parts shown in the pop-up parts menu with an asterisk. 2. Press [FUNC] + [PART] to open the part edit pop-up menu. 3. Scroll to the SAVE ALL option using [UP] or [DOWN]. The selected option is shown inverted. 4. Press [YES] to select SAVE ALL. All four parts will be saved. ▌RELOAD PART. 1. Press [FUNC] + [PART] to open the part edit pop-up menu. 2. Scroll to the RELOAD option using [UP] or [DOWN]. The selected option is shown inverted. 3. Press [YES] to select RELOAD the current part from the previously saved state. If a part has never been saved an advice prompt will state ‘SAVE PART FIRST!’. A saved version must be available to use reload.
162 The Octatrack Notebook : Reference & Guide 8 Parts and Scenes 8.4 Creative Use Case Examples There are many creative options and user cases that can benefit from the application of parts within the workflow or considered in the process. Sample Changes A commonly used application is the change of samples. This is useful when playing live and initiating variations in a track arrangement. For example intro may have a different kick drum in the intro, breakdown and outro while the existing pattern continues to in the song. ▌ALTERNATING PART - SIMPLE EXAMPLE. 1. Create a static track for example a kick track T1. This by default will be created in Part 1. A sample should be loaded in the machine. 2. Select the Part pop-up menu, Press [PART]. 3. Example, Copy Part 1 to Part 2. Press [FUNC] + [REC] to copy the current part i.e. Part 1 within the part menu. 4. Switch to highlight Part 2 using the [UP] [DOWN] [RIGHT] or [LEFT]. 5. Paste the copied part to Part 2. Press [FUNC] + [STOP] to paste the current part i.e. Part 1 into Part 2. 6. Ensure Part 2 is active. Press [YES] when highlighted. 7. Select the SRC page and double tap the track button e.g. [T1]. This opens the sample list. Select and load the alternative kick sample. 8. Now the part can be changed on the fly between Part 1 and Part 2 at various places in the song arrangement. This will seamlessly switch the sample. More variations can be made with applying to other tracks too. NOTES T1 KickSampleMain Part 1 Machine AMP FX1 FX2 LFO LFO LFO DES T1 KickSampleAlt Part 2 Machine AMP FX1 FX2 LFO LFO Pattern A01 LFO DES Song Track Intro Verse Break Verse Outro
Parts and Scenes8 NOTES The Octatrack Notebook : Reference & Guide 163 Parameter Changes A more advanced and expansive variant on the sample change option is to make parameter changes. This can be as well as sample changes or just focus on parameters. For example the pitch could be changed across melody tracks and then parts can switch between the normal setting and for example and octave higher while percussion remains the same. Things can get crazy when making effect changes or filter adjustments between parts and with multiple parameter settings. Be adventurous. Improvisations A great trick, especially during live improvisations and jam session is to use the part as a fall back to the original settings. This allows wild and crazy parameter tweaking on the fly without worrying about losing the original sound and restoring these easily. ▌RESTORING BACK FROM LIVE IMPROVISATIONS. 1. Create the base core of your song sound to a state your happy with. 2. Save the Part using [FUNC] + [PART] > SAVE. 3. Play the song out live. Improvise with parameter changes, get wild with tweaking and experimentation. Perform multiple iterations and see what creative ideas come up. 4. Then what? This is the point where you need to revert to the original, either as part of the performance or for practical reasons. Reverting to the previously saved part solves this. 5. To reload to the last saved part, Press [FUNC] + [PART] and scroll to RELOAD then press [YES]. 6. The original part will immediately restore the core settings. T1 Pitch 0 Part 1 Machine AMP FX1 FX2 LFO LFO LFO DES T1 Pitch +12 Part 2 Machine AMP FX1 FX2 LFO LFO Pattern A01 LFO DES On the Fly +1 Octave Normal Pitch
164 The Octatrack Notebook : Reference & Guide 8 Parts and Scenes Experimentation & Testing Not all uses of Parts have to be creative. They can also help in building and trialing ideas and testing certain configurations. One example is to have two identical parts but with one operating a track with a static sample and another with a flex sample on the same sample. This makes it possible to evaluate if a static machine has the performance criteria needed when modulating the sample. Often a flex machine is better, but then this uses the limited available memory resources. Expanded Scene Storage Another non-creative example of using parts is in the availability of scenes. Each part can store 16 scenes. While this is a good amount, there may be times when more are needed. It is possible to store 16 scenes in each part giving the option to store another 16 in a second part which can be easily recalled if needed. NOTES
Parts and Scenes8 NOTES The Octatrack Notebook : Reference & Guide 165 8.5 Scenes Overview Octatrack has a DJ style cross fader which is dedicated to the control of scenes. A Scene consists of a set of locked parameter states. Assigning scenes to each of the two slots, A and B, then allows the transition between the two states. This offers creative variation and movement. While changing a control individually can also apply creative movement, the power of scenes is the control of multiple track parameter transitions in a single control. This allows alignment of the transitions and not just a change from one state to another but also the iterations in-between. 16 Scenes can be stored in a Part (of which there are 4) and are accessible using the Trig buttons. In turn Parts are stored within a bank. Parameter 1 Default Setting A and B buttons represent the scene slot assignments. Hold [A] or [B] + Adjust Parameter to lock a setting Fully left will apply the parameters in slot A at their fully defined value. Fully right will apply the parameters in slot B at their fully defined value. Parameter 2 Scene Setting Parameter 3 Scene Setting Default Parameters Parameter 1 Scene Setting Parameter 2 Scene Setting Parameter 3 Scene Setting Default Parameters A B Each of the 16 Scenes (per part) is accessed by the 16 Trigs Hold [A] or [B] + Trig [1] to [16] to select a scene to the slot Although any slot can use any of the 16 scenes, it is the normal Octatrack convention to use 1-8 for A and 9-16 for B. The parameter value will be extrapolated between the A and B settings and the location of the crossfader will determine the current value.
