The Octatrack Notebook : Reference & Guide 247 A:B Explained A:B is focussed on the cycles of the pattern and when a trigger will occur within the pattern cycle. Essentially this refers to how many patterns will be played before the trig is activated. The loop counter is dedicated to the conditional trigger, the general pattern cycles operate as normal. Track 2 Loop Cycle 1 Loop Cycle 3 Loop Cycle 4 Loop Cycle 2 A:B Applies the trigger after ‘A’ number of cycles have completed in a pattern sequence before the total number ‘B’ of conditional pattern cycles is reset. When the number of ‘A’ patterns are completed a ‘true’ condition is triggered and the trig activated. NOTES 2 : 4 Will trigger on the 2nd cycle of a 4 cycle loop count and reset at the end of 4th cycle. A The number of the loop within the total cycles before the trigger is activated. In this example 2. B The number of loop cycles before the conditional pattern count resets. In this example 4. Examples 1:2 Trigger is active on first loop cycle, then third, fifth of new cycles etc. The conditional loop count is every second loop. 2:4 Trigger is active on second loop, then, sixth on next cycle, tenth etc. Conditional loop count is end of fourth loop. 5:6 Trigger is active on fifth loop, then, eleventh of new cycles etc. Conditional loop count is every sixth loop. PATTERN LOOP 1 PATTERN LOOP 2 PATTERN LOOP 3 PATTERN LOOP 4 Count Reset T T F F F A:B Conditions are dependant on the loop cycles. T Trigger Set = True, will activate / trigger F Trigger Set = False, which will NOT activate / trigger Pattern Advanced 10
248 The Octatrack Notebook : Reference & Guide 10.6 Trig Count / Retrigger NOTES The trig count function, found in the micro timing menu is similar to a retrigger option that can be apply between 2-8 ‘repeats’ into each trig step. The value sets the number of trigs evenly spread between this trig and the next consecutive sequencer step. Given that this may retrigger sample playback, ensure parameter settings allow this, for example a long AMP Page Attack time may mean any re-triggering is not heard. ▌APPLYING A TRIG COUNT 1. Select GRID RECORDING mode [REC]. 2. Press the trig to set the trig count. Keep the Trig held throughout this process. Hold Trig [1] - [16]. 3. Press [LEFT] or [RIGHT] While still holding the trig. Be careful not to change the micro timing when applying these button commands. Example, Hold Trig [1] + [LEFT]. 4. The micro timing pop up menu will appear on the display. 5. Press ([UP] or [DOWN] to increase or decrease the number of triggers on the trig. Example, (micro timing menu still open), hold Trig [1] + Press [UP] x 3 to create 3 triggers on the trig step. 6. Release the buttons when the desired condition option is selected and shown in the ‘TRIG COUNT (U/D)’ parameter of the menu. 7. The condition is applied to the Trig. Parameter locked trigs will flash in the sequencer trig button. Press Trig [1] - [16] + [LEFT] or [RIGHT] Press [UP] or [DOWN] To open the micro timing menu To set the Trig Count + 10 Pattern Advanced
The Octatrack Notebook : Reference & Guide 249 NOTES 10.7 Creative Use of Trig Count & Conditional Trigs Using trig count with conditional trigs is a good way to demonstrate how combinations of multiple trig settings can generate complex and evolving patterns, often appearing longer than the 4 bar limitation. 1 9 16 64 FILL Activates the Trig only when fill mode is active [UP] + [PAGE] X% Probability at 75% to give variation on a run. Sample lock to change sample here X% Probability at 25% to generate occasional triggers Sample Lock Alternate sample to the normal track sample. Triggers along with effect. A:B Set to an odd cycle to give an impression of generative / evolving patterns 1ST Triggers tStep 13 near the end of the bar on first cycle only PRE Activates the Trig only when fill mode is not active Trig Count Assigned as 4 repeats to the trig. Only activated when manually activating fill mode. Trigless Trig Assigned to activate the delay effect envelope. No sample or Note trigger. Trig micro timed forward so that it triggers ‘almost on’ the sample trig at step 9. ☞ Pattern Advanced 10
250 The Octatrack Notebook : Reference & Guide NOTES 10 Pattern Advanced 10.8 Chaining Patterns Patterns can be chained in series to playback in sequence. This is a quick and easy function to make short pattern chains. A more elaborate process is to use the ARR - arranger utility to build more comprehensive pattern combinations. Pattern chains must be from the same bank and each pattern can be added one to a chain. ▌CREATING A CHAIN OF PATTERNS. 1. Press [BANK] - Trig [1] - [16] for A to P to select the bank from which to build the pattern chain. Example Trig 1 for Bank A. 2. Hold [PTN] + Trig [1] - [16] … …. Keep hold of [PTN] and also hold each Trig [1] - [16] to chain the subsequent patterns. The order entered will determine the chain order. Patterns must be held simultaneously to be added to a chain. Example, Hold [PTN] + [1] + [3] + [5] together to chain A01, A03, A05. 3. Patterns will be shown on the display in the pattern section with a double arrow between the current and next pattern to play. 4. Press [PLAY] to play the chain. 5. Hold [PTN] to observe the chain playback on the Trigs. Red indicates current pattern playing in the chain, yellow trigs are cued patterns. 6. Press [STOP] to stop the chain playback and reset the start position to the beginning. 7. Press [STOP], [STOP] to unlink and reset a chain. 1 st PTN A01 2 nd PTN A03 3 rd PTN A05 4 th PTN A02 Play Direction First Pattern Subsequently chained patterns which will play after the prior pattern finishes by default based on PAT.LEN.
The Octatrack Notebook : Reference & Guide 251 Pattern Advanced 10 10.9 Pattern Menu Summary The pattern settings menu contains a number of per track or overall pattern set up options. The menu is accessed by pressing [FUNC] + [PTN] and parameters edited using [YES] or (LEVEL) on the highlighted option. Settings are available for Audio and MIDI tracks. ▌USING THE PATTERN SETTINGS MENU 1. Press [FUNC] + [PTN] to open the setting pop up menu. 2. Press [UP] or [DOWN] to scroll the ‘Main Alternative’ options of Pattern, PAT or each individual Track,T1 - T8. The options available and displayed will reflect the setting selected here. 3. Press [RIGHT] to shift focus to the sub menu options on the right. This is where the actual options and parameters are edited. 4. Press [UP] or [DOWN] to scroll the menu options and highlight the function to change. 5. With the selected function highlighted, Press [YES] or Turn (LEVEL) to cycle through the available parameter settings for the function. Some options are ‘radio style’ meaning setting one option deselects another. 6. Press [NO] to back up and to exit the menu. Available functions are dependant on the alternatives of PAT, Pattern or Tracks, T1-T8 + NOTES
252 The Octatrack Notebook : Reference & Guide Pattern Settings The following options are available when the PAT - Pattern is selected from the main alternative options. This means that any settings applied will affect the currently selected pattern. This will also be displayed in the pattern settings window. Context Main Alternative Function Sub Menu Options Parameters What does it do? PROJECT SCALE MODE: NORMAL ON (Check) OFF (Uncheck) ON (Default) - All tracks in the pattern share the same length and time signature, which are set in the scale setup. This forms as radio button relationship with per track i.e. when ON the Per Track Mode is OFF. PROJECT SCALE MODE: PER TRACK ON (Check) OFF (Uncheck) ON - All tracks in the pattern have independent length and time signature, which are set in the scale setup. This is ideal for complex polyrhythms. This forms as radio button relationship with normal i.e. when ON the Normal Mode is OFF. Default is OFF. PROJECT CHAIN BEHAVIOUR: USE PAT SET PLEN Step Lengths This parameter is applied when chained patterns are used. This sets the time that the currently active pattern will play before a cued pattern i.e. the next pattern waiting to play, will start playing. PLEN (Default) - Plays to the total step length of pattern or the set master length before the next cued pattern plays in the chain. Step Lengths: Various step lengths of pattern can be selected before the next cued pattern in the chain plays. If this flashes it means the setting is longer than the pattern length in which case it will operate like PLEN. The ‘USE PRJ SET’ must be OFF / Unchecked to apply this option. PROJECT CHAIN BEHAVIOUR: USE PRJ SET ON (Check) OFF (Uncheck) ON - Sets the behaviour to that of the CHAIN AFTER setting in the [PROJ] settings under CONTROL > SEQUENCER in the pattern change section. The CHAIN AFTER default is PAT.LEN. OFF (Default) - Will allow the unique behaviour of the pattern changes to take precedence as set in this menu options. 10 Pattern Advanced
