|
vkeios posted:Get the volca sample instead since it's the better drum machine. I picked one up a couple of weeks ago to accompany my Monomachine. It's pretty fun and super easy to integrate but not without its limitations, and kind of a pain to set up if you don't already have a set of samples. Edit: While I'm posting, is there a standalone compressor that acts sort of similar to the Vinyl Sim effect on an SP-303? WorldWarWonderful fucked around with this message at 01:14 on May 21, 2016 |
#
¿
May 20, 2016 23:31
|
|
|
|
| # ¿ May 17, 2024 21:37 |
|
|
I'm doing this wrong because I actually made a song with my synths. It only took since January. https://www.youtube.com/watch?v=_JALUxMPbuA
|
|
#
¿
May 22, 2016 04:20
|
|
|
Digital Jesus posted:Thanks for the words man. Yeah I actually have an iPad Pro and a 6S+. I also have a MacBook Pro with Logic. So I guess I have the bases covered there. I just don't know where to start haha I've had a few synths over the last few years but nowhere near as most of the people in the thread, and my basic thoughts on the OP-1 are that it's not for everyone. If you want a synth, there's better. If you want a portable studio there's almost no competition. It's been with me on every trip, gets brought when I go to a cabin for a weekend. I can record any other thing into it and use it as a tape machine and effects processor, or sample what I've recorded. As a synth it has two major failings; line noise (which I correct by using an external DAC when needed) and in general the synths sound very thin compared to analog or virtual analog. As much as I am an evangelist for the OP-1, there's a lot better you can spend the money on if you're just looking to get into synths. I bought it because it ticked all my boxes - a device that wasn't based on looking at a screen constantly that I could take with me nearly everywhere and do anything I want with.
|
|
#
¿
May 27, 2016 00:46
|
|
|
I've finally moved to a completely independent-of-a-computer hardware setup for writing music and I love it. The only thing that's missing is tape saturation - while I have a few VSTs (I mainly used the Kramer Master Tape if I wanted to go overboard, but used some of the Don't Crack ones for a little more subtlety), is my only hardware solution recording to tape, or are there guitar pedals / reasonably-priced compressors that do the job? I don't want to go lo-fi for the sake of going lo-fi but the VSTs I use get the sound I want - I'm just trying to make it sound a little less sterile with hardware. There are a few other benefits from getting a tape recorder - six inputs means I can use all my devices since right now I've routed a few things through my Monomachine since I've only a 6i6 for now. WorldWarWonderful fucked around with this message at 14:36 on May 28, 2016 |
|
#
¿
May 28, 2016 14:31
|
|
|
Mr. Glass posted:Strymon Deco. i mostly use it for the tape wobble but the saturation sounds great too. Thanks! I'll check it out. Electric Bugaloo posted:Well, at the lower end you could probably get an inexpensive personal reel-to-reel or even cassette recorder on Craigslist to run tracks/songs through and dick around with. I was hoping to avoid using actual cassette but if it's the best price to performance ratio I can get this will probably be the avenue I take. Oldstench posted:Zvex lofi junky? My cousin has this pedal and I tried it out for a bit - it feels like it's great for warping and grit but the compression doesn't feel like it's what I'm looking for. It feels like it'd be better using on one element rather than running the whole track through it. Thank you though! Startyde posted:Neve 542? This seems like an ideal solution but good lord it's expensive  I'll see if I can get my hands on the Strymon Deco and try it out. Again thank you all for your suggestions 
|
|
#
¿
May 29, 2016 16:15
|
|
|
havelock posted:I don't think I even like electronic music but I've probably watched a good hour or two of op-1, organelle, and minilogue videos over the last few days. If I call these things pieces of art (like the guitars on the wall) then it seems less ridiculous. It's been my travel companion for a few years; be it business trips, weekends at a friend's cabin, or just to sit somewhere different. I installed the latest OS beta and the presets are far better than the old ones, and better than many I've "borrowed" from other people over the years. I can't see a situation I'd use it in daily unless you take commuter trains in from the suburbs to be honest. There's no one way to use it; I usually use the first three tracks for making music, and the fourth for sketches, so you can mute and unmute as necessary. If you have a 3DS there are a few music apps for that that I prefer to ones on iOS. I am not a "keys" person but I appreciate the ability to quickly play a chord or note compared to step sequencers, and the OP-1 offers both.