166 The Octatrack Notebook : Reference & Guide 8 Parts and Scenes 8.6 Viewing the Current Scene State NOTES Its clear where the physical location of the crossfader is on the Octatrack faceplate but the status can also be viewed on the display. ▌CHECKING SCENE SETTINGS. 1. Press and hold [A] or [B]. 2. The screen on display will show the parameter setting value assigned as an inverted image. In addition the following button states indicate pages with scene settings applied:- • Track buttons with a scene lock applied will show as a dimmed green and / or flashing button. • On the selected track, unselected track parameter pages for the track will show dimmed green and / or flashing if a scene parameter lock exists in the page. • The currently selected page will display parameters locked in scenes as inverted. The scene numbers applied to ‘A’ and ‘B’ are also shown bottom left on the display. • The Trig keys will illuminate to identify which scenes are applied in the slot. A red lit button will refer to the currently pressed scene slot and green trig button will refer to the other scene slot. Scene selected for slot ‘A’ Scene selected for slot ‘B’ Any parameter that has a stored setting in the respective scene will show inverted when holding the scene button [A] or [B] Symbol dynamically represents position of crossfader’ Octatrack Track Parameter Main Page
Parts and Scenes8 NOTES The Octatrack Notebook : Reference & Guide 167 8.7 Using Scenes Scenes are a key part of Octatrack’s armoury in bringing more creative variations and options into the process. Scene parameter locks take precedence over track parameter locks when the crossfader is moved. This is to ensure smooth scene operation and not be interrupted by other parameter locks when applying scene transitions. Also bear in mind that the speed of crossfader manipulation will affect the performance. ▌ASSIGNING A SCENE. 1. Press and hold [A] or [B]. 2. The Trig keys will illuminate to identify which scenes are applied in the slot. A red lit button will refer to the currently pressed scene slot and green trig button will refer to the other scene slot. 3. While holding the A or B button select the Trig representing one of the 16 scenes stored. This could also select an empty scene to allow parameters to be setup. ▌SETTING PARAMETER LOCK INTO A SCENE. 1. Assign a scene to edit to scene ‘A’ and / or ‘B’. 2. Press and hold [A] or [B]. For example to assign parameter locks to the first scene ‘A’, hold button [A] 3. While holding the scene button i.e. [A] adjust the parameter to lock. This may mean pages should be changed to reach the parameter desired. Example: Press [A] + Turn data entry (D). 4. The parameter lock for the scene will be stored as the value for the parameter when the {CROSSFADER} is fully positioned to the selected slot i.e. ‘A’. 5. Continue adding more parameter locks while the scene button his held to build multiple parameter locks into the scene. 6. Repeat if desired for scene ‘B’. 7. The parameters will automatically be stored in the scene.
168 The Octatrack Notebook : Reference & Guide 8 Parts and Scenes NOTES ▌REMOVING A SCENE PARAMETER LOCK ASSIGNMENT. 1. Select the page for the parameter to ‘unlock’. 2. Press and hold [A] or [B] for the scene to remove the parameter lock. 3. The screen on display will show the parameter setting value assigned as an inverted image. While holding the Scene button press the data entry for the parameter lock to remove, example: Press [A] + Press data entry (D) or for levels (LEVEL). ▌OPERATING ACROSS SCENES. 1. To apply the scene ‘A’ fully, slide the {CROSSFADER} fully left. 2. To apply the scene ‘B’ fully, slide the {CROSSFADER} fully right. 3. Slide the {CROSSFADER} in-between the end states to apply parameters at values that are extrapolated between the two states. ▌MUTING SCENES. 1. Press [FUNC] + [A] to mute the ‘A’ scene. The button will be unlit. This disregards the scene lock settings and applies the general part value. 2. Press [FUNC] + [B] to mute the ‘B’ scene. The button will be unlit. This disregards the scene lock settings and applies the general part value. 3. Press [FUNC] + [A] and / or [B] to unmute. The button will revert to red and the scene parameter locks will be reapplied at the value dependent on the position of the {CROSSFADER}.
Parts and Scenes8 NOTES The Octatrack Notebook : Reference & Guide 169 8.8 Copying & Pasting Scenes Scenes can be cleared, copied and pasted. ▌COPYING A SCENE. 1. Assign a scene to copy to a scene slot ‘A’ or ‘B’. Copy and paste operates with the active scene. 2. Press and hold [A] or [B] + [REC] for the scene to copy. 3. A message confirming ‘COPY SCENE’ will be shown. ▌PASTING A SCENE. 1. A scene should already be copied and held in the copy memory. 2. Press and hold [A] or [B] + [STOP] for the scene to paste. 3. A message confirming ‘PASTE SCENE’ will be shown. The scene will be copied into the scene location i.e. Trig [1] to [16] as the currently active scene selected, replacing the original. ▌CLEARING A SCENE PARAMETER LOCKS. 1. Ensure the scene to clear is loaded into a scene slot ‘A’ or ‘B’. 2. Press and hold [A] or [B] + [PLAY] for the scene to paste. 3. A message confirming ‘CLEAR SCENE’ will be shown. All parameter lock data is cleared from the selected scene. 4. If required, press [A] or [B} + [PLAY] again to undo clear. A message saying ‘UNDO SCENE’ will be displayed.