The Octatrack Notebook : Reference & Guide 253 Pattern Advanced 10 Pattern Settings (cont) The following options are available when a T1-T8 - Track is selected as the main alternative. Context Main Alternative Function Sub Menu Options Parameters What does it do? T1-T8 AUDIO TRACK: START SILENT Auto No Yes Sets how the track of a previously playing pattern linked to a different part should continue to play if this newly active pattern starts to play. AUTO - Uses the settings in the [PROJ] setting under CONTROL > SEQUENCER in the pattern change section to control the SILENCE TRACK behaviour of the selected T1 -T8 track. NO - The previously playing track + different part will continue to play when a new pattern is selected starts to play. The previous track will stop when a trig is activated for the new pattern in the sequence. YES - The previously playing track + different part will stop playing when a new pattern selected starts to play. The YES / NO setting overrides the SILENCE TRACK setting in the [PROJ] settings under CONTROL > SEQUENCER in the pattern change section. T1-T8 AUDIO TRACK: PLAYS FREE ON (Check) OFF (Uncheck) ON - Sets whether the track will be connected or disconnected from the sequencer. Disconnected means it can be played manually and has no control from the sequence. Great for playing tracks alongside sequenced ones. Trig Mode: Tracks, can control audio and MIDI tracks manually. OFF (Default) - Sequencer controls track behaviour. T1-T8 AUDIO TRACK: ONESHOT TRK ON (Check) OFF (Uncheck) OFF (Default) - Track will loop and play on each cycle. ON - Track will not loop and will play only one full length. Available only when PLAYS FREE is ON. T1-T8 AUDIO TRACK: TRIG MODE ONE ONE2 HOLD Sets how the track will be played once triggered. ONE (Default) - Plays the track from the start each time the Trig assigned to trigger the track is activated. Pressing [STOP] will stop playback. ONE2 - Plays the track each time the Trig assigned to trigger the track is activated. Press Trig again to stop or [STOP] to stop playback and sequence. HOLD - Plays the track for as long as the Trig assigned to trigger the track is activated. Releasing Trig will stop playback. Available only for disconnected tracks, ie when ‘PLAYS FREE’ is set ON. T1-T8 AUDIO TRACK: TRIG QUANT DIRECT TR LEN 1/16 + Various Sets how the track start and stop will be quantized when played. Sequencer must be running. DIRECT - Plays the disconnected track immediately the Trig assigned to trigger the track is activated. TR LEN (Default) - Quantizes the start and stop to the total length of the track. 1/16 etc - Quantizes the start and stop to the set step length of the track. This is based on the NORMAL or PER TRACK setting and works on the length of the pattern or set master length (set in scale mode). Flashing digit indicates setting is longer than pattern or master length. Available only for disconnected tracks, ie when ‘PLAYS FREE’ is set ON.
254 The Octatrack Notebook : Reference & Guide 10 Pattern Advanced 10.10 Pattern Change Sequencer Control A number of sequencer settings exist which establishes the default behaviour of the sequencers pattern change. These are found in the CONTROL section of the [PROJ] Menu under the SEQUENCER sub menu. The Pattern Change settings also work in conjunction with other parameters found in the pattern settings. NOTES Context Function What does it do? SEQUENCER CHAIN AFTER Sets the behaviour of chained patterns and defines how they will start to play. PAT LEN (Default) - Current pattern completes playing to its end before the following chained pattern starts. Step length; 2/16, 3/16, 4/16, 6/16, 8/16, 16/16, 24/16, 32/16, 48/16, 64/16, 96/16, 128/16, 192/16, 256/16. This may be better when a long / infinite per pattern master length is in place and PER TRACK scale mode is set. Affects all patterns but can be changed in the PATTERN SETTINGS - USE PRJ SET. SEQUENCER SILENCE TRACKS ON / Checked - Will silence all tracks when changing to a pattern linked to another, different part. Samples will follow their release phase set in AMP envelope. OFF / Unchecked (Default) - Samples in the previous pattern / part will continue to play when changing to another pattern until a trig is activated on the tracks new pattern. Affects all patterns in a project but can be overridden per track. SEQUENCER LFO AUTO CHANGE ON / Checked - Will restart automatically all LFO’s when new LFO settings become active when changing to another pattern linked to another, different part. OFF / Unchecked (Default) - LFO’s in the previous pattern / part will continue to run when changing to another pattern until a trig is activated on the tracks new pattern.
The Octatrack Notebook : Reference & Guide 255 Pattern Advanced 10 ▌CHANGING PATTERN DEFAULT CHANGE BEHAVIOUR 1. Press [PROJ] to open the project settings menu. 2. Navigate to highlight the CONTROL Option using [UP] [DOWN]. 3. Press [YES] or [RIGHT] to move to the right side sub menu. 4. Navigate to highlight the SEQUENCER Option using [UP] [DOWN]. 5. Press [YES] to select and open the PATTERN CHANGE options. 6. Navigate to highlight the desired option; • CHAIN AFTER: Turn the (LEVEL) rotary control to adjust the setting. • SILENCE TRACKS: Press [YES] to toggle the value between the On / Checked or Off / Unchecked settings. • LFO AUTO CHANGE: Press [YES] to toggle the value between the On / Checked or Off / Unchecked settings. 7. Press [NO] to backup and exit the menu. NOTES
256 The Octatrack Notebook : Reference & Guide NOTES
Octatrack has a number of modulation sources that can add variety and movement to sounds. Modulation basically means the manipulation of a destination parameter from the source of another function. Turning the volume control of a radio up and down repeatedly is essentially ‘modulating’ the radio volume. In musical gear such as synthesizers, modular gear and samplers, modulation functions are usually integrated into the set up. LFO’s are a common modulation sources and usually provide the ability to internally modulate a number of different destination parameters. LFO is a Low Frequency Oscillator, basically a looping wave shape that operates below the audible frequencies of audio oscillators. LFO’s are used for modulation. A simple example is to vary the pan settings left to right to create interest and movement. The patching of the modulation sources and destinations can be quite complex and often the output cannot be predicted in advance. Trial and error and testing ideas is therefore a recognised and accepted production technique when working with modulation. While other modulation functions exist, LFO’s are perhaps the most common. Octatrack has 3 LFO’s per track which brings a high level of performance into the equation and coupled with the addition of the LFO designer this is certainly a comprehensive feature set. Few synths and samplers have this number of LFO’s available. The set up and configuration of an LFO to modulate another parameter is powerful. This power is amplified and creativity expanded when multiple LFO’s are combined, not only with each other, but also with other Octatrack features such as parameter locks, effects and sample functions i.e. start point. LFO’s are fairly simple to use in themselves but the endless options make them a powerful and fun feature. LFO’s 11 The Octatrack Notebook : Reference & Guide 257