|
|
#
¿
May 29, 2016 16:52
|
|
|
havelock posted:This is not quite my situation, but close enough. Uncrowded public transportation for about 30 mins each way every day. Right now I basically mess around on my phone reading immediately forgettable stuff. Thanks for the input on how you use it. Any questions feel free to ask! I am by no means a great improviser like the beloved Cuckoo but I've used the device extensively. Scatterfold posted:Something to remember is that bouncing to cassette isn't just a saturation thing. You've also got the interaction of compression/expansion and noise reduction [noise compander?] It's quite a cheap way to utilise multiple effects which a lot of people pay a lot of money for (or put through very sophisticated plugins): bus compression; soft bus saturation; high-end cut off... And if you've got good tape/solid kit/your levels right, you won't even have intrusive hiss. The other thing that has me leaning towards something like a Portastudio is that I'll be able to connect all my devices into one; currently everything is routed to line ins on my Monomachine since I only have two stereo inputs on my 6i6; on a recorder with six inputs it lets me hook up three devices which is enough. A guitar pedal option would mean I'd still need a mixer to consolidate the inputs into one before running everything through if I wanted to free up inputs on my Monomachine. Having an EQ option is nice but I'm tying to get not too tied up in things like that. I guess I have my answer. Now to do my research. I was just a little leery of taking the tape route because it's hard to tell a device's condition without trying it out first, not to mention I don't know if I can get the sound I want from it since it's not like software where I can try a demo out or something. WorldWarWonderful fucked around with this message at 00:44 on May 30, 2016 |
|
#
¿
May 30, 2016 00:42
|
|
|
Sexy Randal posted:You can now play the Volca FM with velocity thanks to a fancy midi cable! The only thing stopping me from getting a Volca FM is I'm out of inputs on my USB interface as well as outputs on my sequencer. As someone who isn't a keys person but has used FM almost exclusively for nearly a decade it's perfect. WorldWarWonderful fucked around with this message at 00:41 on Jun 11, 2016 |
|
#
¿
Jun 11, 2016 00:25
|
|
|
This is a very dumb question but I tried googling it and nothing came up definitive. I I have a stereo synth but the guitar effects pedal I want only has a mono input, is the way to get mono from a stereo synth as simple as plugging in only the left channel? I only use reverb and delay and don't delve into stereo effects much so it isn't a loss. I just want to make sure it's that easy since none of my synths have "L/Mono" marked like my older ones did.
|
|
#
¿
Jun 17, 2016 02:35
|
|
|
MockingQuantum posted:And I'd love to figure out a setup that has a central brain of some sort that'll allow me to control all that stuff, that is maybe less labor intensive and less tied to a screen than running it all from a DAW. I admit I've never used a hardware sequencer in my life, but it seems like something like the Beatstep Pro or maybe the Octatrack is the way to go? I'm open to opinions, so far I've just been plugging in whatever synth I need at the moment and plunking on keys, which is fine for my day job but makes music writing really slow and frustrating. Possibly overkill but I've a Monomachine while, in addition to six internal tracks and synth engines, I can sequence up to six external channels (albeit with some limitations). Currently I use it to sequence my Volca Sample; soon I'll also have it controlling a Volca FM. It's a shame the Organelle has no MIDI breakout. Less exorbitant is probably a Korg EMX, and that lets you use up to five tracks combined (internal / external) and is a bit larger in size. If you're looking for a half decent drum machine however, that might be your best answer. Neither can do chords however, to the best of my knowledge.
|
|
#
¿
Jun 28, 2016 01:03
|
|
|
Digital Jesus posted:Just got my OP-1 in the mail and it's tiny and adorable and I love it It's not without its flaws but it's a very unique product. Lately I've been using mine to run other synths through it for effects, mainly percussion for more mangling
WorldWarWonderful fucked around with this message at 01:06 on Jul 8, 2016 |
|
#
¿
Jul 8, 2016 01:02
|
|
|
Martytoof posted:Is there a similar resource for FM synthesis? I'm pretty keen to learn more about the process of sound design in FM Synth. Cuckoo just put one out recently: https://www.youtube.com/watch?v=WJrTk4cgFiQ. I haven't watched the whole thing yet, but I've been dealing with FM in hardware and software for about fifteen years.
