The Octatrack Notebook : Reference & Guide 297 Audio 12 NOTES A series of secondary, additional options are available in the trim pop-up menu. These offer trim edit features with respect to the edit marker. The secondary Trim Edit menu is available from within the TRIM page by pressing [YES] or [FUNC] + [BANK]. TRIM Page Command Reference Menu Function Control Description Main Move marker Turn (LEVEL) or Press [RIGHT] or [LEFT] Locate the edit marker position within in the waveform. Position is displayed in samples. Main Preview to Main Press [FUNC] or [YES] Plays and previews the edited audio at the main audio outputs. Main Preview to Cue Press [CUE] or [YES] Plays and previews the edited audio at the cue audio outputs. Main Scroll Waveform Turn (E) Scrolls the bounding selection box across the waveform horizontally. White box indicates position with respect to the full waveform. Main Zoom X-Axis Turn (F) or Press [UP] or [DOWN] Zooms in or out of the waveform horizontally on the X-Axis. Display indicates zoom level on the top white bar with respect to the full length. Main Zoom Y-Axis Turn (D) Zooms in or out of the waveform vertically on the Y-Axis. Display indicates zoom level on the right slider with respect to the full size. Main Start Position Turn (A) Adjust and set the sample start playback position labelled as ‘S’. End position will adjust relative to start. Sample position, BPM and Bar Length are displayed when adjusting. Main End Position Turn (C) Adjust and set the sample end / stop position labelled as ‘E’. Changes to the sample position, BPM and bars are displayed when adjusting. Main Loop Position Turn (B) Adjust and set the sample loop start position labelled as ‘L’. Changes to the loop point and loop length in bars are displayed when adjusting. Trim Edit Set Start Here Menu Selection Will set the start position ‘S’ based on the current location of the edit marker. Can be adjusted by turning (A). Trim Edit Set End Here Menu Selection Will set the start position ‘E’ based on the current location of the edit marker. Can be adjusted by turning (C). Trim Edit Set Loop Here Menu Selection Will set the loop position ‘L’ based on the current location of the edit marker. Can be adjusted by turning (B). Trim Edit Reset to Default Menu Selection Will reset the start and loop to the absolute sample start position and end to the absolute sample end, restoring default marker positions. Trim Edit Change View Menu Selection Will enable a left, right or stereo waveform to be displayed as CH L View, CH R View or Stereo View waveforms on the display. Audio Editor [AED]
298 The Octatrack Notebook : Reference & Guide 12 Audio ▌TRIMMING A WAVEFORM 1. Press [AED] to open the audio editor. Alternatively, on a sample from within the sample list, or in the SRC or recording setup page, press [FUNC] + [BANK] to directly open the audio editor for the sample. 2. The TRIM page should be open by default, if not, Press [SRC] to open the TRIM page. 3. To navigate the waveform; Turn (E) - Scroll, Turn (F) - Zoom X-Axis, Turn (D) - Zoom Y-Axis. It is useful to zoom in close to allow precise positioning of the trim positions or of the edit marker. 4. To set trim positions; Turn (A) - Start ‘S’, the end position will move relatively. End will move relatively to the start. Turn (C) - End ‘E’, to adjust location where the sample playback will stop. 5. To set loop position; Turn (B) - Loop ‘L’. Playback will comments start ‘S’ and then at the end ‘E’ it will loop back to restart at the ‘L’ position and continue the cycle. The SRC pages will affect loop. Loop would need to be on. If RATE is set negative the loop will play from ‘E’ to ‘L’. 6. For precise settings at positioning a marker on a wave zero crossing and to avoid audio ‘clicks’ use [FUNC] + function to adjust. A box symbol appears on the marker when it is on a zero crossing. 7. Samples have an ‘original’ calculated tempo BPM and bar length. When trimming a sample, these may be impacted and may not give the desired results. For example the bar length when truncating a sample may remain at the original length and therefore stretch the audio. Parameters in the attributes page will allow adjustments to correct. 8. In the FILE page, saving the settings allows the trim stat to be retained. The settings are linked to a sample slot, not the sample itself. This allows the same sample to be used in multiple sound slots, each with its own trim settings. 9. The Trim edit pop-up menu is accessed by pressing [YES] or [FUNC] + [BANK]. More trim options are available including changing the wave view or resetting to defaults. Stereo wave view is advised to set zero crossings to the L/R waves. NOTES
The Octatrack Notebook : Reference & Guide 299 Audio 12 NOTES ▌TRIMMING A WAVEFORM AT THE EDIT MARKER 1. Press [AED] to open the audio editor. Alternatively, on a sample from within the sample list, or in the SRC or recording setup page, press [FUNC] + [BANK] to directly open the audio editor for the sample. 2. The TRIM page should be open by default, if not, Press [SRC] to open the TRIM page. 3. Navigate and position the edit marker to a start position in the waveform; Turn (LEVEL) or press [RIGHT] [LEFT]. Use [FUNC] + (LEVEL) or press [RIGHT] [LEFT] to set at a zero crossing position. 4. Press [YES] or [FUNC] + [BANK] to open the Trim Edit pop-up menu. 5. Select ‘SET START HERE’ to set the ‘S’ Start position at the edit location. 6. Repeat step 3 - 4 for the End ‘E’ - SET END HERE and Loop ‘L’ SET LOOP HERE. 7. Samples have an ‘original’ calculated tempo BPM and bar length. When trimming a sample, these may be impacted and may not give the desired results. For example the bar length when truncating a sample may remain at the original length and therefore stretch the audio. Parameters in the attributes page will allow adjustments to correct. 8. In the FILE page, saving the settings allows the trim stat to be retained. The settings are linked to a sample slot, not the sample itself. This allows the same sample to be used in multiple sound slots, each with its own trim settings.
12.9 Slice - Audio Editor. Audio samples can be sliced and divided in a number of ways from within the audio editor. A maximum of 64 slices are possible each can be triggered by the trig keys. This is useful for using sample snippets or creating drum kits. + When sequencing slices, ensure the SRC parameters are set correctly. SLIC would need to be on and the LEN would need to be set correctly Each trig set to a slice. A good start is to set loop off, Setup Page; SLIC = ON, LEN = TIME, Main Page; LEN = 127, STRT to the Slice SL1 … etc. 300 The Octatrack Notebook : Reference & Guide 12 Audio Audio Editor [AED] Slice Grid Audio Editor Slice Editor Function [AMP] Duration (Secs) Sample Position Slice Number Parameter values will be displayed when adjustments are made. Bar Length S1 462902 0.15s B:0.22 The Slice options are available within the Audio Editor. Sample Slot 1 - Sample Name: MiracleWorker Sample Slot 2 - Sample Name: MiracleWorker Slice settings are linked to a sample slot, not the sample itself. So the same sample can have different slice 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) to navigate edit marker will also select slices if available [RIGHT] [LEFT] to select slices Marker indicator shows a ‘box’ symbol when on a zero crossing position To step the edit marker, start, end and loop position to zero crossing points, use [FUNC] + (LEVEL) or [RIGHT] [LEFT], or (A), (B), (C) respectively. To audition the active slice audio Press [FUNC] + [YES] to audition to the main outputs or [FUNC] + [CUE] to audition to the cue outputs. Slice must be selected, shown inverted, to edit the positions; Start (A), End (C) and Loop (B) Slices can be added manually or equally spaced to grid. Slices can overlap. Slices played by Trigs. Sliced can be looped. ATTR To open the Slice Edit Pop Up Menu Press [YES] or [FUNC] + [BANK] + L S E
The Octatrack Notebook : Reference & Guide 301 Audio 12 NOTES Slice Sub Menu - Slice Edit The slice pop-up menu is available in AED. A slice must already exist in order to edit it’s start, end and loop points. This menu offers automatic grid as well as manual slicing to the edit marker. The slice edit menu is available from within the SLICE page by pressing [YES] or [FUNC] + [BANK]. Slice playback will depend on the settings in the SRC Page. The SLIC - Slice setting needs to be set ON to play slices and the STRT - Start position may reflect the sample slice start. Advanced Slicing Options Create Slice Grid (Even slices across the trimmed sample) Slices are distributed at equal distances apart, starting at the defined sample start, finishing at the sample end. Note that the sample start / end is based on any trimmed positions that has been edited in the ‘Trim’ function rather than using the original sample length. Number of slices: 2, 3, 4, 6, 8, 12, 16, 24, 32, 48, 64 Create Linear Locks SRC Page SLIC parameter set to ON. Trigs should be initially set and are automatically locked to the slice start. Only for Flex and Static Machines. Dependant on number of existing slices. Slices must already exist. SL1 SL2 SL3 SL4 Create Linear Locks SRC Page SLIC parameter set to ON. Trigs that already exist are automatically locked to random slice start. Only for Flex and Static Machines. Dependant on number of existing slices. Slices must already exist. SL1 SL2 SL3 SL4 Create Slice Grid (Zero Crossing distributed across trimmed sample) Slices are distributed at evenly spaced and adjusted to the nearest zero crossing point, starting at the defined sample start, finishing at the sample end. Number of slices: 2, 3, 4, 6, 8, 12, 16, 24, 32, 48, 64