258 The Octatrack Notebook : Reference & Guide 11 LFO’s 11.1 Introduction to LFO’s An Low Frequency Oscillator, commonly called LFO is a function that creates movement generated from waves that operate below the audible range. On some devices the frequency can be pushed into the audible range but the primary purpose of an LFO in Octatrack is not to generate sound. An LFO is used to generate movement and changes to other settings and parameters of other functions. This is called modulation, where the LFO is the source that modulates a destination parameter. Why do we need LFO’s? The simple answer is they are not essential for Octrack to operate as a sampler. However to add the ability to create evolving sounds and movement brings a higher level of performance and sound design possibilities. Creating change and variation is important in keeping a listener attached and connected and significantly increases interest. Basic LFO Example. LFO PAN Modulation source to manipulate a connected destination. In this simple example an LFO with a Triangle wave will modulate the pan of an audio signal left to right in a continuous ping-pong style Source Destination Modulation destination that will be affected by the applied LFO. L R NOTES
The Octatrack Notebook : Reference & Guide 259 LFO’s11 NOTES 11.2 LFO’s in Octatrack Octatrack has 3 LFO’s, identical in features and an LFO designer which creates user wave shapes, per track. An LFO can only modulate parameters that are found on the track parameter main page. All of the 8 LFO designed wave shapes, 1 per track are available to all 8 tracks. Track 1 T1 T2 Track 2 Track Parameter Main Pages Track Parameter Main Pages LFO Parameters, shape, destination, speed etc. User Designed Wave Shapes All 8 Track User Waves are available to the other tracks Replicated across all Audio and MIDI Tracks. LFO’s can modulate other LFO’s SPD & DEP parameters based on hierarchy. Only a higher LFO ‘number’ can modulate the lower ‘numbers’, i.e. LFO3 > LFO1/2, LFO2 > LFO1, LFO1 cannot modulate any other LFO. LFO Parameters, shape, destination, speed etc LFO Parameters, shape, destination, speed etc LFO 1 LFO 1 LFO Designer LFO Designer LFO 2 LFO 2 LFO 3 LFO 3 Optional
260 The Octatrack Notebook : Reference & Guide 11.3 Set Up Page Parameters The LFO set up page is important in order to get the desired result and establish the ‘patch’ between the LFO source and the destination track parameter. Consider the setup a starting point where tweaks and adjustments can finely get to the point needed in the workflow. NOTES Setup Menu [FUNC] + [LFO] (A) (D) (B) (E) (C) (F) (A) PMTR Data Entry (B) WAVE Data Entry (C) MULT Data Entry Parameter - Destination Wave Shape Speed Multiplier Sets the destination to be modulated within the track parameter main pages. Parameter and page is displayed in the parameter setting. LFO wave shape that will drive the destination parameter. There are 11 defined shapes available plus the user designed shapes T1 - T8 from each track (if created) Multiplies the SPD parameter by the selected value. Track Parameters, Main Page TRI, ITRI, SAW, ISAW, SQR, ISQR, EXP, IEXP, RMP, IRMP, RND, T1-T8 1x, 2x, 4x, 8x,16x, 32x, 64x (D) TRIG Data Entry (E) SPD Data Entry (F) DEP Data Entry Trigger Behaviour Base Speed of LFO Depth of Modulation Selects the behaviour of the LFO when a trigger is activated. Sets the base speed of the LFO, referenced to the tempo BPM. Variations can be adjusted with MULT. The SPD parameter is also available on the main page. Amount of modulation applied to the destination parameter. DEP is also available on the main page. Free, Trig, Hold, One, Half, Sync Trig, Sync One, Sync Half 0 - 127 0 - 127 + Also double pressing [LFO] 11 LFO’s
The Octatrack Notebook : Reference & Guide 261 NOTES When designing sounds and applying modulation it is good practices to adjust by ear. The sound isn’t always predictable when modulation is applied and desired results may need some tweaking. ▌BASIC START SETUP OF LFO 1. Press [FUNC] + [LFO] or double tap [LFO] to open the LFO setup page. 2. Turn (A) data entry to select the destination parameter to modulate. The track parameter page and the actual parameter is shown. 3. The following LFO parameters are usually adjusted iteratively while the sequence is playing and fine tuned to suit the desired output:- • Turn (B) data entry to select the WAVE shape. Also the user defined shapes are available from each of the tracks LFO designer T1-T8. The user designed LFO’s would need to have bene created first. • Turn (F) data entry to select the modulation depth DEP. It is good to set this fairly high e.g. 127, to start so the effect can be heard and then back it off as the sound develops. • Turn (E) data entry to set a speed SPD. This is relative to Tempo BPM. To multiply the speed if needed, Turn (C) MULT. • Turn (D) if a different Trig behaviour is needed. While setting up and adjusting, the TRIG or FREE options are good starting points. The FREE option will continuously run the LFO and allow its application to be continuously heard. As the sound design gets closer to your audible target this can be set to another option if needed. 4. Press [NO] to back up and to exit the menu. LFO’s11
262 The Octatrack Notebook : Reference & Guide 11.4 Main Page Parameters The LFO Main page presents all of the 3 LFO’s but brings focus to purely the speed and depth parameters of each. Speed is always synchronised to the Octatrack tempo. These are the same two parameters that appear in the Setup page for each LFO. NOTES Main Menu [LFO] (A) (D) (B) (E) (C) (F) (A) SPD1 Data Entry (B) SPD2 Data Entry (C) SPD3 Data Entry LFO 1 Speed LFO 2 Speed LFO 3 Speed Sets the base speed of the LFO, referenced to the tempo BPM. This is the same SPD parameter also available on the LFO setup page Sets the base speed of the LFO, referenced to the tempo BPM. This is the same SPD parameter also available on the LFO setup page Sets the base speed of the LFO, referenced to the tempo BPM. This is the same SPD parameter also available on the LFO setup page 0 - 127 0 - 127 0 - 127 (D) DEP1 Data Entry (E) DEP2 Data Entry (F) DEP3 Data Entry LFO 1 Depth LFO 2 Depth LFO 3 Depth Amount of modulation applied to the destination parameter. This is the same DEP parameter also available on the LFO setup page. Amount of modulation applied to the destination parameter. This is the same DEP parameter also available on the LFO setup page. Amount of modulation applied to the destination parameter. This is the same DEP parameter also available on the LFO setup page. 0 - 127 0 - 127 0 - 127 11 LFO’s
The Octatrack Notebook : Reference & Guide 263 NOTES LFO’s11 11.5 LFO Wave Shapes. There are 11 defined wave shapes available for each LFO. Normal and inverted versions. In addition each track has a user designed wave shape (if created) that is accessible. Illustrations below show 2 wave cycles. Zero crossing / amplitude level Amplitude Amplitude Amplitude Amplitude Amplitude Amplitude Time Time Time Time Time Time TRIANGLE WAVE TRI & ITRI SQUARE WAVE SQU & ISQU RANDOM RND SAW TOOTH WAVE SAW & ISAW EXPONENTIAL EXP & IEXP RAMP RMP & IRMP ITRI is an inverted version of the TRI Triangle wave. ISQU is an inverted version of the SQU Square. IRMP is an inverted version of the RMP Ramp wave. ISAW is an inverted version of the SAW Sawtooth. IEXP is an inverted version of the EXP Exponential. The user designed waves, when created, are also available from each track to all other tracks. These are stored in the track LFO designer per track and labelled T1 - T8 representing each track 1 - 8. T1 T1 T2 T2 T3 T3 T4 T4 WAVE Options (B)
264 The Octatrack Notebook : Reference & Guide 11.6 Modulation Speed. Modulation speed is affected by two parameters. The SPD is the base speed related to the BPM setting. The MULT parameter allows for faster speeds by applying the multiplication factor to the SPD parameter. LFO Square Wave, Trig Mode = TRIG. Modulation source to manipulate a connected destination. Square Wave, Trig Mode = TRIG. Saw Wave, Trig Mode = TRIG. Zero crossing / amplitude level Square Wave, Trig Mode = TRIG. Saw Wave, Trig Mode = TRIG. SPD 127 MULT x1 SPD 127 MULT x2 SPD 127 MULT x1 SPD 64 MULT x2 SPD 64 MULT x4 1 Trigs 1 1 1 1 16 16 16 16 16 NOTES 11 LFO’s