|
|
#
¿
Jul 29, 2016 23:10
|
|
|
A MIRACLE posted:Didn't they demo an op1 with a projector built in a while back? That seemed sweet That's the OP-Z, which seems more like a step sequencer using Pocket Operator sounds.
|
|
#
¿
Oct 22, 2016 09:59
|
|
|
It's great standalone - after a two month buyer's remorse period it clicked and it's a fantastic tool. That being said, it integrates with precisely none of my setup, and while I loved it as my first synth, since adding a Monomachine I don't use it nearly as often. The new beta firmware helps, since the presets are better, and with time I've made or accumulated the "best" sounds for my purposes which helps. Treated as something self-contained and it's a fun tool since there's nothing quite like it on the market. If you're looking at something to integrate into a larger setup your money is probably better spent elsewhere, to be honest - most of my musician friends who have played around with it have come to the same conclusion. It's fun, they all want it, but its cost is a barrier, and I think if I hadn't bought it before buying anything else I wouldn't own one. I think my favourite thing is that there's no "right" way to use it. Everyone seems to do something different with it when I let them explore.
|
|
#
¿
Oct 22, 2016 11:40
|
|
|
magiccarpet posted:someone talk me out of buying an analog heat. I want it for a tape-less and VST-less way to get tape saturation but at a pinch over a thousand dollars CDN it's difficult to justifty. If it had other effects and routing capabilities I'd be in, but all I want is tape saturation and I don't play live, so it's easy to write what I want and toss it into Ableton for the final mix. It's still cheaper than a Rupert Neve offering.
|
|
#
¿
Oct 25, 2016 01:39
|
|
|
I nabbed a beta of the latest OP-1 firmware a few months ago and it had some nice features but lacked the new synth engine, Voltage. I've the new official firmware. It's a nice update - I haven't managed to wrap my head around the new sequencer yet but I can't wait to play around more with Voltage. While still far from VA it's just a pinch closer than the flatness of the other synths, and fills in a few holes the others don't cover. The main downside is I've packed as much as I can into this thing and now I've got to do another triage as myself or the community make more presets. Where else is this plucky little synth going to go?
|
|
#
¿
Nov 27, 2016 02:33
|
|
|
FormulaXFD posted:I have a bit of an idiot question, but when you have multiple synths, is there a specific mixer you guys usually buy? All of the mixers I've found pile on inputs for microphones as you go bigger, but the number of L/R line in inputs increases count only marginally. There has to be someone who makes a solution for this already, so I'd like to know what that solution is before I send out a homeroll design to solve my problem. My solution was to go all mono 
|
|
#
¿
Jan 14, 2017 20:10
|
|
|
I'm kind of waffling between an Octatrack, RYTM, or Machinedrum as a drum machine to complement my Monomachine. I picked up a Volca Sample last summer but I've done what I can with it. While the 4MB isn't a big limitation, I'm finding the 99 sample limit hindering. I was hoping for a simple drum machine but it's just a bit too simple (understandable, given its price). I tried looking at other samplers (Boss 303/505, Electribes) and keep hitting some kind of limitation, be it sample rate, effects, compression, or other. Something like the RYTM seems no-compromise, between its drum and synth synthesis as well as sampling, but it's a far sight more expensive than an MD or Octatrack. I lean to the OT as a result since it seems more prolific than the MD second-hand, pros being the sampling available meaning it might serve to be another tool I can use and external audio processing, downside being less drum parameter control. Which leads me to the MD which is nonexistant used, at least in the last available version, which has more control over drum sounds and may be easier to dive right in, but serves some of the same function as a my Monomachine. Its sampling abilities aren't as fleshed out as the OT, but right now I'm not looking to sample, just use samples from existing drum machines and ROMplers. The effects are also sound a bit more dated if Youtube is any indication. Both are just going to get controlled over MIDI. I never cared about what things sounded like until I started buying hardware -_-. Edit: After watching youtube videos all morning I'll probably go with a Machinedrum when one pops up. Ooooor a RYTM if it's ever a reasonable price. WorldWarWonderful fucked around with this message at 19:50 on Jan 15, 2017 |
|
#
¿
Jan 15, 2017 18:54
|
|
|
I guess I'm leaning towards the RYTM unless a used machine drum pops up. It looks great if you need a drum machine / sequencer but it doesn't look like it's meant for people who already have an instrument or two from Elektron (save maybe the A4). I'm hoping they show off some sounds and more on the manipulation but this will probably be close to a thousand bucks here in Canada, and I can find used octatracks and have seen MDs go for about that.