302 The Octatrack Notebook : Reference & Guide 12 Audio NOTES SLICE Page Command Reference + Menu Function Control Description Main Move edit & Select Slice Turn (LEVEL) or Press [RIGHT] or [LEFT] Locate the edit marker position within in the waveform and select an existing slice. Main Preview to Main Press [FUNC] or [YES] Plays and previews the selected slice or from edit at the main audio outputs. Main Preview to Cue Press [CUE] or [YES] Plays and previews the selected slide or from edit at the cue audio outputs. Main Scroll Waveform Turn (E) Scrolls the bounding selection box across the waveform horizontally. White box indicates position with respect to the full waveform. Main Zoom X-Axis Turn (F) or Press [UP] or [DOWN] Zooms in or out of the waveform horizontally on the X-Axis. Display indicates zoom level on the top white bar with respect to the full length. Main Zoom Y-Axis Turn (D) Zooms in or out of the waveform vertically on the Y-Axis. Display indicates zoom level on the right slider with respect to the full size. Main Slice Start Pos Turn (A) Adjust the active slice start playback position labelled as ‘S’. End position will adjust relative to start. Sample position, BPM and Bar Length are displayed when adjusting. Main Slice End Pos Turn (C) Adjust the active slice end / stop position labelled as ‘E’. Changes to the sample position, BPM and bars are displayed when adjusting. Main Slice Loop Pos Turn (B) Adjust the active slice loop position labelled as ‘L’. Changes to the loop start position. Slice Edit Add Slice Here Menu Selection Only available when the marker is located within an area that is not sliced. Creates a slice at the edit marker point. Slice Edit Disable Loop Menu Selection Only available when the marker is located within a slice. Deletes the loop point marker. Slice Edit Reverse Slice Menu Selection Reverses the audio of the selected slice. Slice Edit Normalize Slice Menu Selection Normalises the audio of the selected slice by maximising the audio level. Slice Edit Delete All Slices Menu Selection Deletes all existing slices. Slice Edit Create Slice Grid Menu Selection Automatically places a chosen number of slices, equally placed or aligned to zero crossings, between the sample trimmed start and end. Press [FUNC] + [AED] to directly access this sub-menu. Slice Edit Create Linear Locks Menu Selection Will automatically set SLIC (SRC Page) to ON and lock the STRT parameter of each existing trig to the consecutive slices, SL1, SL2 etc. Available in Flex and Static machine tracks only. Slice Edit Create Random Locks Menu Selection Will automatically set SLIC (SRC Page) to ON and lock the STRT parameter of each existing trig to random slices. Available in Flex and Static machine tracks only. Slice Edit Change View Menu Selection Will enable a left, right or stereo waveform to be displayed as CH L View, CH R View or Stereo View waveforms on the display. Audio Editor [AED] Direct access to Slice Grid
The Octatrack Notebook : Reference & Guide 303 Audio 12 NOTES ▌MANUALLY CREATING NEW SLICES IN A WAVEFORM 1. Press [AED] to open the audio editor or [FUNC] + [AED] to directly access the slice grid. Alternatively, on a sample from within the sample list, or in the SRC or recording setup page, press [FUNC] + [BANK] to directly open the audio editor for the sample. 2. Press [AMP] within AED to open the SLICE page. 3. It may be useful to view the sample as a stereo or mono file. The view option can be selected using ‘CHANGE VIEW” in the Slice Edit Menu by pressing [YES] or [FUNC] + [BANK]. 4. To navigate the waveform; Turn (E) - Scroll, Turn (F) - Zoom X-Axis, Turn (D) - Zoom Y-Axis. It is useful to zoom in close to allow precise positioning of the slice positions or of the edit marker. 5. Turn (LEVEL) to navigate and position the edit marker to a targeted start position located at a non-sliced part of the waveform. Use [FUNC] + (LEVEL) to set at a zero crossing position identified by the box. 6. Press [YES] or [FUNC] + [BANK] to open the Slice Edit pop-up menu. 7. Select ‘ADD SLICE HERE’ to create a slice with the start ‘S’ at the current edit marker position. This option is only available when the marker is located at a part of the waveform that is not currently sliced. 8. Press [LEFT] [RIGHT] to navigate samples. The (LEVEL) edit marker will also automatically select slices when navigating. 9. Once created the slice can be edited. Turn (A) to adjust the slice ‘S’ Start Position, Turn (C) to adjust the slice ‘E’ End Position. 10. Each slice can have its own loop point. Turn (B) to set or adjust a slice Loop Position. 11. Further editing options are available to normalize, reverse or delete a slice. Press [YES] or [FUNC] + [BANK] to open the Slice Edit pop-up menu and to access these options. 12. Repeat steps 4-10 to create more slices.
304 The Octatrack Notebook : Reference & Guide 12 Audio NOTES ▌CREATING SLICES TO A DEFINED GRID SPACING 1. Press [AED] to open the audio editor or [FUNC] + [AED] to directly access the slice grid. Alternatively, on a sample from within the sample list, or in the SRC or recording setup page, press [FUNC] + [BANK] to directly open the audio editor for the sample. 2. Press [AMP] within AED to open the SLICE page. 3. Press [YES] or [FUNC] + [BANK] to open the Slice Edit pop-up menu. 4. Select ‘CREATE SLICE GRID’ to create a sequence of slices between the sample start and end points. 5. The number of slice options box will be displayed. Press [UP] [DOWN] to navigate the options and highlight the desired number of slices. The options available are 2, 3, 4, 6, 8, 12, 16, 24, 32, 48 and 64. 6. Press [YES] to select the highlighted number slices or [NO] to cancel, 7. The message, ‘ALIGN MARKERS TO ZERO-CROSSES?’ is presented. Press [YES] to align sample slices to nearest zero crossing points or Press [NO] to evenly space the slices between start and end points. 8. The sample is sliced according to the options selected and the slice point markers displayed. Slices are distributed across the trimmed sample length not the original sample length. 9. To navigate and select through the slices, Press [LEFT] [RIGHT]. Slices are also automatically selected based on the edit marker location, adjusted by turning (LEVEL). 10. Once created the selected slice can be edited. Turn (A) to adjust the slice ‘S’ Start Position, Turn (C) to adjust the slice ‘E’ End Position. 11. Each slice can have its own loop point. Turn (B) to adjust a slice Loop Position. 12. Further editing options are available to normalize, reverse or delete a slice. Press [YES] or [FUNC] + [BANK] to open the Slice Edit pop-up menu and to access these options. Note: Press [FUNC] + [AED] to access the slice grid directly from any point in Octatrack. This will open the audio editor and also open the slice grid pop-up selection options for the number of slices. This is equivalent to Step 5 above.
The Octatrack Notebook : Reference & Guide 305 Audio 12 NOTES ▌ AUTOMATICALLY CREATING STRT LOCKS WITH SLICES This function is available for flex and static machines only and while creating slices assigns a STRT position lock. It requires slices to exist and trigs to already be set in the track sequence. 1. If Trigs are not already set, select [REC] to enter step recording mode. Assign Trig steps by pressing the Trig [1] - [16] as desired. Locks are automatically applied only to existing Trigs on the track. 2. Press [AED] to open the audio editor or [FUNC] + [AED] to directly access the slice grid. Alternatively, on a sample from within the sample list, or in the SRC or recording setup page, press [FUNC] + [BANK] to directly open the audio editor for the sample. 3. Press [AMP] within AED to open the SLICE page. 4. Press [YES] or [FUNC] + [BANK] to open the Slice Edit pop-up menu. 5. Select ‘CREATE LINEAR LOCKS’ to create a consecutive sequence of slices between the sample start and end points. Alternatively 5. Select ‘CREATE RANDOM LOCKS’ to create a random sequence of slices between the sample start and end points. 6. Press [YES] to confirm ‘ALTER TRIGS?’. This will apply STRT locks for each slice across the available trigs. Also the SRC Setup SLIC parameter will be set to ON. 7. The Trigs will flash Yellow to indicate a lock is applied. The slice can be viewed on the STRT parameter lock on the SRC page when holding the Trig button. Linear Slice Examples Trigs Set Number of Slices STRT Parameter Behaviour 1, 5, 9 2 (SL1, SL2) Trig 1 = SL1, Trig 5 = SL2, Trig 9 = SL1 Slices will be applied in consecutive order across all of the available Trigs, wrapping back to Slice 1. 1, 5, 9 4 (SL1, SL2, SL3, SL4) Trig 1 = SL1, Trig 5 = SL2, Trig 9 = SL3 Slices will be applied in consecutive order across all of the available Trigs based on available slices. 1, 5. 9 1 (SL1) Trig 1 = SL1, Trig 5 = SL1, Trig 9 = SL1 When only one sample is available it will be repeatedly mapped to each available trig.
