The title is pretty close to the truth. Intentionally or not?
THE OCTATRACK is A-MAZE thing.
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Octomaze with 4 outputs…
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Or are they 4 inputs? 
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I vote for inputs, too. Outputs are normally on the back like with almost all creatures. 
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That maze seems like it can’t be solved, just like Octatrack… 
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So u can’t save the samples without the + drive?
I was quite unclear in my response. You can save samples, but the storage space is very limited. Of course it all comes down to your workflow and use cases, but I would hate to be forced to swap samples in and out with a computer due to the limited space available.
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@tnussb is right, it is pretty limited. Basically depends on you - and well if you have an OT already not sure, if you really need it. To be more specific & quoting the manual:
The MKII has 48 ROM slots, 4 RAM machines and 2.5MB of sampling memory.
The MKI has 32 ROM slots, 2 RAM machines and 2.0MB of sampling memory.
My Octatrack MKII arrives TODAY!
Current setup: Octatrack, DSI OB-6, Novation Peak, Moog Sub Phatty, Fender Strat, Zoom H6 hand recorder, various pedals…
I’m honestly considering selling my OB-6 and picking up a Digitone (which I already owned and sold) and my first ever Eurorack case + a few modules (including a SEM filter)…
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Just got mine today, it’s an amazing sampler and the learning curve so far is not as bad as I have read.Got an MPC Live in December and this combo looks to be awesome.
Thank you Elektron for an inspiring device fits my way of experimentation and sound design.
That symbol = Use Coke to Operate.
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I interpret it like: lay down and show your ear inside a box. Funny, isn’t it?
I have an MPC Live & OT MkII, but don’t have much time to learn or use them.
Recently i had the OT up for sale, but i withdrew the ad. I just couldn’t bare to be without 1 or the other. Although if i really had to sell one, i’d still choose to sell the OT.
But it really is an incredible combo.
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I came to post something similar to this but didn’t want to, I’m glad you did it instead.
This thing is the bee’s knees for sure.
I find it very intuitive overall, given my learning history of Elektron devices (Digitone -> Digitakt -> Octatrack). Didn’t have to read the manual to immediately figure out slicing, then I had a groove up and running nearly as quickly as I could do on the Digitakt, which says a lot IMO given the advantage of the Digitakt to me before I sold it was its immediacy.
The advantage of the Octatrack is randomness, happy accidents. When using a huge slice sometimes I’d place a trig at a random start point and it’d just work well so I’d leave it. The crossfader can seem a bit gimmicky if not programmed correctly and utilized in a classy way, I think that will be one of my main focuses.
Biggest tip as a noob for noobs: save often. As soon as you hear something that makes you tap your foot or bob your head up and down, save, because I guarantee you’ll want to come back once you’re lost in the jungle 10 minutes later and there’s no rhythmic quality to be found in the mangled mess of garbled waves you’ve yanked out of the device.
Amazing.
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I agree. Randomness is huge as it gives you ideas. These ideas go onto help formulate a track. A unique one. This is Eno talking 
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The crossfader can do soooo many things it’s ridiculous, can definitely not be gimmicky, especially if you don’t just go twisting knobs and assigning them to a scene but rather coming up with precise ideas and employing them. Also just having the fader at one side you can activate a scene in full without sliding/morphing, and then jump between ones fully activated… Can do so much stuff with those scenes from uber subtle to beyond drastic or anywhere in-between…
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As this popped up I’ve been working on a scene shifting intro… It’s an absolutely epic tool for real time use when you program it with some class.
Classic opening, shifted into filtering the main melody while setting it a half beat forward through a retrig and switching from a drum track to an off beat clap, then swap A quickly and shift to a bit crushed mangled drum beat, then set B to the original and bam.
A lot of examples I don’t enjoy usually involve mindlessly twiddling it all around constantly, which will work for DJ like effects but most effects should be a bit more subtle, or quick from A - B, or stopped in the middle, etc… hard to explain how I go about using it so far.
Damn I love the OT.
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Nice… I’ll add just in case it wasn’t clear when I said jump between active scenes I meant have the fader all the way on one side with a scene active and hold down that scene button and jump between the scenes on the trigs with the other hand. One example is having them set to comb filter pitch with the different scenes making a scale (and other scene locks too) and then play the comb filter that way…
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