|
|
#
¿
Jan 20, 2017 18:10
|
|
|
After waffling and going through analysis paralysis over what to replace my inadequate (for my needs) Volca Sample, I'm picking up a used Octatrack tomorrow. Every time I look at something new I kind of forget how far down the rabbit hole I can go with reading posts on forums and overcomplicating things. I don't think I'll have a problem enjoying it if it's as fun to use as my Monomachine, and it means if I ever want a drum synthesizer I can get near any old Machinedrum and not worry about the user waves aspect. I was hoping for more demos of the Digitakt but it's a non functioning prototype apparently. Even then with more IO and LFOs / effects I'll probably get more use out of the OT. My girlfriend tells me it's worth the money just to stop hearing me talking out loud about it constantly.
|
|
#
¿
Jan 22, 2017 02:09
|
|
|
I need to get a humidifer for health reasons - is there a general rule of thumb for room humidity? Some googling says 60% or less to avoid damage to electronics but none of my manuals give me anything more definitive. Do I just box up my synths when not in use?
|
|
#
¿
Jan 28, 2017 05:04
|
|
|
I picked up an Octatrack a few weeks ago - I was hoping to score a Machinedrum but those are few and far between, more so with the user sample ability. I picked up a Volca Sample a year ago to accompany my Monomachine but it was a little cumbersome to use (no complaints at its price point, I just needed something more). I needed something more capable but none of the cheaper options really had every feature I wanted. Almost went with a Rytm but found the price too high. I initially thought it would be overkill but the more I explore it the less I regret spending that kind of money on a sampler - it's replaced my mixer, negated the need for an input device with more inputs, and is just fun to use when running my OP-1 through it and messing around with the samples. While I'd love to have drum synthesis, it's taken a back seat to everything else this device can do, and I'm coming up with ideas faster than any other combo I've ever had.
|
|
#
¿
Feb 9, 2017 20:15
|
|
|
I ordered a stand from Marmot Audio two weeks ago and it showed up today. I like it!
|
|
#
¿
Feb 24, 2017 03:57
|
|
|
JamesKPolk posted:
My keybed stopped working on my Micron about eight months ago and I've been tempted to do something similar.
|
|
#
¿
Mar 11, 2017 03:21
|
|
|
I'm thinking of adding a guitar effects pedal or two for texture but I'm not sure where to start. I'm looking to shape the sound more than a standard reverb / delay, and basic digital effects (EQ, compression) are things my mixer handles pretty well already. It's a toss up between a Strymon Deco or El Capistrano, with the Analog Heat being a distant and expensive third probability. However I am open to other suggestions and I'm curious to what the rest of you use. Or does everyone just stick to VSTs?
