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Big ol’ mix n’ match running with everything.
There’s the dual midi outputs of the Octopus, the MPC1000, the Machinedrum all running into some Kawai midi routers. They have sliders to manually switch what is running to what.
When I record midi from the Octopus, I’m running into Ableton Live, or I’ll run it into the MPC1000 to capture it to tracks in that box for further funking around with.
Like Gabriel had mentioned in his workflow, sometimes it’s individual tracks, sometimes full summed chunks. Lots of audio from the outboard gear being recorded that way as well. Some of my most enjoyable and weird soundstuff and funk comes from just recording stereo wav files while the machines are running and I can jam on the Octopus.
Then I cut it up like an old tape reel.
Post edited by: tonewrecker, at: 2008/05/12 15:46
Post edited by: tonewrecker, at: 2008/05/12 15:47
Actually I have several ways I like to work, depending on the situation. But I always try to keep it at a minimum.
The more hands-on setup is to have a Virus TI and an Elektron Machinedrum hooked up to Octopus. Often I also have a Roland HPD-10 pad involved that I use to record material MPC style using Octopus as the sequencer of course. The output is then recorded on separate tracks in Ableton Live. Or even the sum sometimes..
The other way is to use Live alone as a host for a few instances of Reaktor that are triggered from Octopus.
For development and testing purposes I connect the Virus TI (polar) to Octopus, which is nice because it has everything I need on board, including a keyboard. This role used to be owned by my NordLead1 which is on the bench right now, with others. Switching gear is like a breeze of fresh air.
Gabriel
This is not "leaking" per se, it is just the fact that step recording is defined to be input channel agnostic. It is therefore not bound to virtual channels, but you can verify it with an external keyboard – step recording will work on any channel.
We can of course discuss separately (in a feature topic) whether it would be preferable to have it otherwise.
GabrielPost edited by: admin, at: 2008/05/11 08:34
Saw the video – given what I know about the bug, behavior is as expected.
What you see is that the lookahead is not working correctly for track chains.
Lookahead is needed to be able to "pull" the steps. When you play a step in the "lookahead area" it should place it in the next track, which it just doesn’t know yet.Fixing the setting of the wrong step is a lot of work, as I need to dig quite deep. But preventing the crash should be easier, as soon as I identify it.
Now, I could not reproduce the problem you describe with step 1 of the second track in the chain. I did record the bad step, but then I can turn it off, and back on, and step 1 of track 9 is doing fine as well. Hmm..
Thanks John, the scenario in the video is reproducible on my end and actually tracked down, as I mentioned earlier.
Is there any more detail you can provide about your findings above re. the "damaged" tracks? That sounds like a very interesting discovery, which I can’t reproduce..Post edited by: gseher, at: 2008/05/10 16:05
Quote:would one of you care to write up a short tutorialWhen we have the new OS version, I will have to redo my strum patterns anyway, so I will look at it then.
Thanks John.. I tried to reproduce but did not manage to. Can you reproduce it every time? And give me some more hints?
ripe wrote:Quote:Also, it seems that once a track has been chained and armed for realtime record, it is damaged. If you toggle some steps manually, weird things happen to the chained tracks.Things like what?
Thanks once more for the input Robert.
Have some good news in that the monophonic switch is removed, the octave display is as we’ve had it, and the functionality seems to be all there. It’s all about the polyphony selectors. Will make a beta update shortly.Yes, you are right about the combinations. However only red-blink and green-blink are free, the rest is used. I have to be cautious not to turn this into a bigger pain than return in the end, by forcing you to remember too many color combinations..
Anyway – I think now that I may be able to do with just the two dimensions (chord size and step polyphony). Will prototype it and let you know.
Problem is, it’s then either monophony from pool pick and including rests, or polyphonic pick and no rests.
Robert, one comment I had omitted on the 5 stage press cycle discussed earlier. The blink state (orange) is used already to identify the base pitch of the step, so it is not really free. But it is no issue.
Your suggestion is quite along the lines of what I think makes most sense. So I would only add to 2: "If polyphony (chord size) is greater than the number of notes defined in the chord, same rule applies, but add the appropriate number of rests to the pool to pick from." Seems consistent to me.
Finally, we still have the option to set the step to hard monophony using the mechanism already implemented in the beta. With this I think we cover all scenarios and open an entirely new cool playground.
Robert, this is what I am refering to:
http://genoqs.net/index.php?option=com_joomlaboard&Itemid=50&func=view&id=375&catid=6
And to recap: I think the above could accomodate track trigger as well.
I think a "unique selling point" (now being a salesman, haha) is that even if you have a small keyboard controller, you can have the 7 pages and 4 tracks (that may be spread all over your matrix) that you want to be able to trigger in your particular project, set up on your keyboard on adjacent keys to your own taste. This is as I see it the only way to achieve some kind of playability.
Anybody who has ever set up (or played with) multiple sampled loops assigned to a keyboard will know that putting the assigned keys close together is what makes sense. If you have assigned C#1, D#3, B#3, A5 and F5, you do not have playability.
This playability again transfers to when you want a track in Octopus to trigger pages/tracks via virtual midi: Turn the pitch knob one or two steps, and you trigger another page. Otherwise you would have a hard time "finding" the relevant pitches with your pitch knob.