306 The Octatrack Notebook : Reference & Guide 12 Audio 12.10 Creative Use of Slices and Start Position. While trimming and slicing of a sample appears to be primarily an administrative task, there are many creative opportunities that arise based on the these attributes and parameters. Some related comments, topics and tips to consider:- • The sample start position ‘S’ will be the playback start. • It is useful to zoom in close to allow precise positioning of the trim and slice positions or of the edit marker. To navigate the waveform; Turn (E) - Scroll, Turn (F) - Zoom X-Axis, Turn (D) - Zoom Y-Axis. • To set loop position; Turn (B) - Loop ‘L’. Playback will comments start ‘S’ and then at the end ‘E’ it will loop back to restart at the ‘L’ position and continue the cycle. The SRC Main page RATE setting will affect loop. If RATE is set negative the loop will play from ‘E’ to ‘L’. • For precise settings at positioning a marker on a wave zero crossing and to avoid audio ‘clicks’ use [FUNC] +. For example [FUNC] + (A) for Start. A box symbol appears centrally on the marker when it is on a zero crossing. • Samples have an ‘original’ calculated tempo BPM and bar length. When trimming a sample, these may be impacted and may not give the desired results. For example the bar length when truncating a sample may remain at the original length and therefore stretch the audio. Parameters in the attributes page will allow adjustments to correct. • In the FILE page, saving the settings allows the trim and slice state to be retained. The settings are linked to a sample slot, not the sample itself. This allows the same sample to be used in multiple sound slots, each with its own trim settings. • The trim and slice edit pop-up menus are accessed by pressing [YES] or [FUNC] + [BANK]. More advanced options are available here. • Slice audio editor can be directly accessed. Press [FUNC] + [AED]. • SLIC (SRC Setup Page) must be ON for Slice playback from the sequencer. • The SRC page SRT parameter is important for slice playback. SLIC (SRC Setup Page) must be ON for Slice SL1,SL2 etc playback and If SLIC is OFF approximate sample starts are used. NOTES
The Octatrack Notebook : Reference & Guide 307 Audio 12 NOTES ▌CREATIVE MODULATING OF SAMPLE START This creative tip will modulate the start of a sample and therefore create interesting sound designs. This is great for generating unusual percussive rhythms. 1. Create a track with a Flex Machine. While this process technically works with Static Machines, the performance may be limited due to the speed of streaming from the compact flash. 2. Load a sample into the Flex machine. A good example would be a percussive sample. 3. Set Trigs to initiate playback of the sample. Example Trig 1, 5, 8, 9, 12, 13. The sample will restart (at the start STRT) playback on each trig activation. 4. Set locks on the Trigs using the STRT parameter found in the SRC page. For example Hold Trig 5 + Turn B. Repeat for other Trigs. 5. Why not try experimenting:- • Try randomising the SRC page as locks on each Trig. • Set an LFO to control the sample start. Sample and hold is an interesting LFO to try. • Also try locking other parameters to say adjust pitch as well as start.
308 The Octatrack Notebook : Reference & Guide 12 Audio ▌SLICE PLAYBACK MODULATION FOR CREATIVE SOUNDS This creative tip will modulate sample slice playback. This is ideal for generating glitchy vocal patterns. 1. Create a track with a Flex Machine. While this process technically works with Static Machines, the performance may be limited due to the speed of streaming from the compact flash. 2. Load a sample into the Flex machine. A good example would be a recorded vocal sentence, speech or spoken word. 3. Set Trigs to initiate playback of the sample. Example Trig 1, 5, 8, 9, 12, 13. The sample will restart (at the start STRT) playback on each trig activation. 4. Slice the sample to grid. Adjust the slices to capture specific phrases in the sentence. 5. Set Trigs in the pattern. 6. Select from the Slice Edit menu ‘CREATE LINEAR LOCKS’ to set the Trigs to activate individual slices. To be even more creative try ‘CREATE RANDOM LOCKS’ 7. Experiment with Trig patterns and generate new random locks to develop patterns of phrases. Try modulating other parameters such as pitch or add and modulate filters. NOTES
The Octatrack Notebook : Reference & Guide 309 Audio 12 12.11 Edit Toolkit - Audio Editor. The Edit function located within the audio editor provides a comprehensive set of tools for alternate and more in depth sample editing. The available options are machine dependant. A flex sample, presents many edit options and a static sample have a limited set of edit options. Audio Editor [AED] Audio Editor Edit Function [LFO] Sample Position Parameter values will be displayed when adjustments are made. Bar Position 462902 0.04s B:0.02 The Edit options are available within the Audio Editor. Edits can be made to the part of the sample selected in the bounding box. Zero-crossing points will show as a square icon on the bounding markers. Sample Slot 1 - Sample Name: MiracleWorker Data Entry (F) or [UP] [DOWN] Data Entry (E) Data Entry (D) Zoom Horizontal Scroll Horizontal Zoom Vertical The visible sample span view will be retained between trim, slice and edit pages to make editing seamless Save the sample to retain the edits. Unsaved edits will be lost if powered down. Unsaved samples with edits applied will show starred in the sample lists. To audition the active slice audio Press [FUNC] + [YES] to audition to the main outputs or [FUNC] + [CUE] to audition to the cue outputs. Sample Selection Bounding Box Start (A) Does NOT affect Trim / Slice Settings End (C) To open the Edit Pop Up Menu Press [YES] or [FUNC] + [BANK] + X X Position Sec Trim Slice
310 The Octatrack Notebook : Reference & Guide 12 Audio NOTES EDIT Page Command Reference Menu Function Control Description Main Start Marker Turn (LEVEL) or (A) or Press [RIGHT] or [LEFT] Position the start of the selection bounding box by adjusting the start edit marker position. End moves relatively. Main End Marker Turn (C) Position the end of the selection bounding box by adjusting the end edit marker position. Main Preview to Main Press [FUNC] or [YES] Plays and previews the selected slice or from edit at the main audio outputs. Main Preview to Cue Press [CUE] or [YES] Plays and previews the selected slide or from marker at the cue audio outputs. Main Scroll Waveform Turn (E) Scrolls the bounding selection box across the waveform horizontally. White box indicates position with respect to the full waveform. Main Zoom X-Axis Turn (F) or Press [UP] or [DOWN] Zooms in or out of the waveform horizontally on the X-Axis. Display indicates zoom level on the top white bar with respect to the full length. Main Zoom Y-Axis Turn (D) Zooms in or out of the waveform vertically on the Y-Axis. Display indicates zoom level on the right slider with respect to the full size. Edit * Select All Menu Selection Selects the entire sample. Edit functions will apply to the sample selection. Edit Crop to Selection Menu Selection Will set the trim start and end points based on the sample selection - all or by the bounding box. Slices outside the selection will be incorporated within the selection. To perform the actual trim use the TRIM menu where these settings appear. Edit Delete Selection Menu Selection Removes audio within the selection. This can only be applied when deleting audio at the start or end of the sample. Edit Save Selection Menu Selection Saves the audio within the selection as a new audio sample. This is saved in the same format as the original sample. Edit Reverse Selection Menu Selection Reverses the audio of the selected part. Edit Fade In Selection Menu Selection Applies a linear fade in of the selected part. Edit Fade Out Selection Menu Selection Applies a linear fade out of the selected part. Edit Normalize Selection Menu Selection Normalises the audio of the selected part by maximising the audio level at the peak to 0dBfs. Edit Selection +3dB Menu Selection Increased the audio of the selected part by 3dB. If the audio is already high, clipping can occur. Edit Selection -3dB Menu Selection Attenuates / decreases the audio of the selected part by 3dB. Edit Selection To Silence Menu Selection Silences the audio of the selected part. Also can be applied using [FUNC] + [PLAY] - Clear. Audio Editor [AED] * Note: For static machines only the Select All, Calc BPM from Sel, Change Preview Mode and Change View are available. All options are available for Flex machines.