|
|
#
¿
Mar 12, 2017 22:34
|
|
|
JamesKPolk posted:Two of my favorite pedals right there. The El Cap is so much better than the RE-20 and the Deco is magic on everything I try it on. (I'm also trying to avoid computers so having DSP in a box is a bigger deal for me than it might be for you). I'm in the same boat where I'm trying to avoid computers as well, thanks to some screen fatigue / tendonitis / carpal tunnel and have bit by bit made my way over and this is the last bit - something to replace the compressors / saturation effects I have. I was torn between getting the Deco on the master bus, or the El Capistan on my main polysynth, but this looks like it may be a matter of both and not either one or the other. While I'd love something like a Neve 542 it seems a little much, but if I'm looking at an El Cap AND a Deco it becomes a more viable option if I want to add colour to the sound. Thank you for the suggestions! I know what to look for and at least know I'm on the right track. Tatumje posted:The Deco, El Capistan, and Analog Heat are three pretty different kinds of effects. The main goal is to just add a bit more warmth - the Heat and Deco both offer tape-like saturation - I could do without overdrive / delay easily. My main setup is an Monomachine run through an Octatrack (thus easy to get some basic digital effects / EQ), and I'm looking to replace the various VSTs I have (mainly compressors / tape saturation ones). The El Cap looks more fun to play with and does distort the audio enough to make the audio seem a bit thicker. As for the style, the best way I can describe it is chillwave, but I aim more for the poppy-end-credits-to-an-80s-anime style rather than a darker / more aggressive sound. WorldWarWonderful fucked around with this message at 00:12 on Mar 13, 2017 |
|
#
¿
Mar 13, 2017 00:05
|
|
|
kuf posted:Do you have a source confirming the drum synthesis capability? From what I've read people aren't sure if this is the case. I was under the impression that it was samples only - at NAMM, all the videos had Cenk stating it was samples and not synthesis (as he's described the Rtym and Machinedrum). Their use of the words "sound engine" is a bit vague but I figure it just means ADSR, LFOs, and effects and not actual synthesis.
|
|
#
¿
Mar 15, 2017 21:29
|
|
|
My Lovely Horse posted:Right, after trying for over a year to coax sounds from my Rhythm Wolf's bass synth that don't give the impression of a fat bumblebee trapped in a jam jar, I'm finally concluding that it's a fruitless endeavour. Trouble is, without the appeal of a built in bass synth, the drum side of things doesn't sound so hot either. There are many people on youtube who can get decent sound out of it but I am not among them. Further trouble: I actually really like the way it handles. Time to finally get into Volcas and use them as sound modules for the Wolf's sequencer? Are there any better ideas? Should I just save myself some trouble and start chucking wads of cash directly out of the window? When I realized if I kept to buying used I'd be able to sell it for what I paid for it (or make a slight loss for a quick sale) it became easier to find what worked for me, and I never felt like I was wasting money. It also becomes easier to justify upgrading if you've exhausted your options. I went from four less flexible and cheaper synths to two more expensive ones that are much more flexible. The interface and sound work for me. I have a friend who has about seven cheaper synths that are more singular in voice and purpose and controls it all through ableton. He scours trades and flea markets and has found the setup that works for him. I might have spent a lot at the beginning, but I've maybe lost fifty bucks on six hundred dollars' worth of purchases just by buying and reselling stuff. The end result is me giving up on trying to save money, but owning two Elektron boxes and being more productive than I've been in the last five years.
|
|
#
¿
Mar 16, 2017 15:37
|
|
|
MrSargent posted:We could have an entire thread dedicated to stories of goons explaining to their significant others why they spent hundreds of dollars on gear to make robot noises. Hundreds? I'm lucky in that my girlfriend actually likes my music. The end result at least. The same pattern on loop for an hour as I add and tweak, however......
|
|
#
¿
Mar 18, 2017 20:48
|
|
|
MrSargent posted:Welp, the wife ended up buying me the Korg Minilogue for my birthday and I couldn't be happier. But I definitely need to upgrade my audio interface (Focusrite Scarlett 2i2) so I have more inputs/outputs and that supports MIDI In/Out. This might be better in the audio interface thread but this one seems to get quite a bit more traffic. I started with a 6i6 and while it served me well for a couple of years, eventually I needed more. Eventually my setup had synths with ins and outs so I can daisy chain them for now (in a way). The other option is to get a mixer. The Focusrite have great mic preamps for the price (so I'm told - I never use mics) and this way you can invest in a good mixer that's easily found used rather than going with something like an 18i8 (for example) that probably has way more outputs than you'd need.
|
|
#
¿
Mar 27, 2017 00:41
|
|
|
Guys, it finally happened today. After nearly six months......I finally clicked with my Octatrack.