170 The Octatrack Notebook : Reference & Guide 8 Parts and Scenes 8.9 Scenes and Levels NOTES Scenes parameter locks are applied within the existing standard parameter pages. Some parameters have an alternative version that are unique to scene parameter locking. These parameters are mainly orientated around volume levels and are used to avoid volume dips between scene levels and the general settings by transitioning between track and scene levels. The exclusive scene levels appear when [A] or [B] is held. Generally speaking, setting the level scene parameter locks follows the same process as described previously. Although the scene application on level parameters is different, the actions to set up by using the (LEVEL) or data entry controls is the same. Scene Parameter Normal Parameter Page Available Settings Description XLV LEV Various Min Mute audio, post track effects. Max Passes through audio at the LEV level XVOL AMP Min Mute audio, pre track effects. Max Passes through audio at the VOL level XDIR AB DIR AB MIXER Min Mute audio. Max Passes through audio at the DIR level XDIR CD DIR CD MIXER Min Mute audio. Max Passes through audio at the DIR level
Parts and Scenes8 NOTES The Octatrack Notebook : Reference & Guide 171 8.10 Creative Use Cases Examples The options and applications of scenes is numerous with the parameter combinations almost endless. As with everything Octatrack, trial and error, experimentation and exploration is encouraged. Track Volume Mutes In this example imagine multiple tracks with some elements that add body and fill to the mix. This could be an additional pad synth and hi hats for example. They may only be required in certain parts of the main mix and therefore the crossfader can adjust the levels of these two tracks to bring the instruments in and out of the mix. Filter Sweeps In this example breakdowns and buildups in true DJ style can be applied using the scene function to sweep filter cutoff across a number of tracks. A simple application would be to cutoff the drum kicks and percussion. This can also be in addition to the level scenes as described earlier and include other effect or level sweeps too to get even more creative. Assume the filter effect is on FX1. Scene [A] Full Mix, All Tracks. This scene can be copied / pasted to Scene B which can then be edited. Scene [A] Full Mix, All Tracks. This scene can be copied / pasted to Scene B which can then be edited. Scene [B] Original is same as Scene A. Hold [B] and adjust Levels. In both the Hi Hat and Pad Tracks set parameter XLV to MIN. Scene [B] Original is same as Scene A. Select drum tracks, filter FX page. Hold [B] and adjust the (A) Base, (B) Width and (C) Q to get the filter setting required. The audio of the hi hat and backing pad will be dropped out when the {CROSSFADER} is fully left at scene ‘B’ and in the mix fully at scene ‘A’ fully left. The audio of the tracks assigned will be cut gradually across the {CROSSFADER} based on the filter settings applied to scene ‘B’
Glitch Sample Modulation Parameter sweeps are one way to use scenes, but they aren't limited just to parameter value changes. Octatrack is all about sampling and scenes are a great way to manipulate samples on the fly. Flex tracks are best for applying fast sample modulations. 172 The Octatrack Notebook : Reference & Guide 8 Parts and Scenes NOTES STRT RATE Scene [A] Full Mix, All Tracks. The sample playback parameters as default. Scene [B] In the Flex main SRC page, Hold [B] and adjust sample start STRT (B). Also experiment with RATE (D), PTCH (A) or all of these together. Manipulating samples using the {CROSSFADER} can produce crazy effects and even more so when coupled scene parameter locks also applied.
Parts and Scenes8 NOTES The Octatrack Notebook : Reference & Guide 173 Dynamic Scene Progressions Working between A and B doesn't mean there are only two options available. A good workflow assisted by the creation of predefined scene states. Dynamic switching scenes can then be performed almost like a DJ cueing up tracks in a set but in this case scenes. By operating from a ‘base’ scene then switching through various scenes give multiple creative variations, all within a single or across multiple patterns. Example: Steps in the Workflow Process Scene [A] - Stored in Trig 1 This is the base mix with defaults set and the original position. Scene [B] - Stored in Trig 9 This is the first variation. For example filter breakdown. Invoked scene change. Invoked scene change. Invoked scene change. While playing in Scene ‘B’ a change can be made to select a new scene into slot ‘A’. While playing in Scene ‘A’ a change can be made to select a new scene into slot ‘B’. Process may continue with multiple scenes. Tip: When working live it is useful to create a library of scenes and use marker / masking tape labels to make recall and identification easy. MUTES FILTER DELAY GLITCH 1 2 3 5 7 4 6 8
Sample Recording Aid Creative options from scenes are almost endless. Practical examples also of using scenes more as a tool than in a creative workflow. An example is the use of scenes during the sampling process to switch between monitoring input audio and playing the captured sample. Samples can be recorded then sweeping the crossfader will switch to the sampled rather than the input audio. This of course can also be part of the creative process if performing using on the fly sampling T7 Audio Machine Mixer DIR or XDIR for Scenes AMP FX1 FX2 LFO LFO LFO DES 174 The Octatrack Notebook : Reference & Guide 8 Parts and Scenes NOTES Choose a track for sampling, i.e. Track [T7]. Volume defaults should be set in the MIXER, DIR to 127. So that direct monitoring is audible. In the AMP page the volume should be -64. The default state would therefore be only the direct monitoring will be audible. When sweeping the {CROSSFADER} is moved fully left the default positions are in play meaning the sampling input is heard through direct monitoring. When sampling is completed, the {CROSSFADER} is swept right to scene B. The track audio will be heard and incoming audio muted. Track AMP VOL = -64 Default Settings MIXER, DIR = 127 Track AMP VOL = 0 Scene ‘B’ Settings MIXER, DIR = MIN A B
Parts and Scenes8 NOTES The Octatrack Notebook : Reference & Guide 175
176 The Octatrack Notebook : Reference & Guide NOTES