The Octatrack Notebook : Reference & Guide 311 Audio 12 NOTES EDIT Page Command Reference (Continued) * Note: For static machines only the Select All, Calc BPM from Sel, Change Preview Mode and Change View are available. All are options are available for Flex machines. Menu Function Control Description Edit Copy Selection Menu Selection Copies the audio of the selected part. Also can be applied using [FUNC] + [REC] - Copy. Edit Paste Selection Menu Selection Pastes the audio of the copied part, same length to the position set with start (A). Note, cannot paste into audio currently copied. Also can be applied using [FUNC] + [STOP] - Paste. Edit Duplicate Selection → Menu Selection Copies the selected audio part and automatically pastes it after the end selection point, retaining the existing sample length. The ‘Paste Mode’ setting will also affect this function. Edit Duplicate Selection ← Menu Selection Copies the selected audio part and automatically pastes it before the start selection point, retaining the existing sample length. The ‘Paste Mode’ setting will also affect this function. Edit Change Paste Mode Menu Selection Behaviour of the paste and duplicate options:- Paste 0dB, Pastes by replacing existing audio. Paste -6dB, Pastes by attenuating pasted audio. Mix 0dB, Pastes by mixing with existing audio. Mix -6dB, Pastes by attenuating mixed audio. Edit Rotate Pos to Start Menu Selection Rotates the audio around the cursor marker. Audio after the marker is rotated to start at the front. Audio ahead of the marker slides to later. Edit Mix Channels Menu Selection Performs various functions on the audio selection:- Add CH L+R, Merge L/R and distributes to both L/R. Subtract CH L-R, Subtract right from left. Distributes result to both L/R channels. Subtract CH R-L, Subtract left from right. Distributes result to both L/R channels. Swap CH L+R, Swaps the L/R audio selection. Edit Invert Channels Menu Selection Performs phase inversion on the audio selection:- Invert CH L&R, Applies phase inversion to both L/R of the selected part. Invert CH L, Applies phase inversion to left channel of the selected part. Invert CH R, Applies phase inversion to right channel of the selected part. Edit * Cal BPM from Selection Menu Selection Calculated the tempo BPM from the sample selection. The selecting sample size is assumed to be a musical length such as 0.5, 1, 2 bars etc. The ‘original tempo’ found in the attributes is assigned the new value. Edit * Change Preview Mode Menu Selection Sets how the audio preview behaves when using [FUNC] + [YES] and [CUE] + [YES]. Play Once will playback the selection once. Loop Selection will continuously playback Edit * Change View Menu Selection Selects how the audio is displayed. CH L View will only show the left channel. CH R View will only show the right channel. Stereo View displays both L/R channels.
312 The Octatrack Notebook : Reference & Guide 12 Audio NOTES ▌FUNCTIONAL EDITING EXAMPLES 1. Press [AED] to open the audio editor on a selected track sample. 2. Press [LFO] to open the EDIT page. 3. Adjust the start of the selection box by turning (A) or (LEVEL). The end point, if present, will move respectively to the start. 4. Adjust the end of the selection box by turning (C) until the desired part of the sample is selected. 5. Press [YES] or [FUNC] + [BANK] to open the Edit pop-up menu. 6. A number of practical editing tools are available which can help correct, adjust or edit the audio. Some examples are: • Use the +/-3dB to affect parts of the audio to fix level variations. Normalise can maximise the level based on the highest point. • Use the bounding selection box to set the crop range. Trim can be used to edit. The switch between the Edit and Trim functions offers seamless workflow and views are matched up. • Create a fade in and out on the sample start and end. Silence can also be applied to selected parts. These are useful when preparing and saving samples for future use. • Establish a track tempo based on the sample selection. Ideally select a 1 bar section and use ‘calculate BPM from selection’. The original tempo is set in the attributes. Useful to match samples to a defined tempo. • Save selection to create new samples and loops. This can be useful to create precise snapshots for example, isolating a kick, a snare etc from a longer sample loop to create individual hits.
The Octatrack Notebook : Reference & Guide 313 Audio 12 NOTES ▌CREATIVE EDITING EXAMPLES 1. Press [AED] to open the audio editor on a selected track sample. 2. Press [LFO] to open the EDIT page. 3. Adjust the start of the selection box by turning (A) or (LEVEL). The end point, if present, will move respectively to the start. 4. Adjust the end of the selection box by turning (C) until the desired part of the sample is selected. 5. Press [YES] or [FUNC] + [BANK] to open the Edit pop-up menu. 6. A number of creative editing tools can help create glitchy or crazy designs, build unusual loops and mangle audio. Some examples are:- • Select snippets of the audio and reverse it in the loop or mix 0db audio together. • Try repositioning parts of the audio using the copy and paste commands. Use the duplicate selection options to move parts of the audio. Keep mangling up audio to create interesting sounds. • Use rotate position to start to move the audio selections. Multiple iterations of this function with the marker repositioned can create more interesting sounds. • Save selection to create new samples and loops. This can be useful to capture new samples and loops from the mangled creations.
314 The Octatrack Notebook : Reference & Guide 12 Audio 12.12 Attributes - Audio Editor. NOTES A sample or a sample slice has a number of settings and parameters that are presented in the attributes page. The attributes are linked to a sample and can be edited and then saved from within the file menu. Attributes for the loaded sample are accessed by pressing the [FX1] when in the AED - Audio Editor. ▌CHANGING ATTRIBUTES 1. Press [AED] to open the audio editor on a selected track sample. 2. Ensure a sample is loaded and a selection is made. The selection can be made in the Trim, Slice or Edit pages. 3. Press [FX1] to open the ATTR - Attributes page. 4. Press [UP] [DOWN] to navigate the options list. The selected option will be highlighted. The page will scroll to reveal other parameters. 5. Turn (LEVEL) or Press [RIGHT] [ LEFT] to edit the currently highlighted selection. 6. Some parameters such as original tempo, trim length and loop length have an interdependent relationship and will change automatically when the other parameters change. When editing one of these three, the last edited parameter will also set this option as priority. This is indicated as an arrow tag alongside the parameter value. 7. Press [NO] to exit.
The Octatrack Notebook : Reference & Guide 315 Audio 12 NOTES ATTR Attributes Main Page Parameter Reference Function Description Gain Amplification or attenuation of the sample, applied at the point of triggering. Range is +24dB to -24dB. Default is 0dB with a setting of +12dB for recorder buffers for audio engine compensation. `Loop Mode Selects the loop behaviour of the sample or slice from 3 available options:- OFF - Ignores any loop settings. Does not loop. ON - Will loop based on the applied loop point. PINGPONG - Will play in a loop to the end point, then reverse play back to the loop point, then play forwards to end and so on continuously. The Flex / Static machine SRC Setup AUTO setting also affects looping and allows different loop settings for samples in a track Timestretch Selects the timestretch algorithm which is applied to the sample:- OFF - Does not apply timestretch to the sample. NORMAL - Timestretch algorithm suitable for general use. BEAT - Algorithm used for rhythmic material such as drum loops. The Flex / Static machine SRC Setup TSTR setting also affects timestretching and allows different settings for samples in a track Original Tempo (Arrow indicates this parameter has priority) The analysed and Octatrack calculated BPM (Beats per Minute) tempo defined for the sample. This can be changed and will affect the sound. Changes to the original tempo will also change the TRIM LEN (Bars) and LOOP LEN (Bars) attributes. The normal objective is to play the sample at the correct, original tempo. Octatrack calculates this but it may need be adjusted to a more accurate value. Trim Len (Bars) (Arrow indicates this parameter has priority) Shows the sample length in bars. This can be changed but will also automatically change the LOOP LEN (Bars) and ORIGINAL TEMPO. Recommended that this takes priority if a clear bar length is defined in complete unit measures i.e. 1 bar, 2 bar. Loop Len (Bars) (Arrow indicates this parameter has priority) Shows the sample loop section length in bars. This can be changed but will also automatically change the TRIM LEN (Bars) and ORIGINAL TEMPO. Quantized Trig Quantizes manual (not sequenced) triggering of samples to maintain a sync with other patterns. Used for Flex, Static samples, Recording Buffers, Pickup Machines and sample slices. Manual triggering is applied with [TRACK] + [PLAY] or Trig [9] - [16]. The QPL Parameter (Recording buffer - Recording Setup 2) mirrors this setting. DIRECT - Normal default operation, sample plays immediately a trigger is initiated. PAT.LEN - Will start playback upon completion of the pattern length, after a trigger has been initiated. 1/16 - Will start playback upon completion of the defined number of steps, after a trigger has been initiated. Options 1/16, 2/16, 3/16, 4/16, 8/16, 12/16, 16/16, 24/16, 32/16, 48/16, 64/16, 96/16, 128/16, 192/16, 256/16. Option will flash if pattern length is shorter than the option selected.