|
|
#
¿
May 22, 2017 01:26
|
|
|
cubicle gangster posted:I did it, I ordered a rytm! It keeps pulling me; I've a Monomachine and an Octatrack, and was tempted to sell the OT and get the Rtym since I prefer synthesis over sampling, but it has more or less made itself irreplaceable lately (mainly how its I/O has replaced nearly everything else in my setup) and I can't quite justify a third device. If you don't have much in your current setup, the Rytm can act as a soundcard if you want to route audio through it.
|
|
#
¿
May 27, 2017 13:13
|
|
|
mrbradlymrmartin posted:are you sure synthesizer is the instrument for you It's okay; I used to have five. I still have a Micron somewhere with a fiddly keybed I need to fix with some Loctite.
|
|
#
¿
May 27, 2017 20:09
|
|
|
MockingQuantum posted:I can't decide whether I want a Rytm or a Digitakt. Drum machines and samplers have never been my forte, but I feel like my setup needs something like one of them. When it comes to units like these, though, I don't know enough to know what will fit best in my setup and/or click with me. Get a used Octatrack and go from there. Worst case scenario you resell it for what you paid. I think a used OT is a better deal than a new Digitakt. It's just a more capable device, albeit less user friendly.
|
|
#
¿
Jun 1, 2017 10:00
|
|
|
Trier posted:Hello. I'm saving up for a synth and doing some research in advance so I know exactly how much I need to save up. Are we still all recommending the Arturia minibrute for a starter synth like the OP says? I usually recommend an old Electribe EMX. They're self contained and you can do a fair bit with them, and learn the ins and outs of some basic synthesis. Then if you want another synth, you've already got something handy for bass and percussion, not to mention being able to sequence external synths via MIDI. They're cheap second hand and it's pretty easy to resell them without losing your investment. I went Electribe, added a Micron, added an OP-1, sold the Electribe and Micron to fund my Monomachine, then added a Volca FM which I traded up to an Octatrack, and just added a Roland MT32 I found for 25 bucks (untested as of yet but if it does it's probably going to be the second best deal I'll ever find in my life). It also comes down to if you want step sequencing or not. I started off with Scream Tracker 3 back in the 90s and step sequencing feels like a natural fit to me - I'm not a "keys" person. Start small, figure out what you do or don't like about the workflow, and go from there. WorldWarWonderful fucked around with this message at 23:41 on Jun 30, 2017 |
|
#
¿
Jun 30, 2017 23:37
|
|
|
Oldstench posted:Wait, the RYTM doesn't allow resampling? The Machinderum UW does. Nope! You can only load in samples via USB.
|
|
#
¿
Jul 7, 2017 22:10
|
|
|
hug a mexican posted:heckin' bunch of analog rytms popping up on my local used musical trash site and they're all annotated "no haggling", speaking of investing in elektron boxes earlier Same here along with some A4s. Tempted since a few are reasonably priced but I'm holding off because I'm miffed about a seller selling his Roland MT32 (asking price of 25 bucks) out from under me despite agreeing on a time and place. I don't know if it'd be a good complement to my Monomachine and OT, or replace the OT, but they're asking for about 300 less than usual. Bolange posted:And not even with some easy class-compliant drag and drop. You have to load it all in via SysEx That I was not even aware of. Blech. I love my Monomachine, and the Octatrack was a purchase more or less made out of necessity (Machinedrum died and I was impatient to wait on used ones to pop up), but I'm not that warm on the new Mark II stuff. I don't care for the new look, lame Overbridge implementation, and overhauling a device that's not even three years old. Things that have already been said. To be fair if they released a new Monomachine with more Yamaha DX-style FM engines I'd get that in a heartbeat. WorldWarWonderful fucked around with this message at 14:47 on Jul 8, 2017 |
|
#
¿
Jul 8, 2017 14:39
|
|
|
MockingQuantum posted:While we're on the subject, what's a reasonable price for an MPC1000 (used, ofc)? And should preloaded JJOS affect the price in any significant way? I've bounced between doing something like an octatrack or an MPC for a while, but honestly Elektron doing kind of weird reissues with the MkII label has got me scratching my head. I love my A4 but I don't wanna drop the cash on a new Octatrack MkII, or buy a used MkI and wonder if it was the wrong choice for years. For whatever it's worth I've had the Mark I since earlier this year and the Mark II offers nothing I can't see myself living without - they appear to be practically the same machine in terms of functionality. If I played live a lot the backlit buttons would prove useful. I'd vote on saving your money and grabbing a used Mark I - worst case scenario sell it for what you paid for it in three or four months.
