I write a lot of musical sketches on a dsi tempest, which is limited to 6 voices. Does anyone have a good workflow for quickly sampling a succession of different MIDI-synced parts? I tend together bogged down in the 2 bar vs 8 bar vs odd noise record time settings…
Not sure I understand the last part of the question.
Can you elaborate?
What do you mean, a succession of different MIDI synced parts?
I tend together bogged down?
What I mean is that I don’t make many 4 bar loops. I prefer things to wander in and out of sync. Triplets, odd time signatures overplayed, that sort of thing.
When I get to the octatract and want to produce some actual samples, I find that it really wants to record 4 bars. That sucks for what I am trying to do.
I want to be able to quickly record samples (since they are generally live played synth lines) in different bar lengths without menu diving ever 20 seconds to make sure this will line up. Does that make sense? At the very least, I want to be able to switch from 4\4 to 6\4 or whatever quickly…
Yeah, that sounds tricky with any type of “electronic music” device.
I tend to use the OT in half time, for example, if it’s actually 140bpm, my OT is set to 70bpm, giving me 8 bars.
There’s always just the raw way of sampling in the OT, Track button + Rec right?
Maybe a midi foot controller would help?
Maybe a different sampling tool, EHX 45000?
It kind of pains me to say it, but what about sampling ideas into Ableton Live?
Then moving that to the OT.
I’ve got a Tempest too, and use it frequently like you’re describing. It’s a great source for all kinds of awesome, but as a stand alone instrument, it’s not enough for me.
So here’s what I do:
I set up a bunch of recorder triggers on the Octatrack. But one is enough to make my point, so let’s say I do it on Track One. I put the trigger to bar one, step one - right at the beginning of the pattern. I set the sampling time to Max (not 64steps) and usually the buffer to around 15-20 seconds, which is enough for me most of the time. But given the Octatrack’s internal memory, I’m guessing whatever you got in mind, there’s enough memory in there to make it work.
Then, I start the Octatrack with something in the background to keep me in tempo - a kick drum, a click or whatever.
And then, I just jam, and whenever I’m approaching step 1 - beat 1 trig again, I count down and repeat my playing until I’ve nailed it. Like a drummer counting you in before your que.
I don’t use a repeating recording trigger, though, I use a one shot and just activate it again while I play, if I feel I didn’t get it right (usually a procedure repeated many times before I’ve nailed it). I tend to slam my finger on that poor button, so eventually my step one button on the Octa will have to be replaced.
I do most of my recording live, including arpeggios and sequences, and sometimes I need to spend an hour or two on something I’ve practiced on before just to get it right, especially if there’s some nasty synced delay in there as well. No one tells if you’re out of tempo like those vicious synced delays.
But since I’m a keyboard player, I quite enjoy it and I get my own style of playing, which no swing algorithm can duplicate.
So - set a trig at the beginning of a track. Sample time to max (not 64steps). Make sure your buffer has enough for you to jam for however long your section is. And fire away.
By the way, this entire way of using the sampler as a repeating track recorder is one of the strongest features of the Octatrack for me. No other sampler comes close to the Octatrack when it comes to capturing performances like this in a quick and easy way. It’s like having a never ending tape reel that just snaps back to the perfect start position at your que.
Holy shit this piece of gear is great.
There. It needed to be said. Again.