Patterns are at the heart of Octatrack and are created and arranged within its powerful sequencer. The sequencer organises and controls patterns to form rhythms and develop evolving melodies and arrangements. Patterns trigger sounds across the 8 tracks and can be assembled into full song arrangements. Patterns contain the trigs that make up a pattern, trig locks, pattern length and time signature data. Pattern sequencing is a notable function that seems to be central to most Elektron devices. There are 16 patterns stored in a bank, each of which is selected with the [PTN] + Trig [1] - [16] buttons or at the point of selecting the bank. While it is important to get to know the components within a pattern it is arguably better to understand the overall sequencing concept and its practical nature before delving deeper. This section therefore provides the basics in building patterns and offers a quick start to using Octatrack sequencing before diving deeper into the workflow and before discussing the finer details of the sub elements and functions. It is important to know that patterns and the sequencer are inextricably linked. A sequence is in fact the formation of steps into a pattern and Octatrack’s sequencer is the tool for managing this functionality. Add to this the power of the Octatrack’s Trig options including trigless trigs, trig locks, parameter locks, micro tuning and the power is there for all to see. Getting to know the elements that quickly get things up and running with patterns is the main objective of this section leaving the advanced features till later. While this section is focussed on audio patterns, the same basic principles and processes apply to MIDI tracks too. Pattern Basics 9 The Octatrack Notebook : Reference & Guide 177
178 The Octatrack Notebook : Reference & Guide 9 Pattern Basics 9.1 What is a Pattern? Patterns control all 8 tracks, both audio and MIDI all of which are controlled and managed in the sequencer. There are 16 patterns per bank and patterns are automatically saved. Patterns can be copied and pasted in the pattern slots making it easy to edit and develop variations. A pattern contains for each of the tracks:- NOTES Sample Trigs MIDI Note Trigs Track Recorder Trigs for Audio Tracks Link information for pattern to part One Shot Trigs for Audio Tracks Slide Trigs for Audio Tracks Trigless Trigs for MIDI & Audio Tracks Length & time signature information Swing Trigs for MIDI & Audio Tracks Parameter Lock Conditional Lock Sample Lock PATTERN
Pattern Basics9 NOTES The Octatrack Notebook : Reference & Guide 179 General Pattern Structure & Display Indicators Page 1 Default 1 Bar, 1/16th Notes The sequencer is the tool for managing and creating patterns and consists of 4 Pages of 16 steps which can be configured with number of steps for the pattern. ‘Trigs’ are building blocks of a pattern, each is used to initiate the start of an event, for example to trigger a sample or a note to be played or to action a parameter change. Trigs are represented in Octatrack by the 16 dedicated ‘Trig’ buttons [1] - [16]. Trigs are assigned to steps in the sequencer to map out part of a song, arrangement or musical passage. Patterns will trigger the audio samples and/or MIDI Notes in the relevant tracks Currently Active Pattern Currently Active Part Sequencer Transport Status Sequence position shown on the beat e.g. 1,5,9,13 Page 2 Page 3 Page 4 ☞☞ ☞☞
180 The Octatrack Notebook : Reference & Guide 9 Pattern Basics 9.2 Workflow Overview - Audio Sequence The sequence workflow requires the creation and assembly of sounds into a series of steps to form a melody or drum sequence. Samples can be loaded from the audio pool or recorded in to achieve this. NOTES S E 1 2 3 4 5 6 7 8 9 12 Select Track [T1] - [T8] OPTION BASIC Ensure a Flex or Static Machine is assigned Assign Sound to a Track Double Tap Set Pattern Length: [FUNC] + [SCALE] Set the Tempo: [TEMPO] Playback to Listen: [PLAY] Continue to next track sequence Set Parameter Locks Add Effects: [FX1] [FX2] Save Project: [FUNC] + [PROJ] A pattern contains Trigs but also the parameter settings found in SRC, AMP, LFO, FX1, FX2 Select GRID RECORDING Mode: [REC] Select Bank: [BANK] + [A]...[P] i.e. [1] - [16] Record Sample: Track Recorder or Pickup Machine Select LIVE RECORDING Mode: [REC] + [PLAY] Create Pattern by Selecting Trig Steps: [1] - [16] Select Pattern: [PTN] + [1] - [16] Playing Tracks Live Trigs: [9]...[16] represent tracks (Trig Mode = Tracks)
Pattern Basics9 9.3 Getting Started with Using Patterns This section assumes that tracks are already setup as required, machines and samples assigned. As a tip, having a template ready with the audio setup in place would allow this point to be the starting point of a project. ▌SELECTING A SAVED PATTERN FROM A BANK 1. Select a Bank, Press [BANK], then Trig [1] - [16] to select a bank A to P. Octatrack will prompt to select a pattern. 2. Select the desired Pattern within the chosen bank, Press Trig [1] - [16]. 3. To select a new or to change the pattern within the currently selected bank, Press [PTN], then Trig [1] - [16] 4. A 4 Second countdown timer and prompt to allow the bank or pattern to be selected is shown on the display after pressing [PTN] or [BANK]. 5. A blank pattern can be selected when starting out from scratch NOTES The Octatrack Notebook : Reference & Guide 181 GREEN Indicates a pattern exists in this trig location. UNLIT Indicates no pattern exists in this trig location. Select [PTN] to select a pattern. Alternatively a prompt to select a pattern is presented automatically when selecting a bank [BANK]. RED Indicates the currently selected pattern. 2 4
182 The Octatrack Notebook : Reference & Guide ▌PLAYING A PATTERN NOTES 1. Press [PLAY] - Key is lit green. ▌STOPPING A PATTERN 1. Press [STOP] to stop playback and allow for effect fades. Stop will be lit white when stopped or paused. 2. Press [STOP] & [STOP] to stop playback and kill effects and all notes off for MIDI. ▌PAUSING A PATTERN 1. Press [PLAY] to pause during playback. Play (green) and Stop (white) both are lit. 2. Press [PLAY] again to continue. ▌CHANGING A PATTERN DURING PLAYBACK 1. Select a new pattern within the currently selected bank; Press [PTN], then [1] … [16] (or select from another [BANK] and Pattern [1]...[16] while the sequence if playing. 2. The pattern will be queued until the existing sequence is completed. The cued pattern is indicated in the ‘current pattern’ area of the display. 9 Pattern Basics A03 A01 A03 A01 Currently active pattern eg A03 New active pattern A01 Currently active pattern A03 with A01 cued and ready to change at the end of the current pattern duration.