The Octatrack Notebook : Reference & Guide 265 NOTES LFO’s11 11.7 Modulation Depth. Modulation depth governs how much of the LFO will be applied to the destination parameter. If for example a Triangle LFO was set to control the AMP page VOL (Track Level) should it be a subtle tremolo effect or a full range of the volume shifting from minimum level to maximum. . Two factors are important to consider with overall depth output. Firstly, the depth DEP of the LFO where a range of 0-127 allows for the extreme high and low limits of any destination. This may mean a maximum 127 is much higher than needed for some applications. The second consideration is the currently active value of the destination parameter which is the modulation base reference or starting point for modulation. It is hard to evaluate simply based on the theoretical ‘science’ behind the depth and in fact most LFO parameters. As a tip, simply rely on how it sounds more than how it works. Tweaking and tuning and trialing different settings is a much more reliable method of sound design than studying the technical operation. 127 0 127 63 64 0 64 The normal modulation depth range is 0-127 which aims to cover the maximum range for any destination parameter. To modulate a parameter at the mid position it would be possible to operate at a lower modulation depth and still cover the range. If destination parameter default / ref position is say at 0, it would need full range of modulation depth to cover range. If the destination parameter is set at mid position e.g. 64, then there would need to be a range of 64 modulation to cover the limits of range. Anything higher would have no additional affect. Modulation Source Depth Modulation Destination Setting 127 64 DEP DEP
266 The Octatrack Notebook : Reference & Guide Examples: Sample Pitch PTCH Modulation, TRIG set to Trig. LFO LFO PTCH PTCH Square Wave, Trig Mode = TRIG. Modulation source to manipulate a connected destination. Square Wave, Trig Mode = TRIG. Modulation source to manipulate a connected destination. DEP 64 DEP 64 Source Source Destination Destination Sample Pitch - SRC Page. Modulation destination that will be affected by the applied LFO. Sample Pitch - SRC Page. Modulation destination that will be affected by the applied LFO. Pitch Set to -12 Pitch Set to 0 +12 +12 63 63 -12 -12 64 64 NOTES 0 0 In this example a depth of 64 will not modulate the destination to the extreme limits as the pitch is set to -12. A depth DEP of 64 will modulate only 50% of the maximum range. To get a maximum modulation range the depth would need to be set to 127 on the LFO. Different wave shapes will start at different points and therefore the type of wave shape selected will affect how the output sound is delivered. Although a depth of 127 will modulate the destination, only a depth DEP of 64 is actually needed as the pitch value in this example is set to zero i.e. mid position on the +/- range. An LFO DEP of 64 will therefore modulate to the pitch limits up and down the 2 octave range. 11 LFO’s
The Octatrack Notebook : Reference & Guide 267 NOTES LFO’s11 11.8 Trig Mode Options. Trig mode sets the behaviour of the LFO when it is triggered in the sequence pattern. AMPLITUDE TIME FREE RUNNING (FREE) LFO runs freely and continuously and ignores any trig start / stop events AMPLITUDE TIME TRIGGERED (TRIG) The LFO restarts from its start position each time a note event is triggered Trigger Trigger Trigger Trigger Trigger Trigger AMPLITUDE TIME HOLD (HOLD) LFO runs freely in the background. The current value in the cycle is held when a note is triggered. When the next note is triggered it will switch to hold the new, current cycle position at the new trigger ONE CYCLE (ONE) LFO runs from the start when triggered and runs for one cycle only HALF CYCLE (HALF) LFO runs from the start when triggered and runs for only half of one cycle AMPLITUDE TIME AMPLITUDE TIME Trigger Trigger Trigger
268 The Octatrack Notebook : Reference & Guide These options will be triggered by an event but the LFO is synchronised to the track start as opposed to the event itself. NOTES SYNC TRIGGER (SYNC TRIG) Synchronises the trigger to start the LFO at the start of every track and on every subsequent pattern loop Synchronises the trigger to start the LFO at the start of every track and the LFO will run for one cycle only Synchronises the trigger to start the LFO at the start of every track and the LFO will run for a half cycle only AMPLITUDE TIME Start Start AMPLITUDE TIME SYNC ONE CYCLE (SYNC ONE) AMPLITUDE TIME SYNC HALF CYCLE (SYNC HALF) Start Start 11 LFO’s
NOTES The Octatrack Notebook : Reference & Guide 269 LFO’s11 11.9 LFO Designer. A unique feature of Octatrack is the LFO designer. This is a tool that can create custom LFO shapes and then utilise these as a ‘WAVE’ shape in each of the three LFO’s. Waves are created and stored per track and are named T1-T8 in the wave selection. LFO Designer is found in the LFO Setup Page + + Hold Trig [1] - [16] + Turn (LEVEL), (A), (B) or (C) to adjust shape up or down. Whichever data entry is turned first will be the ‘central’ adjustment. Sections either side then can be adjusted with other top row data entry controls while the trig is still held. Multiple trigs can be adjusted when held together. Hold Trig [1] - [16] + Press [TEMPO] to interpolate between steps. Trigs will be lit Yellow where interpolation exists. Press [YES] to select the RANDOMIZE or INVERT Sub menu options. Press [FUNC] + [LEFT] or [RIGHT] to rotate / shift wave shape. Wave shapes created in the LFO Designer will be stored with the track and named T1-T8.
270 The Octatrack Notebook : Reference & Guide NOTES ▌CREATING A CUSTOM WAVE SHAPE 1. Press [FUNC] + [LFO] or double tap [LFO] to open the LFO setup page. 2. Scroll [UP] or [DOWN] to select the ‘DESIGN’ option in the LFO list. 3. The Trig buttons will be lit red to represent each of the 16 ‘steps’ in the wave shape to edit and the designer editor screen will be on display. 4. Hold Trig [1] - [16] for the step in the shape to adjust. While holding turn either (LEVEL), (A), (B), (C), data entry controls to adjust the step shape. • All top row rotaries can edit a step shape with the first rotary adjusted being the central control. Other rotaries either side will adjust neighbouring steps while ever the Trig is still held. • Holding multiple Trigs and adjusting the rotaries will adjust multiple step shapes. • The adjustment value will be on display when holding the Trig. 5. To toggle interpolation between steps, Hold Trig [1] - [16] for the first step + [TEMPO] to connect to the next step. Trigs will turn yellow when interpolation exists. 6. Press [FUNC] + [LEFT] or [RIGHT] to rotate or shift the shape. 7. To randomize the shape, press [YES] or press [FUNC] + [BANK] when in the designer function. Use [UP] or [DOWN] to highlight RANDOMIZE and press [YES]. Press [NO] to exit pop up menu. 8. To invert the wave shape, press [YES] or press [FUNC] + [BANK] when in the designer function. Use [UP] or [DOWN] to highlight INVERT and press [YES]. Press [NO] to exit pop up menu. 9. To exit the designer press [NO]. 10. The custom wave shape will be named by the track ie T1-T8 and accessible from the LFO1, LFO2 or LFO3 ‘WAVE’ parameter. 11 LFO’s
The Octatrack Notebook : Reference & Guide 271 NOTES LFO’s11 ▌SELECTING A CUSTOM WAVE SHAPE 1. Press [FUNC] + [LFO] or double tap [LFO] to open the LFO setup page. 2. Turn (B) data entry to select the WAVE shape. All track custom shapes that have been created are available and labelled as T1-T8. 3. Press [NO] to back up and to exit the menu. ▌CLEARING A CUSTOM WAVE SHAPE 1. Select the track for the wave shape. Press [T1] - [T8] 2. Press [FUNC] + [LFO] or double tap [LFO] to open the LFO setup page. 3. Scroll [UP] or [DOWN] to select the ‘DESIGN’ option in the LFO list. 4. Press [FUNC] + [PLAY] to Clear / Reset the wave shape. ▌COPYING AND PASTING A CUSTOM WAVE SHAPE 1. Select the track for the source wave shape. Press [T1] - [T8]. 2. Press [FUNC] + [LFO] or double tap [LFO] to open the LFO setup page. 3. Scroll [UP] or [DOWN] to select the ‘DESIGN’ option in the LFO list. 4. Press [FUNC] + [REC] to Copy the wave shape. 5. Select the destination track to paste wave shape. Press [T1] - [T8]. 6. Press [FUNC] + [STOP] to Paste the wave shape.
