In fact it arms all one shot trigs of the track. Clicking on one suffice to arm the others. Maybe safer to use YES or FN+YES. 
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I could have sworn it was only arming the trigs clicked on. Iāll have to double check.
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To stop the sequencer without stopping recordings, press PLAY (pause). You can stop recordings by pressing STOP afterwards.
Usefull for a ālongā internal recording, to stop the sequencer and continue to record fx tails at the end.
(Probably written somewhere?)
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Does that work for recorder buffers recording any source? Or just internal (T -8, cue, main).
Yes, I edited, it was an example.
Is there a shortcut for ARM ALL? (for one-shots)
Ive disabled stop-stop, as Im so used to using this for reset transport/ all -notes-off , so this led to losing recorder buffers contents (by unwanted re-recording) ā¦ so i wanted this to be more explicit.
similarly, Ive disable yes/no, and use f+yes/no.
those that have had OT longer, have you disabled these? or are you just more careful with how you hit play/stopā¦
With the rec light on pressing yes arms one shots on the track. And with the rec light off pressing yes arms one shots across all tracks 
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Roxanneā¦
you donāt have to put on the red light,
(if you want to arm them all)
Double stop also send all set Control Change.
I used it for Arm All but I may disable it as I donāt use it anymore.
I may use Fn+Yes too because last time I armed by error.
Arm All also arm track recorders one shots.
Arm donāt arm track recorder one shots if youāre not in the rec setup.
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humanisation/round robin trick I just thought of
- get a snare, put it every 2-4 steps. slightly vary the volume of each one. not too drastically. 1/2 track scale.
2.record the track with a recorder trig, 64 steps
3.save to slot and put sample on the track, turn on slices
4.slice into separate snare hits leaving small slightly different amounts of space at the start of the sample. bigger gaps=drunker hits
5.random LFO to slice number
6.clear pattern and play away
havenāt tried it yet but no reason it shouldnāt work
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Yes, this works great. Iām using this method since I got my OT for various use cases:
- sample accurate micro-timing (much finer than the few possibilities given by microtiming itself)
- slowly moving swing (using a very lowspeed triangle LFO)
- drunken drummer (as in your example - using a random LFO)
- for specific probabilities not possible with trig conditions: for example use 64 slices, but only 17 containing really a sample, but the rest silence (17/64 chance)
- phasing effects: using two tracks each playing a different slice with start points just a few samples apart (great to modify live in the AED by moving one of the start points around).
Of course, the probability use case as hinted at in (4) doesnāt need that much empty slices. Itās enough when the last slice is empty (for example slice 18), but the LFO uses the complete range of 0-63. This way it will trigger in most cases the last slice (again 17/64 chance that the sample will play - but uses much less memory).
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Interesting! Personally I usually prefer steady things, but too much sounds triggered at the same time can be problematic!
I recently used the opposite : different ends for tuned slices for tuned sampling!
If I want to make a tuned synth with incoming signal, whatever the tempo is, I use different slices, all placed at the beginning of the sample (yes, possible).
Ex : C = 674 samples, G 450 samples.
Slice mode.
Change LEN=TIME for octaves up (128 / 64 / 32 / 16 / 8 / 4 / 2 / 1
Weird example, crossover between incoming signal and realtime sampling, pitch determined by slices. 
Number of samples.
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Nice! I wonder if the slice length is in all cases enough to get a strong fundamental to appear (almost?) independently from the incoming signal ā¦
Iām not sure to understand what you mean.
The 1st line of the table corresponds to A frequency.
Below around 27.5 hz, the sound is more a short looped sample, above the note is more and more recognizable.
Max A frequency is 440 Hz. 880 Hz with pitch +12.
Caveats : recording has to be longer that the slices, so you musnāt stop it too quicky.
Rec trigs with 1 step LEN do the job.
Thatās clear to me. What I meant is: I wonder how strong the influence of the incoming signal is on the amplitude/volume of the outcome, letās say an A at 440 Hz. IMHO this should vary heavily depending on what frequencies are in the incoming signal, isnāt it?
BTW: great tip about the slices all starting at zero. This should also work with the sample accurate microtiming with slices all ending at the same position. So for the microtiming to work it should be enough to have a sample recorded only once with some silence in front of it. This reducing the memory required to a minimum. Iāll have to try it when there is some spare time ā¦
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For that purpose, if you want to use a template and copy paste samples to replace and make a new one, same end is not practical I think.
Template idea : 64 slices, slice 32 being the reference. Slices below start before, slices above after. For a new sample, select slice 32 and paste your sample.
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Just tried the āall slice ends at the same very last positionā and it worked nicely. It saves quite some memory, because the complete chain requires only the size of the sample + the size of the silence in front of it. It works flawlessly.
But, as you already guessed, it is really not practical when working only with the OT (without a computer generating the slice spec file). It already starts with the damn editor where you cannot move the start of a slice without moving the endpoint automatically with it ā¦
Offtopic: When I turned on the OT this morning it took me quite a while to find out why there was no audio coming out to my headphones. I checked everything. Mixer settings, track volumes and so on. Turned out the headphones were disconnected (yes, one of these days) ā¦
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Useful tip if you want to use your headphones : connect them to the appropriate output! 
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erm. Whatās going on here ?!
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Iām guessing the Vid I linked to was taken down & the URL has been reused? If thatās a thing? I certainly never posted that.
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Yes, I guessed that was the case (thanks for the links by the way still proving helpful to some of us)
Just a bit of a weird one ā¦ Iād not seen it before eitherā¦
I watched the videoā¦ I was trying to work out if an Octatrack had been used for the soundtrack or something lol
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