The Octatrack Notebook : Reference & Guide 183 Pattern Basics9 9.4 Creating Basic Patterns Octatrack has many powerful features that combine to create a pattern. The basic set up will require the arrangement of steps within grid or live recording mode and setting trigs to activate samples and associated parameters. This section concentrates on the initial process of building arrangements with Sample Trigs Two recording modes for creating and programming patterns are available in Octatrack. Grid Recording mode allows steps to be manually selected at locations throughout the static sequence. Live recording mode enables tracks to be played live individually or chromatically and the real time position is recorded. GRID RECORDING • Select by pressing [REC] button. • REC button illuminates red when in grid recording mode. • Manually select trig buttons [1] - [16] to toggle on or off a Trig at the desired step location. • Ideal for fixed step patterns such as drums, kick and snare. Great for predefined / inorganic pattern styles. LIVE RECORDING • Select by pressing [REC] + [PLAY]. • REC button flashes red and PLAY button is lit green. • Play the trig buttons [9] - [16] representing tracks 1 - 8 to real time record. • Ideal for natural rhythms such as hats and shakers. Great for improvisation and organic sounds. LIVE RECORDING • Select by pressing [REC] + [PLAY]. • REC button flashes red and PLAY button is lit green. • Play the trig buttons [9] - [16] representing tracks 1 - 8 to real time record. Trig Mode set to ‘Tracks’. • Ideal for natural rhythms such as hats and shakers. Great for improvisation and organic sounds. RECORDING MODES An event can trigger either an audio sample (Audio track) or MIDI notes (MIDI Track) or other things based on the trig type set. TRIG Parameters Machine, Sample, Pitch, Start, Length, Rate, etc Sample trigs are indicated RED on the Trig keys. Unlit keys contain no trigs. Trig keys are used for multiple modes. In this illustration they set and trigger samples within patterns. They are also used to select audio and midi tracks and are used for bank and pattern selection An event set at a defined step in the sequencer that triggers the playing of the sample assigned to the track machine. SAMPLE TRIG 1 16 Trk 1 8 Sample Play 8
184 The Octatrack Notebook : Reference & Guide 9.5 Grid Recording Basics. The basic and simplest method of recording trigs into the steps of a pattern is in grid recording mode. The examples used here demonstrate sample trigs programmed into a pattern although the same process applies to MIDI. ▌PROGRAMMING A PATTERN IN GRID RECORDING MODE 1. Press [Tx] to select a track to record the pattern into. Example, Press [T1] for track 1. 2. Select GRID RECORDING mode by pressing [REC]. The REC Key will turn red to indicate grid recording mode is active. 3. Press Trig [1] - [16] to select the desired Trigs for the steps required on the current track. Example: Kick sample on the beat, steps 1,5,9,13. Active sample trig steps will be lit red. Default (depending on length / scale) is 1 bar / 1/16th notes in the sequence. 4. To add a parameter lock, Hold [1] - [16] of an existing trig + Turn data entry (A) - (F) of the parameter to lock to the trig. Parameter locked trigs will flash red. 5. Press [PAGE] to change to another available page if required. Access to steps 17 - 32 in Page 2, 33 - 48 in Page 3 and 49 - 64 in Page 4 is possible if the pattern length allows. Press [FUNC] + [PAGE] to open the menu to extend length and therefore add pages. 6. Select an alternative track and repeat steps 1 - 5 for additional track patterns. 7. Press [PLAY] to play the pattern. Trigs can be added / deleted in GRID RECORDING mode while playing. NOTES 9 Pattern Basics
NOTES The Octatrack Notebook : Reference & Guide 185 Pattern Basics9 ▌NUDGING TRIGS LEFT / RIGHT IN THE PATTERN 1. Press [Tx] to select a track to edit. Example, Press [T1] for Track 1. 2. Select GRID RECORDING mode by pressing [REC]. The REC Key will turn red to indicate grid recording mode is active. 3. Press [FUNC] + [RIGHT] to shift all trigs 1 step later. Each button combo press nudges all trigs by 1 step right / later. 4. Press [FUNC] + [LEFT] to shift all trigs 1 step earlier. Each button combo press nudges all trigs by 1 step left / earlier. 5. Trigs located at the edge of the pattern will ‘wrap’ from the end to the start or start to the end depending on the direction being shifted. ▌REMOVING TRIGS IN A PATTERN IN GRID RECORDING MODE 1. Select GRID RECORDING mode [REC]. The REC button is lit red. 2. Press Trig [1] - [16] on a lit / active step to remove. The red button status indicating a sample trig will be unlit. 3. To remove individual parameter locks, Press Trig [1] - [16] + Press data entry (A) - (F) rotary for the parameter to remove. ▌PREVIEWING TRIGS IN A PATTERN IN GRID RECORDING MODE 1. Select GRID RECORDING mode [REC]. The REC button is lit red. 2. Press Trig [1] - [16] + [YES] to audition to the MAIN output, the audio for the sample trig. 3. Press Trig [1] - [16] + [CUE] to audition to the CUE output, the audio for the sample trig. ▌PLAYING IN GRID RECORDING MODE 1. Press [PLAY]. Play will commence, button lit. 2. Press [STOP] to Stop or [PLAY] again to pause.