316 The Octatrack Notebook : Reference & Guide 12 Audio 12.13 Time Stretching and Tempo Timestretching has over many years become and integral part of the art of audio production. At its fundamental level, timestretching is the process of adjusting an audio sample’s speed or length without effecting its pitch or tonal character. Of course this opens up many creative possibilities and variants such as pitch shifting, the opposite of timestretching where the pitch is scaled without affecting speed. A common use is to ensure all samples in a project align to the same tempo. While many avenues (and rabbit holes) can be explored on this topic, it is good firstly to understand Octatracks implementation and tools for timestretching, mainly found in the Audio Editor. Example: Sample Slot 1 - Sample Name: MiracleWorker 1 Bar 0.5 Bar 0.5 Bar 1.5 Bar To audition the active slice audio Press [FUNC] + [YES] to audition to the main outputs or [FUNC] + [CUE] to audition to the cue outputs. Original Sample Plays to the original pitch, time and speed Octatrack will automatically calculate the tempo of recorded audio. This can be edited and fine tuned in the AED attributes. Remember that this is the tempo of the sample and not the track tempo, although it may initially reflect track tempo. Sample length in bars. Using this as a priority is recommended if the original and new length of the sample has clearly defined unit intervals ie 1 bar (illustrated in this example), 1.5 bar 2 bar etc. Sample loop section length in bars. This can be set as a priority but Trim Len and Original Tempo are typically used more often. Illustration shows 0.5 bar. The application of timestretching algorithms can be set or timestretching turned off. The algorithm will apply the stretch while aiming to maintain pitch and tonal character. Original Tempo Interdependent parameters Trim Len Loop Len Timestretch Example 118 BPM Extended Sample Length Would play slower, lower pitch without processing. Reduced Sample Length Would play faster, higher pitch without processing. L
The Octatrack Notebook : Reference & Guide 317 Audio 12 NOTES Recording Buffer Recording Buffer 2 Bars Unknown BPM 1 Bar 120 BPM Sample from Library Sample from Library 4 Bars 110 BPM 1 Bar 120 BPM Samples can be prepared for the project. For example they can be trimmed (Trim & Edit Tools) to select the audio start. The tempo adjusted (tametretched) to 120 BPM and trimmed to one bar loops. Tempo Alignment of Samples. A common application of timestretching is to align the sample tempo used in the various tracks to the project / pattern tempo. Flex machines provide the most flexibility for editing and have the full Octatrack tool kit available although this example can be applied to a static sample. Octatrack calculates the BPM of recorded and imported samples but this may not be fully accurate and manual adjustments may be needed. The example shown here aims to edit to a 1 bar loop to match a 120 BPM project tempo. Main Project Project Tempo 120 BPM
318 The Octatrack Notebook : Reference & Guide 12 Audio NOTES ▌TEMPO ‘BY EAR’ ALIGNMENT OF BEAT SAMPLES TO A PROJECT 1. It is useful when editing sample tempo to a project or pattern to use the metronome click as a reference. Pressing [FUNC] + [MIX] to toggle On/Off. Metronome volume is changed in the project settings: PROJ > CONTROL > METRONOME - MAIN VOLUME, which is by default at 0. 2. In order to play and work on the sample, set the pattern length, for example 1 Bar -16 steps, and in step recording mode, set the first Trig [1] to ON in order to trigger the sample playback when the sequencer is running. This example aims to edit to a 1 bar loop. 3. Check or set the project tempo, indicated on the top left of any main track parameter page. Press [TEMPO] and Turn (LEVEL) to change. The 120 BPM tempo in this example is referring to project tempo but pattern tempo’s can be set independently in Octatrack. 4. Open the sample list to load a sample or record in the audio to capture to a track. In this example Track 1, Flex Machine. Samples loaded will automatically be calculated within Octatrack and aligned to the project and try to match project tempo. However this may not be fully accurate or for recorded samples, the tempo may be less distinguishable. 5. Press [AED] and select the TRIM Tool - [SRC]. Set a precise start point at the desired sample position. The end is less relevant at this stage but should be somewhere near the natural sample end. 6. Press [PLAY] to hear the sample triggered at the edited start point and run for its duration, until re-triggered. The metronome can also be heard an audible alignment evaluated. 7. Press [AED] and select the ATTR Options - [FX1]. Set the ‘TIMESTRETCH’ Option to BEAT. The NORMAL option can be used for general less rhythmic material. This will ensure tonal and pitch characteristics are retained. Note: the SRC Setup Page TSTR is also a timestretch relevant parameter and set to AUTO is advised. 8. Press [AED] and select the ATTR Options - [FX1]. Adjustments to the ‘ORIGINAL TEMPO’ can now be applied by ear to ensure the metronome clicks and audio of the sample beat matches. 9. Optionally the TRIM LEN can be adjusted instead of tempo. This may be better for less rhythmic material or where sample lengths are better known. Also if a loop position is set or important this can also be adjusted.
The Octatrack Notebook : Reference & Guide 319 Audio 12 NOTES 10. It is possible to circle back to the sample and edit the length. Press [AED] to open the Audio editor. Playback of a loop can be seen on the editor screen and the playback will cover the 1 bar of the sequencer. 11. Press [SRC] to select the Trim tool. Adjust the end to match the loop that is played. The Bar length is shown on the right hand figures when adjusting the end parameter (C). This example sets the length to 1 bar. 12. Switch to the editor, Press [LFO]. The settings will be available in the editors too and pressing [YES] will access the options. Selecting ‘CROP TO SELECTION’ will destructively crop the sample. 13. This now produces a 1 bar sample applied at the desired tempo and which can then be saved for future use in the AED File menu using ‘SAVE SAMPLE COPY’. 14. The sample edits are saved as configuration data. Turning off TSTR in the SRC Setup page will therefore remove any timestretching at playback. 15. Re-sampling is also an option that can be performed to capture edited samples to the library.
320 The Octatrack Notebook : Reference & Guide 12 Audio 12.14 File Management - Audio Editor. NOTES The final function in the AED Audio Editor is the File option menu. The available options will depend on whether a static or flex sample. The application of file options is made by selecting the menu option. ▌INITIATING A FILE COMMAND 1. Press [AED] to open the audio editor on a selected track sample. 2. Ensure a sample is loaded. 3. Press [FX2] to open the FILE page. 4. Press [UP] [DOWN] to navigate the options list. The selected option will be highlighted. 5. When the required option is highlighted and in focus, press [YES]. 6. Follow the on screen instructions respective to the option selected. 7. Press [NO] to exit.
The Octatrack Notebook : Reference & Guide 321 Audio 12 NOTES FILE Page Function Reference * Note: For static machines the Save and Assign Sample option is not available. All options are available for Flex machines. Function Description Load New Sample Opens the file browser and presents the opportunity to load a new sample into the current track machine. `Save Sample Settings Saves the settings associated with the sample and based on the edits made in the trim, slice and attribute tools. These are saved in a separate settings file linked to the current sample. Loading the sample will therefore also load the linked settings such as slices and edits. Save Sample Copy Saves the current edited sample to the compact flash as a new file in a format based on the original file format - 16bit / 24bit, Mono, Stereo, or if a recording buffer file then it is saved as stereo and bit depth as per ‘Memory’ settings. Also saves sample settings automatically when using this command. Save and Assign Sample* This saves the sample as per the ‘Save Sample Copy’ command. In addition it will present the opportunity to assign the sample to the current or another freely available static or flex sample slot. Only available for saving flex samples. Clear Slot Clear the flex or static machine sample slot. The same function can be applied in the slot list using [FUNC] + [PLAY] to clear. Revert to Saved File Reverts to the saved file original state. All edits such as fades, reverse, etc will be removed unless edits are saved to a settings file. The settings file is also reloaded with this command.
322 The Octatrack Notebook : Reference & Guide 12 Audio 12.15 Saving Samples. NOTES There are several ways and at various stages to save samples. A summary for completeness is provided here. ▌SAVING SAMPLES FROM THE AED FILE MENU 1. Press [AED] to open the audio editor on a selected track sample. 2. Ensure a sample is loaded. Any edits made will be saved. 3. Press [FX2] to open the FILE page. 4. Press [UP] [DOWN] to navigate the options list. • Select ‘SAVE SAMPLE SETTINGS’ to only save the associated edit data. This is important to retain the sample’s edited information such as trim settings, slices and attribute information. • Select ‘SAVE SAMPLE COPY’ to save an additional, newly named version of the current file along it’s edited settings. • Select ‘SAVE AND ASSIGN SAMPLE ’ to save an additional, newly named version of the current file along with it’s edited settings. In addition this will assign the sample to a static or flex sample slot. Flex samples only. 5. When the required option is highlighted and in focus, press [YES]. 6. Follow the on screen instructions respective to the specific option selected to complete the save. This may include renaming options and confirmation prompts. 7. Press [NO] to exit.