|
|
#
¿
Aug 11, 2017 17:19
|
|
|
MockingQuantum posted:Good to know. The question then comes down to whether I want an MPC or an Octatrack, which is a tough question to answer when you've had neither. I use my Octatrack as a drum machine and effects processor and the latter is where it really shines - I don't know how the different MPC models work but on my OT I have my headphones routed to headphones (when needed), Main Out routed to my field recorder, and Cue Out routed to my speakers. When I make the final mix I just plug my headphones into my field recorder so I can make it sounds fine. It has four inputs; I use one as a stereo pair for my Monomachine and the other as a stereo pair for my OP-1. From there, I can assign the inputs. For example, tracks 1 through 6 are used for the samples (triggered from the Monomachine). Track 7 is the inputs for the devices, and Track 8 is master. On each track (set as a sample or input), you have up to two LFOs and two effects. I pop an EQ or two on the Monomachine's input track, and I usually add a pinch of lo-fi and a compressor on the master track. I bought it as a drum machine since I was impatient waiting on a replacement for my dead Machinedrum and wasn't too keen on the RYTM's sound, figuring I'd flip it for a MD when I come across one, but the routing and effects processing has cemented it in my setup. MPC always seemed more geared towards making stuff on the fly. While you can do that with the OT, it seems more like something you build a project with than jam. At least on its own. My perspective, at least. Someone else will likely object because this thing seems almost limitless. It also gives you eight MIDI outs. You can use it as a hub - program it to be the master to your A4's slave and go nuts. You can let it send MIDI to your A4, and have your A4's outputs loop back into the OT for sampling or further processing. Each MIDI track also has the LFOs, and it's pretty customizeable. The nice part is the projects save to a CF card so you won't have to deal with SYSEX when backing up (at least in my case). The other thing that may set it apart is the cross fader and what they call "scenes". Just like you'd select a bank and pattern to work on, the same thing for scenes. You have banks of 16 scenes you can swap between, and you can change at any time between the scenes you programmed to pick which crossfader side affects what value and it does the math. It can go from a simple pan between two turntables or changing volume, effects parameters, LFO parameters, whatever. Just hold the button and turn the knob. I might use it for filters or EQ on an instrument or two if I want to mess around with it on the fly without worrying about which knob to turn or which page I'm on, or fading the master track out so I get a smooth fadeout when recording. In brief, those are the features that set the OT apart from other samplers I've used (again, haven't used an MPC but when I researched I never saw features like this mentioned). It's a bit overkill but it's replaced my Focusrite 6i6 and the sound complements my Monomachine and OP-1 well. If you don't need live pads I don't think it would leave you wanting more. My single complaint is that it doesn't have trig conditions like the newer boxes (some of the effects are unimpressive but serviceable), and that's a feature I can live without. WorldWarWonderful fucked around with this message at 03:18 on Aug 13, 2017 |
|
#
¿
Aug 12, 2017 03:24
|
|
|
|
| # ¿ May 17, 2024 21:37 |
|
|
Truck Stop Daddy posted:I think so. Unsure if does audio primarily + visualization of the audio it does. For standalone video visualization of audio you also got the critter and guitari ETC (+video/rhythm scope). Both devices look pretty cool tbh. I've often been tempted to order a Tachyons+ or something similar but 1) I don't have the space for it and 2) I'm not prolific enough to get any good use out of it. It's more a manipulator of an analog source than actually creating shapes but I like what it does more than what I've tried with the Critter and Guitari stuff and what I've seen from the OP-Z. A few videos for you: https://www.youtube.com/watch?v=iyWDTUf_koc https://www.youtube.com/watch?v=dALNCP1FqeI
|
|
#
¿
Mar 4, 2018 05:23
|
|