186 The Octatrack Notebook : Reference & Guide NOTES 9 Pattern Basics 9.6 Live Recording Basics. Live recording enables the capturing of more dynamic and natural patterns and melodies, operating in real time to trigger tracks while the sequence is running and recording. ▌RECORDING A PATTERN IN LIVE RECORDING MODE 1. Select LIVE RECORDING mode by holding [REC] + [PLAY]. 2. The sequence will start and the REC Key will flash red and the PLAY key will be lit green to indicate live recording mode is active. 3. Play live Trig [9] - [16] for the desired track to trigger and record it. Sample trig tracks in LIVE RECORDING mode are represented as Track 1 = Trig [9], Track 2 = Trig [10] and so on to Track 8 = Trig [16]. Ensure Trig Mode is set to Tracks. 4. While LIVE RECORDING, changing a parameter by turning the selected data entry (A) - (F) rotary control will record the parameter lock into the track for sample trigs or recorded as lock trigs if no sample trigs are present. 5. The recording will automatically, by default, quantize trigs to full steps and not micro timed. 6. Press [STOP] to stop recording and playback. Pressing [PLAY] will stop recording but continue to play. ▌CHANGING LIVE RECORDING QUANTIZATION 1. Press [PROJ] to open the project menu. Scroll using [UP] [DOWN] to highlight the SYSTEM menu. 2. Press [RIGHT] or [YES] to select and enter the sub menu. Scroll using [UP] [DOWN] to highlight the PERSONALIZE menu. Press [YES] 3. Scroll in the PERSONALIZE menu to highlight the option, ‘QUANTIZE LIVE REC’. 4. Press [YES] to toggle this option to OFF / Unchecked to record unquantized and set to ON / Checked to quantize. 5. Following the normal live recording process which will now record trigs into the sequencers 16 steps and recording based on the micro timing resolution of 1/384th steps.
NOTES The Octatrack Notebook : Reference & Guide 187 ▌SWITCHING FROM LIVE TO GRID RECORDING / PLAY ON THE FLY 1. While in LIVE RECORDING mode, Press [REC] 2. The mode switches from LIVE RECORDING, rec button flashing red to GRID RECORDING mode, rec lit solid red. Play continues. 3. To switch directly from LIVE RECORDING to play, press [PLAY] while in LIVE RECORDING mode. Play will be green, rec button is unlit. ▌DELETING TRIGS & PARAMETER LOCKS IN LIVE RECORDING MODE 1. Select LIVE RECORDING mode by holding [REC] + [PLAY]. 2. The sequence will start and the REC Key will flash red and the PLAY key will be lit green to indicate live recording mode is active. 3. To delete: • All Trigs. Press and hold [NO] + [Tx] of the track to erase. Multiple tracks can be erased at the same time. Example, Press and hold [NO] + [T1] + [T2]. • Sample Locks. Press and hold [NO] + Press (LEVEL) • All Parameter Locks, press and hold [FUNC] + [NO]. • Individual Parameter Locks. Press and hold [NO] + Press data entry (A) - (F) for the parameter to delete. 4. Erasure will take place as the sequencer record cursor ‘wipes’ over the trigs during the LIVE RECORDING. Pattern Basics9
188 The Octatrack Notebook : Reference & Guide 9.7 Recording Mode Summary. NOTES As a summary and reference for sample trigs, the following recording mode functions are available in Octatrack. 9 Pattern Basics Function Grid Live Comments / Notes Select Recording Mode [REC] [REC] + [PLAY] REC button state Red Flash Red Play while recording Yes Yes Playback by default in live mode. Trig Placement [1] - [16] Per Trig [9] - [16] Play Real Time Live recording will play / record tracks in real time. Parameter Lock Placement [1] - [16] + data entry (A) - (F) data entry (A) - (F) Record Real Time Turn data entry when live recording or when holding trig during grid recording. Trig Removal [1] - [16] Per Trig [NO] + [Tx] Erase Real Time Where ‘x’ is track [T1] - [T8]. Parameter Lock Removal [1] - [16] + Press data entry (A) - (F) [FUNC] + [NO] Erase Real Time Trig Preview [1] - [16] + [YES] [1] - [16] + [CUE] N/A Audible preview of trig to main or cue. Shift Notes [FUNC] + [LEFT] [RIGHT] N/A Nudge trigs one step Track Select [Tx] [Tx] Where ‘x’ is track [T1] - [T8].