The Octatrack Notebook : Reference & Guide 323 Audio 12 NOTES ▌SAVING SAMPLES FROM THE RECORDING SETUP MENU 1. Once a recording has been made into a recorder buffer it can be saved in the setup menu. 2. Press [FUNC] + [REC3] to open the recording setup menu. 3. A sub menu pop-up will appear that offers options for selection:- • EDIT THIS RECORDING. To open the sample in the audio editor. • SAVE THIS RECORDING. To save the recording. Will offer a ‘save as’ option to rename the sample. • SAVE ALL RECORDINGS. To save recording buffer recordings. Will offer ‘save as’ options to rename the samples. • GO TO MEMORY CONFIG. To open the memory config options, same as selecting the PROJ > CONTROL > MEMORY option.
324 The Octatrack Notebook : Reference & Guide NOTES
Most samplers have a number of integrated effects and in this case Octatrack also has a comprehensive effect library. In total there are fourteen effects available to be allocated to each of the two track FX slots. FX1 is the first effect slot which can host one of nine (from the total 14) available effects. FX2 is the second effect slot and can host one of the total fourteen effects. Effect types include reverb, delay, filter, EQ as well as phaser, distortion and flanger. Effects can be modulated and locked and when coupled with LFO’s can offer a wide variety of creative options. The 2 effects per track are the default, however this is not the limitation of effects that can be used. More effect chains can be built into the FX slots of neighbour tracks which also has two effects. FX chains can be created with following neighbour tracks and the additional 2 effects and so on. Of course while this can create elaborate effect chains it does limit the track count for other functions. Octatrack can also be used as purely an effects box, for example using the thru machine to route external audio through Octatracks effect chains. External effects can also be used by configuring the cue output as a send / return set up. This will enable external devices such as delays or reverbs etc to be integrated into an Octatrack setup and workflow. FX Assignments are stored with the part. Also FX parameters can be parameter locked. This offers a great way to change and modulate these in a creative manner, either in live scenarios or on the fly during studio sessions. Effects 13 The Octatrack Notebook : Reference & Guide 325
326 The Octatrack Notebook : Reference & Guide 13 Effects 13.1 Effect Summary. NOTES A number of effects are available for each of the two slots per track. A quick reference is provided here. Note that the individual track effects chain FX1 - FX2 will not be applied to DIR audio routing but the FX1 - FX2 chain on the master track (if track 8 is set as a master and with installed effects) will be applied to the DIR audio. Effect Slots What does it do? None A blank effect. Used when removing an effect from a slot 12/24dB Multi Mode Filter Low, High and Bandpass filter with two slope settings of 12dB (2 Pole) or 24db (4 Pole). Ideal for frequency cutoff control. 2 Band Parametric EQ Equalization effect that allows two variable frequency bands to be adjusted (Attenuated or amplified). DJ Style Kill EQ Equalization effect with allows control of three frequency bands with specific focus on the filter style adjustments. 2-10 Stage Phaser Phaser particularly useful for sweeping style and width perception effects. Flanger Flanging effect similar to the phaser but with more equally defined notch positioning 2-10 Tap Chorus Stereo chorus effect used for width and smooth style harmony applications. Spatializer Stereo effects focusing on the width and narrow adjustments. Ideal for giving stereo perception to mono sounds. Comb Filter Comb filter is a resonant sounding filter with a metallic harshness and pitch tuned overtones. Dynamix Compressor Compressor used for adjusting the perceived loudness and to control transients. Lo-Fi Collection A collection of effects that add distortion and gritty, bit reduction type effects into a mix. Echo Freeze Delay Delay effect which introduces echo into the audio with the freeze function introducing repeated sections. Gatebox Plate Reverb Classic style plate reverb with the additional gating function for enhancing the reverb feature set. Spring Reverb Classic spring reverb with a more gritty twang to the audio. Dark Reverb Wide stereo reverb which is better suited to long decay times and ambient sound design. FX1 FX2 FX1 FX2 FX1 FX2 FX1 FX2 FX1 FX2 FX1 FX2 FX1 FX2 FX1 FX2 FX1 FX2 FX1 FX2 FX1 FX2 FX2 FX2 FX2 FX2
The Octatrack Notebook : Reference & Guide 327 Effects13 NOTES ▌QUICK EFFECT ASSIGNMENT 1. Press [FUNC] + [FX1] or quickly double press [FX1] to load an effect into FX Slot 1. 2. Press [FUNC] + [FX2] or quickly double press [FX2] to load an effect into FX Slot 2. 3. The FX Setup page will open. Press [UP] [DOWN] to navigate the left side effect browser and to highlight to the desired effect. Note that some effects are not available for loading into slot FX1. 4. Press [YES] with the effect highlighted to load it into the selected slot. 5. To set a slot to blank, select ‘NONE’ as the effect to load. This will effectively create a blank slot with no effect applied. 6. The FX Main page will reflect the parameters specifically associated with loaded effect as will the FX Setup Page. ▌RESETTING A LOADED EFFECT TO DEFAULT STATE 1. Press [FX1] or [FX2] + [PLAY] to clear the effect slot and reset to the default state. 2. A CLEAR PAGE message will be displayed to confirm. The loaded effect will remain and its parameters reset to the default state. 3. Press [FX1] or [FX2] + [PLAY] again to undo the clear command. ▌COPYING AND PASTING EFFECT SLOTS ACROSS TRACKS 1. Select a track with the effects to copy. 2. Press [FX1] or [FX2] + [REC] to copy the effect page. 3. A COPY PAGE message will confirm copy. 4. Select a destination track to paste the effect page. 5. Press [FX1] or [FX2] + [STOP] to paste the effect page. The effect along with its copied parameter states is pasted into the FX slot.
328 The Octatrack Notebook : Reference & Guide 13 Effects NOTES When previewing a sample the effects in the track will be also previewed. This behaviour can be changed in the personalize options in the project menu. ▌SETTING THE DEFAULT FX PREVIEW STATE 1. Press [PROJ] to open the project settings. 2. Press [UP] [DOWN] to scroll the options and highlight SYSTEM. 3. Press [RIGHT] to access the sub menu options. 4. Press [UP] [DOWN] to scroll the options and highlight PERSONALIZE. 5. Press [YES] to select. 6. Press [UP] [DOWN] to scroll the options and highlight the ‘PREVIEW WITHOUT EFFECTS’ Option. 7. Press [YES] to toggle the option On / Checked or Off / Unchecked. 8. When On the selected sample will preview and play without any of the current track FX1 or FX2 applied. When Off the FX1 and FX2 will be heard when the sample is previewed.