Page Parameter LFO Destination (Audio Tracks) SRC PTCH Pitch (Static, Flex & Pickup Only) SRC STRT Start Position (Static & Flex Only) SRC LEN Sample Length (Static, Flex & Pickup Only) SRC RATE Rate - Playback Speed (Static & Flex Only) SRC RTRG Retriggers (Static & Flex Only) SRC RTIM Retrig Time (Static & Flex Only) SRC INAB Input AB options (Thru Machine Only) SRC VOL Volume for Inputs AB (Thru Machine Only) SRC <C> Data Entry Rotary C (Thru & Nei Machines Only) SRC INCD Input CD options (Thru Machine Only) SRC VOL Volume for Inputs CD (Thru Machine Only) SRC <F> Data Entry Rotary F (Thru & Nei Machines Only) SRC <A> Data Entry Rotary A (Nei Machine Only) SRC <B> Data Entry Rotary B (Nei Machine Only) SRC <D> Data Entry Rotary D (Nei & Pickup Machine Only) SRC <E> Data Entry Rotary E (Nei Machine Only) SRC DIR Playback Direction (Pickup Only) SRC GAIN Recording Gain (Pickup Only) SRC OP Recording Behaviour (Pickup Only) AMP ATK Envelope Attack Time AMP HOLD Envelope Hold AMP REL Envelope Release Time AMP VOL Volume Level AMP BAL Balance / Pan AMP <F> Data Entry Rotary F LFO SPD1 LFO1 Speed LFO SPD2 LFO2 Speed LFO SPD3 LFO3 Speed LFO DEP1 LFO1 Depth LFO DEP2 LFO2 Depth LFO DEP3 LFO3 Depth 272 The Octatrack Notebook : Reference & Guide NOTES LFO - Audio Destination Parameters. 11.10 LFO Destinations SRC Parameter destinations are dependant on the track machine selected 11 LFO’s
NOTES The Octatrack Notebook : Reference & Guide 273 Page Parameter LFO Destination (Audio Tracks) FLTR BASE Filter Base Cutoff Frequency (MM Filter Only) FLTR WDTH Filter Frequency Width (MM Filter Only) FLTR Q Filter Resonance (MM Filter Only) FLTR DPTH Filter Envelope Amount (MM Filter Only) FLTR ATK Filter Envelope Attack Time (MM Filter Only) FLTR DEC Filter Envelope Decay Time (MM Filter Only) DEL TIME Delay time (Echo Freeze Delay) DEL FB Delay Feedback (Echo Freeze Delay) DEL VOL Delay Volume (Echo Freeze Delay) DEL BASE Delay Hi Pass Filter (Echo Freeze Delay) DEL WDTH Delay Lo Pass Filter (Echo Freeze Delay) DEL SEND Amount Sent to Delay (Echo Freeze Delay) Page Parameter LFO Destination (Audio Tracks) EQ FRQ1 Frequency Band 1 (2-Band Parametric Equaliser) EQ GN1 Frequency Boost / Cut (2-Band Parametric EQ) EQ Q1 Frequency Width (2-Band Parametric EQ) EQ FRQ2 Frequency Band 2 (2-Band Parametric Equaliser) EQ GN2 Frequency Boost / Cut (2-Band Parametric EQ) EQ Q2 Frequency Width (2-Band Parametric EQ) DJEQ LS F Low Shelf Frequency (DJ Style Kill EQ) DJEQ <B> Data Entry Rotary B DJEQ HS F High Shelf Frequency (DJ Style Kill EQ) DJEQ LOWG Band 1 Gain (DJ Style Kill EQ) DJEQ MIDG Band 2 Gain (DJ Style Kill EQ) DJEQ HI G Band 3 Gain (DJ Style Kill EQ) PHSR CNTR Centre Phase (2-10 Stage Phaser) PHSR DEP Depth of Phase Modulation (2-10 Stage Phaser) PHSR SPD Speed of Phase Modulation (2-10 Stage Phaser) PHSR FB Original Signal Feedback (2-10 Stage Phaser) PHSR WID Stereo Width (2-10 Stage Phaser) PHSR MIX Mix of Dry and Wet Signal (2-10 Stage Phaser) LFO - Audio Destination Parameters FLTR & DEL are the default FX1 and FX2 effects. Access to the LFO destination parameters will depend on the FX loaded into the FX1 and FX2 Slots. If an FX slot is empty the LFO will default to the <A> to <F> Data Entry Rotaries LFO’s11
274 The Octatrack Notebook : Reference & Guide NOTES Page Parameter LFO Destination (Audio Tracks) FLNG DEL Delay in Flanged Signal (Flanger) FLNG DEP Depth of Phase Modulation (Flanger) FLNG SPD Speed of Phase Modulation (Flanger) FLNG FB Original Signal Feedback (Flanger) FLNG WID Stereo Width (Flanger) FLNG MIX Mix of Dry and Wet Signal (Flanger) CHOR DEL Delay in taps (Tap Chorus) CHOR DEP Depth of Modulation (Tap Chorus) CHOR SPD Speed of Modulation (Tap Chorus) CHOR FB Original Signal Feedback (Tap Chorus) CHOR WID Stereo Width (Tap Chorus) CHOR MIX Mix of Dry and Wet Signal (Tap Chorus) SPAT INP Dry Signal Gain (Spatializer) SPAT DPTH Depth of widened signal (Spatializer) SPAT WDTH Width of Spread (Spatializer) SPAT HP High Pass Filter (Spatializer) SPAT LP Low Pass Filter (Spatializer) SPAT SEND Level of widened signal (Spatializer) COMB PTCH Control of Resonant Frequencies (Comb Filter) COMB TUNE Pitch Tuning (Comb Filter) COMB LP Low Pass Cutoff Frequency (Comb Filter) COMB FB Feedback Signal Gain (Comb Filter) COMB <E> Data Entry Rotary E COMB MIX Mix of dry and wet signal (Comb Filter) COMP ATK Attack Time (Dynamix Compressor) COMP REL Release Time (Dynamix Compressor) COMP THRS Threshold (Dynamix Compressor) COMP RAT Ratio (Dynamix Compressor) COMP GAIN Make Up Gain (Dynamix Compressor) COMP MIX Mix of Dry and Wet Signal (Dynamix Compressor) LOFI DIST Distortion Overload (LoFi Collection) LOFI <B> Data Entry Rotary B (LoFi Collection) LOFI AMF Amplitude Modulator Frequency (LoFi Collection) LOFI SRR Sample Rate Reduction Amount (LoFi Collection) LOFI BRR Bit Rate Reduction Amount (LoFi Collection) LOFI AMD Amplitude Modulator Depth (LoFi Collection) LFO - Audio Destination Parameters 11 LFO’s
NOTES The Octatrack Notebook : Reference & Guide 275 Page Parameter LFO Destination (Audio Tracks) PLTE TIME Decay Time (Gatebox Plate Reverb FX2) PLTE DAMP Reverb Dampening (Gatebox Plate Reverb FX2) PLTE GATE Gate time (Gatebox Plate Reverb FX2) PLTE HP High Pass Filter (Gatebox Plate Reverb FX2) PLTE LP Low Pass Filter (Gatebox Plate Reverb FX2) PLTE MIX Mix of Dry / Wet Signal (Gatebox Plate Rev FX2) SPRG TIME Decay Time (Spring Reverb FX2) SPRG <B> Data Entry Rotary B (Spring Reverb FX2) SPRG <C> Data Entry Rotary C (Spring Reverb FX2) SPRG HP High Pass Filter (Spring Reverb FX2) SPRG LP Low Pass Filter (Spring Reverb FX2) SPRG MIX Mix of Dry and Wet Signal (Spring Reverb FX2) DARK TIME Decay Time (Dark Reverb FX2) DARK SHUG Dampening (Dark Reverb FX2) DARK SHVF Shelving Filter (Dark Reverb FX2) DARK HP High Pass Filter (Dark Reverb FX2) DARK LP Low Pass Filter (DarkReverb FX2) DARK MIX Mix of Dry and Wet Signal (Dark Reverb FX2) LFO - Audio Destination Parameters LFO’s11
276 The Octatrack Notebook : Reference & Guide NOTES
Octatrack is a high performance sampler and by definition relies on a solid audio feature set. There are 5 primary audio topics in the overall consideration of Octatrack. The first is the recording of audio into the machine. This has been detailed in the track machines section. Secondly, playing out audio which is described in the sequencing section. The third consideration, audio routing and the fourth which is the audio editing are the features of Octatrack covered in this section. Starting with hardware routing and the internal controls including the relationship with cue and main outputs. The MIX menu should not be considered just as a utility but also offers many creative and workflow options including muting and soling the tracks, ideal for live improvisation. In addition the audio editing features are quite comprehensive and are also covered in this section. The dedicated AED - Audio Editor has some in depth editing functions and will become an integral part of the workflow when working with audio. The fifth consideration with audio if file management. Some elements are covered here but this is a topic that is covered across various sections of the book. It is important to recognise, as with all images in this guide, that the diagrams shown are for illustration purposes and are designed to inform in a simple way rather than to document any technical schematic or circuit diagrams. Audio 12 The Octatrack Notebook : Reference & Guide 277
278 The Octatrack Notebook : Reference & Guide 12 Audio 12.1 Audio Inputs & Outputs. NOTES Octatrack has a number of physical audio input and output connections located at the rear of the device. 4 balanced / unbalanced audio inputs, 4 balanced audio outputs and also a stereo headphone socket are accessible using ¼ inch / 6.35mm jacks. 4 x Audio Inputs (balanced/unbalanced) Inputs A/B and C/D Tip Tip Ring Sleeve Sleeve 2 x 2 Audio Outputs (balanced) Main L/R and Cue L/R 1 x Headphone Output (stereo) 55 Ohm Output Rear of Octatrack TRS ¼ inch (6.35mm) Jack Balanced TRS TS ¼ inch (6.35mm) Jack Unbalanced TS Tip - Ring - Sleeve connector (3 wire). Typically used for mono, balanced or stereo audio signals. Less susceptible to noise. Tip - Sleeve connector (2 wire). Typically used for mono, unbalanced audio signals e.g. used for guitar leads and short signal runs. Note: Balanced cables can be used on unbalanced inputs but without the balanced signal benefits. However if an unbalanced cable is used on a balanced connection, the signal will operate as unbalanced and be susceptible to noise especially over longer distances. Generally speaking use the correct cable for both of the connecting device inputs and outputs to ensure the correct specified performance.
