yea i’m waiting for some spare time also 
cheers for the share! mind blown. inspiration expansion pack: over 9000!
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This trick is heaps fun ! So many possbilities…i would call the OT, with this implementation, the: “100 grooves in 1 minute machine”.
Nice you Wascal!
Im just noticing how the OT seems to struggle if I use a Static.
I swear you: i have some MatrixChains (Multiman ©) that goes well when the fader moves. But since today i can use only Flex to have the proper playback. Static stutters badly the loops, a sort of SLICE ON in setup not working,
Anyone would be kind to share own excperience?
Thx!
I have to admit I have only tried it with Flex machines as I wasn’t sure how statics would cope. I’ve just picked up a 32gb 400x CF card so I’ll give it a try over the weekend and report back.
My next plan is to set up 64 drum kits in this method so I can swap drum machines with the xfader. May need to watch a box set of something as its going to be loooong.
3 Likes
very nice - i’m trying to write a bit of soft to automate all this malarky and i was wondering if this breaks method would give me much mileage, but the kits idea is great well worth seeing it thru, also doing chaining and single cycle wave drawing coupled with definition from partials etc
if i do a breaks type sample welder it’ll not include pitch corrected time adjustment, prob just old fashioned pitch follows slow/fast time adjustment
Thinking about it, using this trick with entire kits is pointless as the benefit of this trick being able to cut to any point of a loop instantly, and kits aren’t really loops. If I was going to do drumkits I might as well just make a kick64, a snare64 etc. I mean it would be nice to set up 64 kits like this (eg 909 on slice 1, 808 on slice 2 etc) but I’ve got a Machinedrum to cover that. If anyone can be bothered feel free to share (hint hint) 
Instead I’ll try recording the same loop dry on 64 different diva/zebra/massive presets and then slice it using this technique and see how that pans out. The only problem might be making sure every sample hits a zero-crossing at the sample start to avoid clicks. And I almost talked myself into going outside this weekend- oh well…
@Avantronica - if you can find a way of automating this and making sure each sample starts and ends at zero-crossing for each wav it would be incredibly useful
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okay so if i try to attempt this amazing technique, how do i do it again? haha apology for my lack of technique.
currently i am enjoying breakbeat at 116bpm.
so, to prepare something cool for the Octatrack, i export 4 bars …
bar 1 has regular beat … bar 2 has hi hat fizzle … bar 3 has snare breaks … bar 4 has a drum break/lead in roll
import to OT audio pool
import to Scene
choose for a Track
select Slice and say 64 slices thanks
no zero point option
then set Scene A Start Slice 1, Scene B Start Slice 64
hope this is the way forwards…
unfortunately it’s a bit trickier than that, best re-read the OP !
that’s a given for single cycle chains and easy enough compiling drum chains, but chopping loops is a bit trickier, i’ll need to wait and see how clicky this is to know whether it’d be worth time tidying it up
i’m still getting to grips with the OT so i’m still a bit shaky on the benefits of slicing a kit in X as opposed to Y, but it sounds like fun to me
the good thing about slicing it that way is that it’ll likely be more efficient on RAM as you can keep a series of Kicks or hits fairly tightly packed, they don’t need to take as much room as the string of cymbals !
you could also do the same synth sound just with different fx on each loop… some crazy, some not so crazy
probably get some infected mushroom style modulations going that way
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@previewlounge.
Sorry to say that this is not the way for this particular technique…at least prepping is a bit more complex.
All you have to imagine is to have a matrix (thanks Multiman!! that word disclosed to me the way to approach in creating the proper files to be loaded to OT…)
You have to encode the source material that will be decoded once into OT playing samplelocks every 1/16th.
This is how I do it
You prepare the “encoding” in Live (or whatever DAW will do it, but Live has the DrumRack…and the “Slice to New Midi Track” function…)
So you put 16 bars of audio (each bar a loop, sound, whatever)
Consolidate the first 8 into one 8 bars clip
Consolidate the second 8 as above.
Right-click on first clip and select that slicing function, using 1/16th division.
This will create a MIDI track with a DrumRack loaded with 128 slices and a ready to be used MIDI clip that will playback the clip (the 8 bars of source material) as you would do on OT with its Slice function.
But you will NOT use this midi clip. You need another one prepared accordingly…
Anyway. Do the same with the other clip…you’ll have now 2 midi tracks with two DrumRacks.
You have to create two midi clips for playing back the “encoded” files.
These files will be in the number of 16.
I use this nomenclature: Loops1_MX16_A
MX stays for matrix
16 for the number of slices grid i have to select in OT and that corresponds to the number of Loops i have used in DAW.
Keep in mind that you anyway will end up with 16 files.