The Octatrack Notebook : Reference & Guide 329 Effects13 NOTES 13.2 12/24dB Multi Mode Filter In audio sound design a filter is a function that can reduce (attenuate) or remove the frequency content within the audio range of a sound. A filter also allows certain frequencies to pass through. Normal human hearing spans a range of 20Hz to 20kHz and a filter therefore operates by removing content at various points across this frequency range. In practical terms this is usually to change and shape the sonic character and tone of the sound, but can also be used manually or with modulation to create movement and points of interest in an arrangement. Multi mode refers to the filter having a variety of integral types while the 12/24dB refers to how steep or aggressive the filter cutoff point will attenuate the frequencies. Definitions: Example High Pass Filter ATTENUATION FREQUENCY Cut Off Frequency Point at which the filter starts to affect and attenuate the audio frequencies. Resonance A boost at the point of cutoff which adds resonance to affect the sound. Typically 20Hz to 20kHz range 2 Pole filter has a slope of 12dB per octave. Smoother sound shape. 4 Pole has 24dB per octave cutoff slope. More aggressive. For a more buzzy, aggressive filter sweeps with prominent resonance in the audio set the resonance Q high and a 24dB Slope. For more smoother, gentle filter sweeps, with a more subtle sound reduce the Q resonance and use a 12dB slope. Gain reduction at the frequency defined. Stop Band Transition Band 4-Pole 2-Pole Pass Band
330 The Octatrack Notebook : Reference & Guide 13 Effects Octatrack introduces a multi-mode filter through use of the FX slots. The NOTES adjustment of the base and width can apply band-pass, when both filters are in play, high pass, with width at max or low pass when base is set to minimum. The filter also has an Attack - Decay envelope with a depth parameter to adjust how much of the envelope is applied. ATTENUATION FREQUENCY MULTI MODE FILTER Roll off of back to back low pass and high pass filters. The FX main page base (0-127) and the width (0-127) parameters together set its frequency range. Base Base Cutoff Width Base Width Cutoff ATK Attack DEC Decay Optional HOLD Width Q - Resonance HP LP Q - Resonance 0 0 0 0 127 0 0 127 127 127 +63 -64 127 127 ATTENUATION FREQUENCY HIGH PASS FILTER - HP Gentle 2-Pole 12dB/Oct roll off. The resonance range Q (0-127) sets it’s amplitude gain and Q can be applied to HP/LP or both in the Setup Page. A more aggressive 4-Pole 24dB/Octave can also be applied. ATTENUATION FREQUENCY LOW PASS FILTER - LP Gentle 2-Pole 12dB/Oct roll off. The resonance range Q (0-127) sets it’s amplitude gain and Q can be applied to HP/LP or both in the Setup Page. A more aggressive 4-Pole 24dB/Octave can also be applied. LEVEL FILTER ENVELOPE The filter envelope can be applied to various filter parameters. The AMP page HOLD parameter can also be optionally applied to the envelope. Assign the envelope to Base or Width using the ENV Setup Page option. DEPTH controls the amount of envelope applied and inverted with negative values. Base = 0 and Width = 127 : No filter applied Base = 0 and Width < 127 : Low Pass Filter Base > 0 and Width = 127 : High Pass Filter Base > 0 and Width < 127 : Band-pass Filter DPTH Depth TIME
The Octatrack Notebook : Reference & Guide 331 Effects13 NOTES Filter Setup Page The 12/24dB Multi Mode Filter can be applied into either FX1 or FX2 depending on the application required. Parameters will be found in the Main and Setup Pages of the FX Slots. Note: The AMP page also contains envelope settings, which effect how the multi-mode filter envelope is applied are explained in detail in the AMP settings. Setup Menu [FUNC] + [FX1] or [FX2] (A) (D) (B) (E) (C) (F) (A) HP Data Entry (B) LP Data Entry (C) ENV Data Entry Base Frequency Slope Width Frequency Slope Envelope Destination Sets the high pass filter slope. 12dB is a gentle slope while 24dB is a sharper, more aggressive slope. Sets the low pass filter slope. 12dB is a gentle slope while 24dB is a sharper, more aggressive slope. Determines the destination where the envelope is applied. This is either to the base cutoff frequency or the width cutoff frequency. 12dB, 24dB 12dB, 24dB Base, Width (D) HOLD Data Entry (E) Q Data Entry (F) DIST Data Entry Envelope Hold from AMP Resonance Destination Filter Headroom Selects whether or not the AMP main page HOLD parameter will be applied to the filter envelope. Selects how the FX main page Q resonance will affect the filter. This can be applied to only the LP cutoff, HP cutoff or to both. Headroom of filter. The higher the value the lower the headroom. The lower the value the higher the headroom. On, Off None, HP, LP, Both 0 - 127 + Also double pressing [FX1] or [FX2] or
332 The Octatrack Notebook : Reference & Guide 13 Effects NOTES Filter Main Page The main page of the filter offers more of the dynamic settings, typically used for modulation and performing filter sweeps. The filter envelope is also controlled from the main page. Note: The AMP page also contains the envelope which effects the multi-mode filter. These settings, which effect how the multi-mode filter envelope is applied are explained in the AMP settings. Main Menu [FX1] or [FX2] (A) (D) (B) (E) (C) (F) (A) BASE Data Entry (B) WDTH Data Entry (C) Q Data Entry Base Frequency Width Frequency Resonance Amount Sets the base cutoff frequency for the filter. This would be set to 0 for a low pass filter and any >0 value for high or band pass filter. Sets the width cutoff frequency for the filter. This would be set to 127 for a high pass filter and any <127 value for low or band pass filter. Amount of resonance applied to the filter cutoff frequency. The filter affected is set by Q in the Setup page option. 0-127 0-127 0-127 (D) DPTH Data Entry (E) ATK Data Entry (F) DEC Data Entry Envelope Depth Envelope Attack Time Envelope Decay Time Sets the amount of envelope is applied to the cutoff frequency. Destination is set by ENV found in the setup page. The envelope is inverted with negative values. Sets the attack time duration of the filter envelope. Sets the decay time of the filter envelope. Is triggered at the end of the attack time or, if applicable after the hold time. -64 to +63 0-127 0-127 or
The Octatrack Notebook : Reference & Guide 333 Effects13 NOTES 13.3 EQ Effects Octatrack has two equalization effects available for slot FX1 and FX2. The first is the 2 Band Parametric EQ for tonal adjustments and the other is the DJ Style Kill EQ, more suited for live and improvisation and more akin to a live filter effect more so than an EQ effect. Terminology: Equalisation. Equalisation or EQ as its better known is used to shape the frequency profile of the audio sound by attenuating or boosting specific frequency bands. A parametric EQ provides precise control in selecting the specific bands that will be affected. This can be used in mixing for example to clean up areas such as removing low frequency rumble. EQ can also be applied in more creative applications for example to add tonal character changes to a sound. EQ Tips. Some areas can have a defined effect on the audio. Creating a low cut may remove some inaudible energy and allow more headroom in the mix. Thicken the sound in the bass area but avoid the muddiness with a cut around 250-350Hz. Honkiness may appear around the 500Hz-1KHz range. Consider boosting vocals around 3KHz to cut through the mix. Sibilance can occur around 5-10KHz and may be helped by a cut. A high shelf at 6KHz and above will add air and presence. FREQUENCY Human Hearing 20Hz to 20kHz Range Specific frequencies can be cut or boosted to effect a tonal change. It is advised to used narrow surgical cuts to correct any audio problems. Boosts can add presence in the highs. 20Hz 60Hz 300Hz 2KHz 5KHz 20KHz Sub Bass Bass Lower Mids Upper Mids Highs Q Width of Range to adjust Freq Freq Freq Freq Freq High Shelf Low Cut Gain Boost or Cut at the selected frequency
334 The Octatrack Notebook : Reference & Guide 13 Effects NOTES 2-Band Parametric EQ - Setup Page The 2-Band parametric EQ effect offers the option to set the type for each band between low shelf or high shelf shelving filter or full parametric EQ where frequency and it’s width range can be set specifically. The type is found on the setup page. Setup Menu [FUNC] + [FX1] or [FX2] (A) (D) (B) (E) (C) (F) (A) TYP1 Data Entry (B) Data Entry (C) Data Entry Type of Filter for 1st Band Selects the type of EQ. Option available are high shelf, low shelf and standard parametric EQ. LOW, PEQ, HIGH (D) TYP2 Data Entry (E) Data Entry (F) Data Entry Type of Filter for 2nd Band Selects the type of EQ. Option available are high shelf, low shelf and standard parametric EQ. LOW, PEQ, HIGH + Also double pressing [FX1] or [FX2] or
The Octatrack Notebook : Reference & Guide 335 Effects13 NOTES 2-Band Parametric EQ - Main Page The main page of the 2-Band Parametric EQ provides control over the frequency, gain and frequency band range for each of the two available equalization bands. Main Menu [FX1] or [FX2] (A) (D) (B) (E) (C) (F) (A) FRQ1 Data Entry (B) GN1 Data Entry (C) Q1 Data Entry Frequency Band 1 Gain Adjustment Band 1 Frequency Range Band 1 Sets the target frequency for adjustment of the selected band type EQ. This applies to the first band. Adjusts the gain at the target frequency by boosting or cutting. This applies to the first band. Sets the width / range of the band to adjust from its central target frequency point. This applies to the first band. 0-127 0-127 0-127 (D) FRQ2 Data Entry (E) GN2 Data Entry (F) Q2 Data Entry Frequency Band 2 Gain Adjustment Band 2 Frequency Range Band 2 Sets the target frequency for adjustment of the selected band type EQ. This applies to the second band. Adjusts the gain at the target frequency by boosting or cutting. This applies to the second band. Sets the width / range of the band to adjust from its central target frequency point. This applies to the second band. 0-127 0-127 0-127 or