The Octatrack Notebook : Reference & Guide 279 Examples: Audio Set Ups. Main L/R Output Input A & B Input C & D 3.5mm TRS Stereo Mini Jack to 2 x TR Mono 6.35mm Jacks Microphone connected via preamp e.g. to input C Preamp 2 x TR Mono 6.35mm Jacks Digitone OP-Z Audio 12 NOTES
280 The Octatrack Notebook : Reference & Guide 12 Audio 12.2 Audio Mixer - Routing. NOTES The Octatrack mixer provides the ability to manage the audio from the physical inputs. Mix Menu [MIX] (LEVEL) (A) (B) (C) (A) MAIN Data Entry (B) DIR Data Entry (C) GAIN Data Entry Main Level AB Direct Routing AB Gain Sets the level at the main output. The maximum level of +63 represents +12dB i.e. boosts. Negative values attenuates. Use the [FUNC] + (LEVEL) option when not in the Mix page. Sets the amount of audio from the AB inputs which is directly routed to the main output. 0 Sends no audio from AB to main. 127 sends the current input level to main. Applies gain / attenuation to the incoming audio signal. The -64 value will mute, 0 no gain applied and +63 will apply +12dB gain. Affects sampling, dir and thru machine audio. -64 to +63, Default 0 0 - 127, Default 0 -64 to +63, Default 0 (LEVEL) MIX Level Rotary Headphone Output Adjusts the audio output mix from the headphone jack. Mix between the ‘M’ Main and ‘C’ Cue audio. -64 (Main) +64 (Cue) Default 0 (D) CUE Data Entry (E) DIR Data Entry (F) GAIN Data Entry Cue Level CD Direct Routing CD Gain Sets the level at the cue outputs. The maximum level of +63 represents +12dB i.e. boosts. Negative values attenuates. Sets the amount of audio from the CD inputs which is directly routed to the main output. 0 Sends no audio from CD to main. 127 sends the current input level to main. Applies gain / attenuation to the incoming audio signal. The -64 value will mute, 0 no gain applied and +63 will apply +12dB gain. Affects sampling, dir and thru machine audio. -64 to +63, Default 0 0 - 127, Default 0 -64 to +63, Default 0 (D) (E) (F)
The Octatrack Notebook : Reference & Guide 281 Audio Mix Routing - Mixer Functions. A L B R C L D R Audio Inputs Audio Outputs Main are the default outputs [CUE] + [T1] - [T8] to route to cue outputs Main Cue Headphone Octatrack Functions Sampling, Thru Machines, Track Effects, Cued Tracks etc Master Track Effects Audio 12 NOTES DIR AB GAIN AB MAIN Output Level -64 -64 -64 M-64 -64 +63 +63 +63 C+63 +63 DIR CD GAIN CD CUE Output Level MIX Headphones 0 127 0 127
282 The Octatrack Notebook : Reference & Guide 12 Audio NOTES ▌SETTING THE HEADPHONE OUTPUT 1. Plug in the headphones to the headphone output. 2. Press [MIX] to open the mixer page. 3. Turn (LEVEL) to direct the balance between the MAIN audio - fully left at -64 M and CUE audio - fully right at +63 C. Values mixed in between also possible to route audio to the headphones. ▌DIRECTING INPUT AUDIO STRAIGHT TO THE MAIN OUTPUTS 1. Press [MIX] to open the mixer page. 2. Turn (B) to direct the amount of AB input audio to the MAIN output. The maximum level, equal to the input is set at 127. A setting of 0 will channel no audio to the output. 3. Turn (E) to direct the amount of CD input audio to the MAIN output. The maximum level, equal to the input is set at 127. A setting of 0 will channel no audio to the output. 4. The master track effects are applied to the direct input / outputs but the other individual track effects are not applied to the direct routing. Thru machines would be used to affect the incoming audio by track effects. ▌ADJUSTING INCOMING AUDIO GAIN / ATTENUATION 1. Press [MIX] to open the mixer page. 2. Turn (C) to the gain or attenuation of AB incoming audio. The maximum level, equal to +63 introduces a gain of +12dB. A setting of -64 will effectively mute the input, attenuating the signal. 3. Turn (F) to the gain or attenuation of CD incoming audio. The maximum level, equal to +63 introduces a gain of +12dB. A setting of -64 will effectively mute the input, attenuating the signal. 4. The gain and attenuation setting affects the Thru machines, DIR routing and sampling in the octatrack.
The Octatrack Notebook : Reference & Guide 283 Main and Cue Routing. There are two sets of dual outputs. The MAIN output is generally used for driving studio or stage monitoring with all tracks routed. This is the normal output. A secondary CUE output pair is also available where a tracks audio can be fully or in part be routed out to the CUE as well as the MAIN. Cue outputs are ideal for alternative mixes and control room applications and especially for creating send / return effects chains with external effect devices. Tracks can be selected to route or not to the CUE Outputs. ▌SETTING THE MAIN MIX 1. Press [FUNC] + Turn (LEVEL) to adjust the level for the MAIN output. This is applicable when not in the MIX page. 2. Press [MIX] to open the mixer page. 3. Turn (A) to adjust the MAIN level. The maximum level, equal to +63 introduces a gain of +12dB. A setting of -64 will effectively mute the input, attenuating the signal. ▌SETTING THE CUE MIX 1. Press [CUE] + [T1] to [T8] to select the tracks to send to the CUE output. The track button will flash when cued. Note when working with samples [CUE] + [YES] will preview the audio to the CUE outputs. 2. Press [MIX] to open the mixer page. 3. Turn (D) to adjust the CUE level. The maximum level, equal to +63 introduces a gain of +12dB. A setting of -64 will effectively mute the input, attenuating the signal. Note: The personalize menu options also contains setting applicable to the CUE output. This sets the muting and selection behaviour when cueing tracks. Also the CUE CFG can also change the CUE output behaviour. Main and Cue levels can be set per track simply by using (LEVEL) or [CUE] + (LEVEL) Audio 12 NOTES
284 The Octatrack Notebook : Reference & Guide 12 Audio 12.3 Audio Mixer - Mute / Solo. NOTES The Octatrack mixer provides the ability to control the mute and also the solo of all tracks using the trig keys. Mix Menu [MIX] Audio Mute / Solo Red - Unmuted Trig keys operate mute / solo control when the MIX menu is open Track 8 cannot be muted if set to a master track. MIDI Mute / Solo Yellow - Unmuted S Command State Indicators Press [TRIG] Mute ON (if previously off) Unlit Trig Key Display shows a dash Track Inaudible Press [TRIG] Mute OFF (if previously on) Lit Trig Key: Red Audio / Yellow MIDI Display shows filled / unfilled box Track Audible Hold [FUNC] + [TRIG] Mute ON (if previously off) Delayed until FUNC released Unlit Trig Key Display shows a cross Track Inaudible Hold [FUNC] + [TRIG] Mute OFF (if previously on) Delayed until FUNC released Lit Trig Key: Red Audio / Yellow MIDI Display shows a plus sign Track Audible Hold [CUE] + [TRIG] Solo ON (if previously off) Lit Trig Key: Green, Others Dimmed Display shows an ‘S’ Only Solo Tracks Audible Hold [CUE] + [TRIG] Solo OFF (if previously on) Trig keys which will become audible when the track is un-soloed are lit dim and display a dotted box. 2 2 2 2 S
The Octatrack Notebook : Reference & Guide 285 Notes on mix muting / soloing. • The mute states will be retained when switching from un-solo. • Master track 8 (if available) is not affected by mute states. • Muting will silence audio on the MAIN outputs. If a track is cued to the CUE outputs it will be audible on the cue even when muted. • A cued track which is soloed will be audible on both the MAIN and CUE outputs. • Cue audio output is not available on the master track 8. • Solo is only available in the MIX menu. Muting can be performed using [FUNC] + [TRACK] when not in the MIX menu. • Track Keys also indicate mute state. The yellow lit track button indicates a muted, currently active track. An unlit track key is a muted but currently unselected track. Audio 12 NOTES T1 T1 Yellow Lit. Currently active track, muted. Flashing Track Buttons. Track is cued, routed to the CUE outputs by [CUE] + [T1] - [T8]. Red Lit. Currently active track, unmuted. Lit Green. Not currently selected track, unmuted. Unlit. Not currently selected track, muted. Press [FUNC] + [T1] - [T8] To mute or unmute the track. MUTE UNMUTE
286 The Octatrack Notebook : Reference & Guide 12 Audio NOTES ▌SETTING ANY TRACK MUTE STATE 1. Press [FUNC] + [T1] - [T8] to toggle the selected tracks mute / unmute. This is available when not in the MIX menu. 2. Press [MIX] to open the mixer page. 3. Press Trig [1] - [8] to toggle mute / unmute for the selected audio track. Muted audio tracks are unlit and indicate a ‘dash’ on the mixer display. Unmuted tracks have red lit trigs and show an filled or unfilled box on the mixer display. 4. Hold [FUNC] + Press Trig [1] - [8] to delay a mute condition. The mute / unmute will only activate when the [FUNC] button is released. A pending mute change from off to ON will indicate a cross on the display. A pending mute change from on to OFF will display a + symbol. These are all shown while [FUNC] is held. 5. The same process applies to MIDI tracks where trig [9] - 16] are used in the process stated above and unmuted tracks show yellow trigs. ▌SETTING ANY TRACK SOLO STATE 1. Press [MIX] to open the mixer page. Solo is only performed with the mixer page open. 2. Press [CUE] + Trig [1] - [8] to toggle solo on / off for the selected audio track. Soloed audio tracks are lit green and indicate an ‘S’ on the mixer display. Un-soloed tracks will display as per the mute or unmuted state. 3. The same process applies to MIDI tracks where trig [9] - 16] are used in the process stated above.
