True, I just enjoy the variety of different delays available.
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Seems I was only able to import about 40MB of mono (16/44) samples (225 samples imported in total) before memory was full.
Is this around what other people have experienced?
Yeah, theyâre certainly generous - same with distortion / overdrive and chorus FX. The 707âs potential for four inputs makes it a pretty effective FX processor / mangler, not dissimilar to the OT.
I thought you were describing another machine really. The TR-8S tape echo is sick. This thing can generate sounds on its own.
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Yes it sounds good and is very functional on the 8S, no doubt. Pretty sure itâs identical to the 6S delay.
It just doesnât get as extreme as a pedal, or even an elektron or Korg built-in delay.
Havenât tried filling it up. But you seem to be getting double the mileage. The user accounts I can find stop at 20MB.
Although, the published specs (~600s for wav/16/44/mono) indicate an upper limit of 53MB.
I suppose 13MB is used for some kind of meta data?
Will try tomorrow on the 8S.
ps: wonât get to the studio until next week unfortunately.
I recently redid all my samples going into the 6S. More curated. Happier with it now.
With 125 samples using 8.1MB, it says Iâm using 35%. So it seems to be variable.
It does sound good as far as it goes, I just wish it would go further, you know? To have a delay or echo that doesnât support feedback just seems like a weird move to me, but I appreciate itâs not really part of their day job.
Mine just arrived at the misses office , another ten hrs at work and I can check it! Iâd say I will be pouring my self a Guinness later:) good to read your review adamJay.
To have a delay or echo that doesnât support feedback
Still not sure what you refer to. Feedback is on the faceplate.
Or is it a detail where the TR-6S differs from the bigger model ? Weird move indeed.
Edit: had to check the manual. Nope, it does not differ.
heâs talking about self oscillation
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Yeah, as bluesmoke says, Iâd like the delays to go to 100% feedback, but theyâre limited to something like 98% at the moment. Feedback was a poor choice of words there on my part, I meant the nasty kind of feedback. But thanks for trying to help!
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Does the 6s have a soft clipper on the master out like the 8s does?
Not Elektron-style feedback but hey⊠I donât know how I could do this with my Digitakt:
(variations happen on their own, no user interaction)
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Spent more time with TR-6S the past few days.
I think Iâve finally got it to sound the way I want with a certain hardware FX chain.
TR-6S into OT1 for compression, OT1 into Analog Heat, Analog Heat into OT2 for some post heat EQing (really just a DJ EQ mid frequency +12 bump).
I find that while I can certainly work in headphones and develop the tracks by itself, its compressor and internal FX alone arenât enough to get a finished sound. No surprise here as this is the case for most gear, really. But I do find the need for that big mid range bump at the end of the chain a bit telling.
Keep in mind this is in trying to do complete tunes on the OT, so perhaps as a drum machine by itself this wouldnât be an issue. A master EQ, independent of a master compressor, like the MC-101 has, would have been nice. Fortunately I have what I need to make it work, though.
Anyways, these are my most recent findings. A very solid, useable box. Iâve got three patterns so far that Iâll be turning into finished tracks, and these can easily be implemented into my live set with the Octatracks. Real glad I traded my MC-101 for it. Coincidentally, the stuff I make with it sounds a lot like what I make with Model:Samples. Maybe its the 6 track limitation?
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Those kicks sound solid af man!
Iâm basically waiting for anyone on a local auction site to weaken, and sell a TR-6S or TR-06 very cheap.
Would it be very weird to use it mostly as a module, for Digitone? And only use the sequencer occasionally on the sofa.
Iâve seen tr6s for ÂŁ200 I think. On gumtree in uk.
Was tempted but Iâve barely used my mc101
The great thing about the TR-6S is how much stuff there is under the hood to tweak and get a great, nearly finished sound with. Eq, compression, limiting, variety of fx with loads of parameters.
The not so great thing about the TR-6S is that itâs under the hood. But, to continue the analogy, itâs at least above the engine, so not that difficult to access.
The MC-101, on the other hand, was like changing the head gaskets on a Subaru. Had to lift the whole engine block up to get to where I needed to be.
It was fun and informative to explore both of these Roland offerings (and the TR-06), though.
In the end, I wound up back in the usual spot. Back on my Octatrack. The muscle memory is real, and the Parts and chains Iâve set up over the years make working on it incredibly fast for me. A bit ironic, as the OT is considered as having a lot under the hood. But ultimately the interface is superior to a two line text display.
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