You can create more complex chains, like Wascal, using 64 bar of source material…then you’ll end up to slice in OT by a grid of 64…
For now im using 16 to have the movement range of the fader more controllable. but 64 will bring for sure really complex and incredible things…!
Anyway.
the A in the filename corresponds to the file that will be samplelocked to step 1 of OT (i use alphabet for my choice looking at OT)
B on step 2 and so on …(…P on step 16)
Speaking of A
it consists of the first 16th of every loop.
Speaking of B
it consists of the second 16th of every loop …
…and so on.
So those midi clips (i can provide them if you need it) will have a note every 16th that trigger the first slice of each loop in the DrumRack.
One drumrack is for the first 8 loops. The second for the other 8.
Sorry…i have to quit now for some duties…if any doubts… shout!
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I was killing some time reading the OT manual the other day and I believe I happened to read that this is a known “feature/bug”. Basically the manual recommends to use Flex for this since all files will be in RAM and the OT does not need to rummage around on the card.
The weird thing is that two days ago it was working perfectly on a Static,
Also there a set of loops that work anyway even now on a Static.
It would due to some chunks of data easier to get from CF.
Anyway,might a faster than 300x/400x CF would help?
Also now i would like to have more slots…(if the Static would work tight)
awesome cheers for the detailed illumination.
ok so the sixteen slices will define the 16 different 1 bar loops in a single audio file, cool…
i do wonder if there would be clicking noises but without having tried this awesome technique, i shouldn’t be second-guessing the value of trying it out
somewhere the manual mentions that if an lfo is controlling the start point of an audio file, the file should be in ram, in a flex. that is different to this situation and yet similar … x-fader becomes the lfo moving the start point.
edit:
this technique is going to be super awesome for live performance.
edit: yes i too wonder if a hi speed card would make a difference, to what degree could the OT gain benefit from the (potentially) higher reading speed - in particular, for Static machines.
Im a little new to the OT and I get confused about this ^ part.
When you say "Load all 16 wavs that you created into static slots,"
you mean just loading them into the slots correct?
When you say create a pattern are you saying,
drop 16 trigs for 1 bar, trig 1 locked to slice 1, trig 2 locked to slice 2, and so on, correct?
How is this selecting between all 16 wavs?
Or how do you load ALL 16 wave into a Machine?
Ah HA!
Learned what sample locks are while figuring this out.
Works great, lots of fun.
2 Likes
Went to a mate’s studio last weekend, tried out the breakbeat of doom crossfader special technique and he played around with synths and created this track:
https://soundcloud.com/stuunz/fat
All I did was jam breakbeats to his jamming… Works like a charm and we had good times trying it out.
With using 16 breaks instead of 64, the method becomes less random and you can easily recall a break with the crossfader. My next goal will be combining this technique with singlecycle chains and see what mayhem that will bring.
for four-to-the-floor productions:
(still gotta try it out - currently at the office)
some elements like bassdrum should probably not vary too much. so you use only few slice variations for these trigs. others will vary more, so you use more slices.
using empty slices can be nice too, I think.
you could also put a double hit in one slice (so its length is not just 1/16th but 1/8)… etc etc…
or use two sounds and create two 1/8th slices, both with different sequences of these sounds.
and link the slider not to the slice number parameter, but to a random lfo’s depth, controlling the slices…
endless fun.
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heyyy i like your thinking in fact i like everyone’s thinking here on this awesome thread. totally blown away and in denial of the fact that i still haven’t done this yet. on the top of the must-achieve list.
I´ve been thinking about a perhaps possible way to create an project in the OT itself to get this “semi-automatically”. Just thinking out loud here, but would really like to hear your thoughts about it and where and what that might need some adjustments to make it successfull.
[ol]
[li]Record an DAW created MIDI track into OT with evenly spaced “hits” (i e NNs in whatever range needed). Where I guess the space between the hits needs to be long enough to letting the decay of what sounds I´m about to “capture” (i e drums) on the audiotrack.[/li]
[li]Setting up an flex track to (one shot) record a specific amount of seconds (reserve memory settings).[/li]
[li]Connect the audio of the other unit into OT. Connect MIDI out from OT, into MIDI in of the other unit (i e computer with drumsounds).[/li]
[li]Having both MIDI- and audiotrack starting at the same time in the OT (perhaps even set it up in the arranger to get sequencer stop?).[/li]
[li]Upon pressing play on OT: MIDItrack starts sending out “hits”. Audiotrack captures the sound from the other unit evenly spaced out within the timeframe that I´ve setup.[/li]
[li]Upon (sequencer) stop: save recorded sample. Then slice it up in the same amount as the hits that have been sent via MIDI.[/li]
[/ol]
Possible? If not, what have I missed here in my thinking?