The Octatrack Notebook : Reference & Guide 287 12.4 Cue Routing Behaviour Tracks which are cued will be audible on the CUE outputs as well as the MAIN output. The level can be controlled in the MIX page for the CUE output and also the cue level per track is adjustable on the selected track using [CUE] + Turn (LEVEL). ▌SETTING TRACKS TO CUE 1. Press [CUE] + [T1] to [T8] to select the tracks to send to the CUE output. Master track, if assigned on track 8 cannot be cued. 2. The track button will flash to indicate it is cued. 3. To adjust the current track cue level , Press [CUE] + Turn (LEVEL). This adjust the level, post effects and only the cue level not the main level. 4. To set the inputs directly to the cue outputs, Press • [CUE] + [REC1] for AB, or • [CUE] + [REC2] for CD or • [CUE] + [REC3] for Internal audio. • The respective rec key will flash when cued. Audio 12 NOTES
288 The Octatrack Notebook : Reference & Guide 12 Audio NOTES While the CUE routing settings are similar to MAIN, there are some specific default behaviours than can also be changed in the appropriate settings. Normal CUE operation allows the output pair to receive audio from selected cued tracks but this can be changed. The PROJ > CONTROL > AUDIO. ▌CHANGING FROM NORMAL CUE TO STANDARD OUTPUTS 1. Press [PROJ] to open the settings menu. 2. Press [UP] [DOWN] to highlight the CONTROL option and press [YES] or [RIGHT]. 3. Press [UP] [DOWN] to highlight AUDIO in the right side options and press [YES] to select. 4. Press [RIGHT] [LEFT] to highlight the CUE CFG box. 5. Press [YES] on the option to select on and to toggle between NORMAL and STUDIO. • NORMAL: This is the default setting and allows the CUE outputs to be uniquely assigned using [CUE] + [TRACK]. These act as the secondary alternative outputs. • STUDIO: Sets the CUE outputs as generally assigned outputs and disables normal mode. This operation is similar to main. Outputs are readily routed to CUE and an additional level LEV for cue is provided in this mode side by side with the level bar graph. To adjust the volume:- • Turn (LEVEL) to adjust MAIN level. • Press [CUE] + Turn (LEVEL) for the CUE output level. • Muting also will be applied in this mode to both cue and main.
The Octatrack Notebook : Reference & Guide 289 Audio 12 NOTES Some cue settings can be set in the personalize menu found in the PROJ > SYSTEM > PERSONALIZE menu. This allows automatic selection of the track and automatic muting when selecting cue. ▌SETTING CUE SELECTION TO AUTO ACTIVATE TRACK 1. Press [PROJ] to open the settings menu. 2. Press [UP] [DOWN] to highlight the SYSTEM option and press [YES] or [RIGHT]. 3. Press [UP] [DOWN] to highlight PERSONALIZE in the right side options and press [YES] to select. 4. Press [UP] [DOWN] to highlight the CUE FOCUSES TRACK. 5. Press [YES] to toggle between checked ON or unchecked OFF. When ON the track will automatically be selected as the active track when selecting it to cue using [CUE] + [T1] - [T8]. When OFF, the track will only be set to cue. ▌SETTING CUE SELECTION TO AUTO MUTE TRACK 1. Press [PROJ] to open the settings menu. 2. Press [UP] [DOWN] to highlight the SYSTEM option and press [YES] or [RIGHT]. 3. Press [UP] [DOWN] to highlight PERSONALIZE in the right side options and press [YES] to select. 4. Press [UP] [DOWN] to highlight the CUE MUTES TRACK. 5. Press [YES] to toggle between checked ON or unchecked OFF. When ON the track will automatically mute from the main output when selecting it to cue (audio is sent to cue). Press [CUE] + [T1] - [T8] to cue a track. When OFF, the track will only be set to cue when selected and muting is unaffected.
290 The Octatrack Notebook : Reference & Guide 12 Audio 12.5 Audio Input Control. NOTES The inputs available for routing external audio into Octatrack also provide the ability to control delay compensation and to gate the noise from incoming audio. These are found in the PROJ > CONTROL > INPUT options. Noise Gate. Think of a gate as a door that opens to allow audio through or closes to stop audio passing through. Now think if the door was partially open and only allowed some audio through, i.e. the louder parts. In audio applications this is useful when an audio signal may have low level background noise. The Octatrack gate can therefore be applied to only allow audio above a threshold through and reduce any unwanted noise. ▌SETTING A NOISE GATE ON THE AUDIO INPUTS 1. Press [PROJ] to open the settings menu. 2. Press [UP] [DOWN] to highlight the CONTROL option and press [YES] or [RIGHT]. 3. Press [UP] [DOWN] to highlight INPUT in the right side options and press [YES] to select. 4. Press [UP] [DOWN] to highlight the audio input NOISE GATE AB or NOISE GATE CD depending on the input desired. 5. Turn (LEVEL) or press [LEFT] [RIGHT] to adjust the noise gate threshold. This is the value in dB that will allow audio above the value through and to cut the audio below. Often adjustments by ear is advised. A setting of -INF effectively turns the gate off and all audio will pass through while 0dB is maximum gating. Only audio above the threshold will pass through, reducing noise. A setting of -INF effectively switches the gate off and all audio will pass through. Original Signal Threshold -Inf 0dB Gated Input Signal
The Octatrack Notebook : Reference & Guide 291 Delay Compensation. This feature ensures that the DIR routing audio and the Thru Machine or Pickup Machine audio is synchronised. Internal processing within the audio machine can introduce a delay compared to a direct audio signal. To compensate for this a very short delay can be introduced to the DIR signal and ensure the audio is in sync. ▌SETTING UP DELAY COMPENSATION 1. Press [PROJ] to open the settings menu. 2. Press [UP] [DOWN] to highlight the CONTROL option and press [YES] or [RIGHT]. 3. Press [UP] [DOWN] to highlight INPUT in the right side options and press [YES] to select. 4. Press [UP] [DOWN] to highlight the audio input DELAY COMPENSATE. 5. Press [LEFT] [RIGHT] to toggle DELAY COMPENSATE On / Checked or Off / Unchecked. When On the DIR audio is slightly delayed to ensure it syncs with the processed (and naturally delayed) Thru / Pickup machine audio. Audio 12 NOTES Original DIR Routed Signal Delayed DIR Routed Signal Thru Machine / Pickup Machine Potential Delay between DI & Machine Delay compensated to synchronise Thru Machine / Pickup Machine Delay Compensation Off / Unchecked Delay Compensation On / Checked
292 The Octatrack Notebook : Reference & Guide 12 Audio 12.6 Audio Editor Overview. NOTES The Octatrack audio editor, also called AED, contains a series of functions used for editing and working on imported and recorded audio samples. Five editing ‘toolkits’ are available; Trim, Slice, Edit, Attributes and File, each with a set of comprehensive sample management options. The audio editor is accessible from a variety of locations within Octatrack. Note: The available options in the audio editor will depend on how the current sample is handled. Options will differ whether working in a flex or static sample. Flex samples have a wider set of editing options available in AED. Audio Editor [AED] Audio Editor is accessed primarily by pressing [AED]. There are other ways to access the audio editor depending on the current location in Octatrack. QUICK ASSIGN MENU With a sample highlighted, to open the audio editor from within the static or flex lists. Press [FUNC] + [BANK] SRC & RECORDING SETUP With a setup page open for a static or flex machine. Select the sample slot sample. Press [FUNC] + [BANK] TRACKS The sample loaded into a flex or static machine on a selected track can be edited. Press [T1] - [T8] + [BANK] TRACK RECORDER Select the track with the recorder buffer of the audio to edit. Press [REC1] or [REC2] + [BANK] Function Selected in AED by Description TRIM Press [SRC] Trims the sample start and end point. Also loop points of the sample can be set. SLICE Press [AMP] Divides a sample into multiple (max 64) slices, varying lengths, each with its start and end point. EDIT Press [LFO] Multiple, more intricate editing functions such as crop, reverse, normalize are available here. ATTR Press [FX1] A samples permanently linked attributes such as gain, loop mode, tempo are presented here. FILE Press [FX2] File management tools such as save, load, clear are available under FILE.