336 The Octatrack Notebook : Reference & Guide 13 Effects NOTES DJ Style Kill EQ - Setup & Main Page The DJ Equalizer is a 3 band EQ and is a cross between a filter and an EQ, used in more creative, often live applications. There are no adjustable parameters on the setup page of the DJ Style Kill EQ. All parameters that can be edited exist on the main page. The 2-Band Parametric EQ provides control over the frequency, gain and frequency band range for each of the two available equalization bands. Main Menu [FX1] or [FX2] (A) (D) (B) (E) (C) (F) (A) LS F Data Entry (B) Data Entry (C) HS F Data Entry Low Shelf Frequency High Shelf Frequency Sets the target frequency for the low shelf filter. Sets the target frequency for the high shelf filter. 0-127 0-127 0-127 (D) LOWG Data Entry (E) MIDG Data Entry (F) HI G Data Entry Gain Adjustment Band 1 Gain Adjustment Band 2 Gain Adjustment Band 3 Boosts or cuts the first frequency band of the EQ. A maximum 127 value will boost by +12db. A minimum 0 setting will kill the frequency band fully. Boosts or cuts the second frequency band of the EQ. A maximum 127 value will boost by +12db. A minimum 0 setting will kill the frequency band fully. Boosts or cuts the third frequency band of the EQ. A maximum 127 value will boost by +12db. A minimum 0 setting will kill the frequency band fully. 0-127 0-127 0-127 or
The Octatrack Notebook : Reference & Guide 337 Effects13 NOTES 13.4 Phaser & Flanger Effects Traditional Phasers and Flangers are closely related effects perhaps considered part of the same family and which apply changes to the audio to give a more electronic sound with movement. Both effects will filter in a series of peaks and notches in the frequency spectrum where the Phaser affects phase delay. A Flanger however operates more on the time delay and is based on replicating and doubling the input audio. The modulation of the phase and speed is where the audio becomes more interesting when applying these effects. 2-10 Stage Phaser - Setup Page In Octatrack the Phaser will give a wider sweep style effect. The frequency spectrum is divided into stages. Setup Menu [FUNC] + [FX1] or [FX2] (A) (D) (B) (E) (C) (F) (A) Data Entry (B) NUM Data Entry (C) Data Entry Number of Stages Number of stages used in the phaser. 2, 4, 6, 8, 10 (D) Data Entry (E) Data Entry (F) Data Entry + Also double pressing [FX1] or [FX2] or
338 The Octatrack Notebook : Reference & Guide 13 Effects NOTES 2-10 Stage Phaser - Main Page The dynamic parameters are available on the main page which affect the modulation and configuration. These are interesting when considering parameter locks. Main Menu [FX1] or [FX2] (A) (D) (B) (E) (C) (F) (A) CNTR Data Entry (B) DEP Data Entry (C) SPD Data Entry Centre Phase Depth Speed Sets the central phase used for phase modulation Sets the depth of phase modulation Sets the speed of the phase depth modulation -64 to +63 0-127 0-127 (D) FB Data Entry (E) WID Data Entry (F) MIX Data Entry Feedback Width Dry / Wet Mix Feedback amount of the original signal Stereo width control of the affected signal Dry / wet mix of the original and phased signal output. -64 to +63 0-127 0-127 or
The Octatrack Notebook : Reference & Guide 339 Effects13 NOTES Flanger - Setup & Main Page The flanger has no setup page options. All parameters can be found on the main parameter page. Main Menu [FX1] or [FX2] (A) (D) (B) (E) (C) (F) (A) DEL Data Entry (B) DEP Data Entry (C) SPD Data Entry Delay Depth Speed Sets the amount of delay in the flanged signal . Sets the depth of the flanger. Sets the speed of the flanger. 0-127 0-127 0-127 (D) FB Data Entry (E) WID Data Entry (F) MIX Data Entry Feedback Width Dry / Wet Mix Feedback amount of the original signal Stereo width control of the affected signal Dry / wet mix of the original and flanged signal output. -64 to +63 0-127 0-127 or
340 The Octatrack Notebook : Reference & Guide 13 Effects 13.5 Stereo Effects - Tap Chorus & Spatializer NOTES Tap Chorus and Spatializer are both effects that operate on the stereo image of the audio. The left / right position is normally adjusted with pan, but with these effects the perceived width can be affected with Spatializer using mid / side control, stereo filtering and spread. Chorus uses delay techniques to bring a smooth feel to the stereo image. Tap Chorus - Setup Page Setup Menu [FUNC] + [FX1] or [FX2] (A) (D) (B) (E) (C) (F) (A) TAPS Data Entry (B) Data Entry (C) Data Entry Chorus Delay Taps Number of delay taps applied to the chorus effect. 2, 4, 6, 8, 10 (D) FBLP Data Entry (E) Data Entry (F) Data Entry Low Pass Feedback Controls the chorus feedback low pass filter. 0-127 + Also double pressing [FX1] or [FX2] or
The Octatrack Notebook : Reference & Guide 341 Effects13 NOTES Tap Chorus - Main Page A chorus works on the principle of widening a signal by detuning a copy of the signal. The delays are very close together which thickens the sound. Often used on vocals Main Menu [FX1] or [FX2] (A) (D) (B) (E) (C) (F) (A) DEL Data Entry (B) DEP Data Entry (C) SPD Data Entry Delay Time Depth Modulation Speed Delay time of the chorus taps. Depth of modulation applied to the chorus taps. Sets the low frequency modulation speed of the taps. 0-127 0-127 0-127 (D) FB Data Entry (E) WID Data Entry (F) MIX Data Entry Feedback Width Dry / Wet Mix Feedback control of the delay taps Stereo width control of the chorus. Adjust the dry / wet mix of the output between unaffected audio to the wet where chorus is fully applied. 0-127 0-127 0-127 or
342 The Octatrack Notebook : Reference & Guide 13 Effects NOTES Spatializer - Setup Page A spatializer is ideal for developing a more stereo, wider sound for example from a mono signal. Setup Menu [FUNC] + [FX1] or [FX2] (A) (D) (B) (E) (C) (F) (A) Data Entry (B) PHSE Data Entry (C) Data Entry Phase Reversal Reverses the phase of the wet signal channels. None - No channel reversal. L - Reverses the left channel R - Reverses the right channel None, L, R (D) M/S Data Entry (E) MG Data Entry (F) SG Data Entry Mid / Side Selection Mid Gain Side Gain Selects the MG and SG option on or off. Adjusts the gain of the mid range of the audio image Adjusts the gain of the sides of the audio image On, Off 0-127 0-127 + Also double pressing [FX1] or [FX2] or
The Octatrack Notebook : Reference & Guide 343 Effects13 NOTES Spatializer - Main Page Main Menu [FX1] or [FX2] (A) (D) (B) (E) (C) (F) (A) INP Data Entry (B) DPTH Data Entry (C) WDTH Data Entry Gain Input Depth Width Adjust the dry signal gain Depth of the widened signal. Operates in conjunction with the WDTH parameter. Adjusts the amount of stereo spread. Operates in conjunction with the DPTH parameter. -64 to +63 0-127 0-127 (D) HP Data Entry (E) LP Data Entry (F) SEND Data Entry High Pass Filter Low Pass Filter Send Level Adjust the high pass cutoff frequency of the widened signal. Adjust the low pass cutoff frequency of the widened signal. Adjust the level of the widened signal 0-127 0-127 0-127 or
344 The Octatrack Notebook : Reference & Guide 13 Effects 13.6 Comb Filter NOTES Comb filtering works on the principle of delays in audio signals that create peaks and troughs due to phase differences. This gives a unique metallic, pitched and resonant sound. The Comb filter effect has no setup parameters and all settings are on the main page. Comb Filter - Main Page Main Menu [FX1] or [FX2] (A) (D) (B) (E) (C) (F) (A) PTCH Data Entry (B) TUNE Data Entry (C) LP Data Entry Resonant Frequencies Tuning Feedback Low Pass Controls the resonant frequencies of the comb filter. Changes the pitch up or down, maximum 2 Semitones either direction. Adjust the low pass filter cutoff frequency of the feedback signal 0-127 0-127 (D) FB Data Entry (E) Data Entry (F) MIX Data Entry Feedback Gain Dry / Wet Mix Controls the feedback gain Adjust the dry / wet mix of the output between unaffected audio to the wet where comb filtering is fully applied. 0-127 0-127 or
The Octatrack Notebook : Reference & Guide 345 Effects13 NOTES 13.7 Dynamix Compressor A compressors main purpose is to create the ability to control the overall level of a signal. Think of it as an automatic volume control. This is handled by reducing the peaks in a signal and creating headroom for the overall signal to be increased. Compressors are useful for peak reduction and levelling of a sound and can control this based either on an audio average RMS level or based on audio peaks. Definitions: Traditional Compression Gain reduction is made using a ratio. Ratio attenuates signals above the threshold by an amount based on the ratio setting. A 2:1 ratio (gentle) attenuates the signal to 1dB above the threshold for each 2dB that exceeds the threshold. With a 4:1 ratio (medium) , if the signal exceeds by 8dB then reduction will be down to 2dB above threshold. 20:1 ratio (strong) would be considered limiting . Threshold Audio over Time Dynamic Range Gain Reduction Make Up Gain Signal is attenuated when crossing the threshold. 1:1 2:1 4:1 8:1 ∞ Limiting Threshold Output (dB) Input (dB)
346 The Octatrack Notebook : Reference & Guide 13 Effects NOTES Dynamix Compressor - Setup Page The compressor is normally considered more of an audio utility rather than a creative effect. Setup Menu [FUNC] + [FX1] or [FX2] (A) (D) (B) (E) (C) (F) (A) RMS Data Entry (B) Data Entry (C) Data Entry Compression Base The measure used for controlling the compressor. RMS at Max is the overall average audio level while a setting at Min controls based on peak audio levels. 0-127 (D) Data Entry (E) Data Entry (F) Data Entry + Also double pressing [FX1] or [FX2] or