The Octatrack Notebook : Reference & Guide 189 Pattern Basics9 Orange Lit page contains a pattern NORMAL All tracks share same length and time signature. PAT Pattern Settings PAT options selected for editing. PER TRACK Tracks can be assigned individual step lengths and scales. Select Normal OR Per Track. [PAGE] Cycles through and selects the active page of the available (up to 4) pages. [FUNC] + [PAGE] Selects the Scale settings and with the menu open [PAGE] to change length. [FUNC] + [PTN] Selects the Pattern setting options. Bright Orange Flash pattern page being played Dark / Unlit no pattern on this page Dark / Unlit no pattern on this page 9.8 Length and Scale Octatrack has a Maximum of 64 steps mapped over 4 Pages, each containing 16 steps. The steps are essentially set by Trigs using the 16 Trig keys, one for each step and a pattern per audio and/or MIDI track. Default behaviour means that extending pattern lengths also copies over the existing pattern to the new page. This can be changed in personalisation project settings. 1 16 32 48 64 Page 1 Trk 1 Trk 5 Trk 3 Trk 7 Trk 2 Trk 6 Trk 4 Trk 8 Page 2 Page 3 Page 4 1:4 2:4 3:4 4:4 + +
190 The Octatrack Notebook : Reference & Guide NOTES Length and scale by default are controlled globally (Normal), meaning changes in length or scale affect all tracks. Scale mode in the PATTERN SETTINGS Menu - [FUNC] + [PTN], allows this to be changed to control each track individually (Per Track). ▌SETTING SCALE MODE 1. Press [FUNC] + [PTN] to open the PATTERN SETTINGS menu. 2. Scroll using [UP] [DOWN] to highlight the PAT in the left menu. 3. Press [RIGHT] or [YES] to select the pattern - PAT options. 4. Scroll using [UP] [DOWN] to highlight the NORMAL or PER TRACK option as desired. Normal is default and sets length and scale across all tracks. Per track will allow individual track settings for length and scale. 5. Press [YES] on the chosen option to select. The option when active will show checked. 6. Press [NO] to leave the menu. ▌SELECTING LENGTH & SCALE OPTIONS 1. Press [FUNC] + [PAGE] to open the SCALE menu. 2. The display and available options will represent either the NORMAL or PER TRACK settings. 3. To navigate and change options in the SCALE menu:- • To navigate the parameter selection, Press [LEFT], [RIGHT]. Solid underscore indicates the selected parameter. • To change the actual / total step parameters, Press [UP] [DOWN] or [FUNC] + [UP] [DOWN] to snap changes or press trigs to adjust the length of the pattern. Press [PAGE] for changes in multiples of 16 steps. • To change the scale multiplier, Press [UP] [DOWN] or (LEVEL) when scale is selected. 4. Extending to multiple pattern pages will automatically copy the pattern across to the new page by default but is changeable in personalisation. 9 Pattern Basics
NOTES The Octatrack Notebook : Reference & Guide 191 Normal Scale Mode Default Mode Per Track Scale Mode Set in the Pattern Settings [FUNC] + [PTN] Pattern Basics9 + + [FUNC] + [PAGE] Selects the Scale settings. [FUNC] + [PAGE] Selects the Scale settings. Actual number of steps in the pattern length Actual number of steps in the pattern length for the selected track Total number of steps available ie 16, 32, 48, 64 in the pattern length. A block of 16 represents a full page. Total number of steps available ie 16, 32, 48, 64 in the track pattern length Scale for the pattern as a multiplier of the tempo. 1/8X, 1/4X, 1/2X, 3/4X, 1X, 3/2X, 2X Scale for the active track as a multiplier of tempo. 1/8X, 1/4X, 1/2X, 3/4X, 1X, 3/2X, 2X Symbols indicate Trig, Level and Arrow buttons provide navigation options. Master scale. General scale, independent of track. Used with MIDI clock out / Ext MIDI in. Master length. Steps to play before all tracks restart. INF sets continuous looping. Symbols indicate Trig, Level and Arrow buttons provide navigation options.
192 The Octatrack Notebook : Reference & Guide NOTES ▌QUICK CHANGE OF GLOBAL OR PER TRACK PATTERN LENGTH 1. Press [FUNC] + [PAGE] to select the Scale Page. Scale mode is set in pattern settings. 2. Press [PAGE] to cycle in full page (16 step) increments. The existing page pattern is copied to new page. ▌QUICK CHANGE OF GLOBAL OR PER TRACK STEPS 1. Press [FUNC] + [PAGE] to select the Scale Page. Scale mode is set in pattern settings. 2. Press Trig [1] … [16] to select up to the 16 steps of the current page. ▌SETTING GLOBAL OR PER TRACK TIME SIGNATURE 1. Press [FUNC] + [PAGE] to select the Scale Page. Scale mode is set in pattern settings. 2. Navigate to the scale multiplier using [LEFT] or [RIGHT] 3. Adjust the setting using [UP] or [DOWN] or turn (LEVEL). Available options are:- 1/8x 1/4x 1/2x 3/4x 1x 3/2x 2x. All provide a multiplier of the active Tempo. ▌CONTROLLING THE PATTERN MASTER LENGTH 1. Press [FUNC] + [PAGE] to select the Scale Page which will need to be Per Track for this option to be available. Scale mode is set in pattern settings. 2. Navigate to the parameter to change using [LEFT] or [RIGHT] 3. Press [UP] or [DOWN] or Turn (LEVEL) to adjust the master length setting. This defines how long the pattern plays before restart and will also affect how pattern chain changes occur. 9 Pattern Basics
NOTES The Octatrack Notebook : Reference & Guide 193 Pattern Basics9 ▌CONTROLLING THE PATTERN MASTER SCALE 1. Press [FUNC] + [PAGE] to select the Scale Page which will need to be Per Track for this option to be available. Scale mode is set in pattern settings. 2. Navigate to the global multiplier using [LEFT] or [RIGHT]. The global multiplier is independent of the track settings and sets the overall time signature. 3. Press [UP] or [DOWN] or Turn (LEVEL) to adjust the master scale setting. Summary of scale and length parameter applications. Parameter Scale Mode Options Description Step Length Length XX 2 Digits XX / YY Normal 1 - 64 Sets the number of individual steps within the overall pattern. This means standard or unusual pattern lengths can be applied. 16 would normally be 1 bar. Steps Total Length YY 2 Digits XX / YY Normal 16, 32, 48, 64 Sets the total steps available to the pattern. Each block of 16 is represented in each page. Used for the overall length of all track patterns. Scale (Tempo Multiplier) Normal 1/8x, 1/4x, 1/2x, 3/4x, 1x, 3/2x, 2x Sets the sequencer speed with respect to tempo BPM. Can help align to other instruments not only direct sync but multiples for example to play triplets. Examples, 1/8X will play the pattern 1/8th speed of the current tempo setting, 2X will play double the speed of the tempo BPM i.e. resolution from 16 to 32 notes. Step Length Length XX 2 Digits XX / YY Per Track 1-64 Sets the number of individual steps within the overall pattern. Great for creating polyrhythms where tracks run in different cycles. Steps Total Length YY 2 Digits XX / YY Per Track 16, 32, 48, 64 Sets the total steps available to the specific track pattern. Each block of 16 is represented in each page. Used for the overall length of all track patterns. Scale (Tempo Multiplier) Per Track 1/8x, 1/4x, 1/2x, 3/4x, 1x, 3/2x, 2x Sets the sequencer speed with respect to tempo BPM. Great for playing triplets and having alternative pattern cycles. Master Length Per Track 1-64 Provides an overall length reference for track pattern restarts. INF will mean continuous cycling and not reset. This is also used with the Chain After setting for chaining patterns Master Scale Per Track 1/8x, 1/4x, 1/2x, 3/4x, 1x, 3/2x, 2x Independent of track tempo and provides a global master scale. This is particularly important to MIDI clock output and for MIDI external sequencer control of position.