The Octatrack Notebook : Reference & Guide 293 The workflow of the audio editor will be based on what the objective is. Whether just to trim a recorded sample or build complex slices the direction may be different. A basic starting workflow guide is shown here and assumes a track has a sample loaded or recording in a buffer. Opening AED may revert to the previous opened state. Navigation to the desired position may be required. Audio 12 S E 1 2 3 4 6 8 9 5 7 TRIM Press [SRC] SLICE Press [AMP] EDIT Press [LFO] ATTR Press [FX1] FILE Press [FX2] TRIM editor SLICE editor EDIT editor Throughout the editing process, use [FUNC] + [YES] to audition the edited sample at the main outputs. Alternatively [CUE] + [YES] to audition the edited sample at the cue outputs. Audio Editor [AED] is available by pressing [AED] or directly from within the context shown here during the workflow. SRC or Recording Setup Track recorder selected. [FUNC] + [BANK] Flex / Static Track Directly from a track. [T1] - [T8] + [BANK] Quick Assign Static or Flex Sample List. [FUNC] + [BANK] Track Recorder Track with recorder buffer [REC1] or [REC2] + [BANK] Select the trim function within the audio editor. Trim the start, end and loop points. An optional trim edit menu is available to set start, end, loop and reset based on current position. Access in Trim page [FUNC] + [BANK] The slice editor allows slices to be created from current position and laid out across a defined grid. Slices can be created, deleted, normalised and locked within this menu. The editor allows further modifications to the sample. Fades, gain adjustments, copy/paste as well as intricate editing options. Edits are lost on power down - save the sample to retain the edited version. Attributes are embedded in the sample and should be saved to retain any edited states. For slices to operate the SLIC option in the SRC page needs to be set to ON. Slicing operates at a sample slot level for static and flex samples. Sub-menu is accessible by [FUNC] + [BANK] within some functions. Additional elements of the sample can be edited in more finite detail. Parts or all of the waveform can be selected and edits performed within the edit menu. Trim and Slice edit settings are maintained and the selection carried over into the EDIT page. Embedded attributes for the selected sample. These can be permanently set for the sample when saved. Edits can be saved as new samples or the trim, slice and attributes can be saved as a linked settings file. Saves can be made at each edit stage which is good practice. [AED] OPTIONAL WORKFLOW TYPICAL WORKFLOW COMMENTS Adjust the Start ‘S’ with (A), End ‘E’ with (C) and required loop position ‘L’ with (B) Additional editing options. Adjust the selection to edit with (A) and (C). Embedded sample attributes, scroll using [UP] [DOWN] Sample management options. To edit, open the slice edit menu, press [FUNC] + [BANK] within the slice page. To edit, open the edit menu, press [FUNC] + [BANK] within the edit page. Navigate the waveform with the (LEVEL) or [RIGHT] [LEFT] functions.
294 The Octatrack Notebook : Reference & Guide 12 Audio 12.7 Audio Routing Effect Chains. NOTES The Octatrack can be used as an effects box where the internal effects are used as part of a wider setup with external gear such as synths. Equally external effects can also be integrated into an Octatrack set up. Some example useful routing configurations are shown here. L R L R Audio Outputs Main are the default outputs Audio can be routed to main output and ‘mixed’ with other tracks. Audio can be routed to cue outputs and can be configured independently to ‘isolate’ from main. [CUE] + [T1] - [T8] to route to cue outputs Main Cue Example: Octatrack as an Effects Processor A B C D Audio Inputs SRC INAB = A MIXER AB DIR = 0 Track 1 Thru Machine Play sequencer with trig 1 set to ‘trigger’ audio in Track 8 can optional be set as the master track. Track 2 Neighbor Machine Track 8 Master Track FX1 FX1 FX1 FX2 FX2 FX2 OP-Z
The Octatrack Notebook : Reference & Guide 295 Audio 12 NOTES Example: Octatrack with Send / Return Routing L R L R Audio Outputs External Device OTO BAM Desktop Reverb Main are the default outputs Audio can be routed to main output and ‘mixed’ with other tracks. Audio can be routed to cue outputs as ‘Sends’ isolated from main. [CUE] + [T1] - [T8] to route to cue outputs Main Cue C D Audio Inputs MIDI SRC INCD = CD MIXER CD DIR = 0 Track 7 (Return) Thru Machine Play sequencer with trig 1 set on to ‘trigger’ audio in An alternative is to route incoming audio directly to the main outs using the mixer DIR setting. FX1 FX2 -64 +63 CUE Output Level Octatrack Functions
296 The Octatrack Notebook : Reference & Guide 12 Audio 12.8 Trim - Audio Editor. Audio recorded or imported can easily be trimmed both at the start and end. In addition the Trim editor allows the setting of the loop position. The current sample can be edited in the audio editor which is accessed depending on the current workflow location. Audio Editor [AED] Audio Editor Trim Editor Function [SRC] Sample Position Tempo BPM Parameter values will be displayed when adjustments are made. Bar Length 462902 T:118.33 B:4.00 The Trim options are available within the Audio Editor. Sample Slot 1 - Sample Name: MiracleWorker Sample Slot 2 - Sample Name: MiracleWorker Trim settings are linked to a sample slot, not the sample itself. So the same sample can have different trim settings for each slot it is loaded into. Data Entry (F) or [UP] [DOWN] Data Entry (E) Data Entry (D) Zoom Horizontal Scroll Horizontal Zoom Vertical (LEVEL) or [RIGHT] [LEFT] to navigate edit marker Marker indicator shows a ‘box’ symbol when on a zero crossing point. To snap the edit marker, start, end and loop position to zero crossing points, use [FUNC] + with the respective functions [RIGHT] [LEFT], or (A), (B), (C). The timestretch or original BPM settings in the attributes may need to be adjusted to achieve the desired results. Loop in the SRC setup would need to be on for looping to be recognised. Also ensure the sample length allows looping in the sequence. To audition the audio sample Press [FUNC] + [YES] to audition to the main outputs or [FUNC] + [CUE] to audition to the cue outputs. Data Entry (A) Play From Play To Loop From Data Entry (C) Data Entry (B) L E S To open the secondary Trim Edit Pop Up Menu Press [YES] or [FUNC] + [BANK] +