9.9 Sequencer Tempo & Metronome Tempo sets the overall Beats Per Minute (BPM) of the project. Two modes exist. Project mode (default) which sets the overall, all tracks, tempo setting shared to all patterns. Pattern mode allows individual tempo settings per pattern. The tempo can be set between the range 30-300 BPM. Various elements such as LFO’s, slide speed, echo delay effect etc also sync to the sequencer tempo. ▌SETTING THE TEMPO 1. Press [TEMPO] to select the tempo page. 2. Use [FUNC] + [YES] if needed to toggle between pattern and project tempo modes. Project mode will set a tempo that applies to all patterns as opposed to pattern mode which sets the individual pattern tempo. 3. Adjust the tempo value in increments: • +/- 1 BPM Steps: Turn rotary data control (LEVEL) • +/- 4 BPM Steps: Press and turn (LEVEL) for larger increments • +/- 0.1 BPM Steps. Use [UP] or [DOWN] button In either mode to adjust the tempo in smaller 0.1 BPM steps 4. The [TEMPO] Button flashes red in time with the selected tempo rate. Note: Pattern tempo’s can also be set individually in the arranger menu. The setting in the arranger menu take precedence for tempo and therefore override any project or pattern tempo setting. Current tempo. Selects project tempo. Tempo is applied to project, shared across patterns. Selects pattern tempo. Tempo is applied to each pattern individually. Symbols indicate Trig, Level and Arrow buttons provide navigation options. 194 The Octatrack Notebook : Reference & Guide NOTES 9 Pattern Basics [TEMPO] Selects the Tempo settings.
▌SETTING TAP TEMPO 1. Ensure the tempo page menu is NOT open. 2. Tap [FUNC] + [TEMPO] a minimum of 4 taps. 3. Tempo will adjust to the average of the new tapped in tempo. Additional taps will continue to be counted but the average will only be 4 taps. ▌MANUALLY NUDGING TEMPO TEMPORARILY 1. Press & Hold [LEFT] to incrementally reduce the tempo by 10% in any mode. 2. Press & Hold [RIGHT] to incrementally increase tempo by 10% in any mode. 3. Release [LEFT] or [RIGHT] Key to return to original tempo value ▌MANUALLY NUDGING TEMPO OF A SAMPLE TEMPORARILY 1. Press & Hold [Tx] + [LEFT] to reduce the tempo for the sample in the track selected. Example [T1] + [LEFT] where Track 1 has a sample loaded in a flex or static machine. 2. Press & Hold [Tx] + [RIGHT] to increase the tempo for the sample in the track selected. Example [T1] + [RIGHT] where Track 1 has a sample loaded in a flex or static machine. 3. Release [Tx] + [LEFT] or [RIGHT] Keys to return to the original tempo value. Sequencer tempo is not affected by sample tempo changes. NOTES The Octatrack Notebook : Reference & Guide 195 Pattern Basics9
196 The Octatrack Notebook : Reference & Guide NOTES 9 Pattern Basics Pick Up Machine Tempo Synchronization. When pickup machine recordings exist, the sequencer tempo can be synchronised to the recording. This avoids sequencer drift and allows alignment of the sequencer to recorded audio especially when operating live or on the fly, which is where pick up machines are generally used. ▌SYNC SEQUENCER TEMPO TO A PICKUP MACHINE AUDIO 1. Press [Tx] + [TEMPO] to toggle synchronise to the sequencer BPM to the pickup machine audio recording of the track. Example [T1] + [TEMPO] to sync the sequencer of Track 1 Pickup Machine. 2. If the sequencer is in a stopped state when sync is activated and pickup machines are playing, then pressing [PLAY] will make the sequencer play at the start of the playing pickup machine loop. If no pickup loop is playing then [PLAY] will start the sequencer immediately. 3. A message will appear to show sync state as ‘SEQ: USE TEMPO’ for the normal sequencer tempo or ‘SEQ: SYNC PICKUP 1’ when sync is to the pickup machine track. If no pickup machine audio is available on the selected track, a message will be presented. 4. The main page display will show the pickup machine selected in the location where tempo would normally be displayed. 5. Press [TEMPO] to open the tempo page. The tempo BPM will show the synchronised tempo and indicate that pickup tempo sync is active otherwise it will show the normal sequencer tempo. + [Tx] + [TEMPO] Sync’s the the sequencer to a pickup machine audio. Pickup machine synchronised tempo. Tempo state sync’d to pickup machine or normal ‘tempo’. Current seq tempo