#539

Elektron is also venturing into new markets (like their Model:Samples and Cycles have shown) and their devices have become a bit less complex and maybe more focused. I don’t know if an OT 3 is realistic given that and the fact that the original minds behind it are no longer involved. But maybe we’ll all be surprised one day and they will make a groundbreaking new sampler, which might maintain some concepts from the OT but add several new ones. I think it’s possible.

For what it’s worth, while I keep fighting with my OT and I often catch myself thinking about selling it, I also keep going back to it, and being surprised by it in a positive way.
It’s a love and hate thing definitely, but at the end of the day it’s – as many have said – one of a kind and you can’t really replace it with anything else.

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#540

Your history is correct, plus a third, as Daniel Troberg (who went to ASM) called them “invisible” “mastermind”, who left before Daniel left.

They took on private investment before Daniel left. Since his leaving, Ess (who developed the Digitone) and Olle have left. So it may be a different company now and we won’t see a proper successor to the OT.

My guess is 10th anniversary final OS update retirement (“From 2010 to eternity”) retrospective thing.

But one thing is for sure… the OT is and will be a great box.

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#541

Just an anniversary edition. Plunge if you want to.

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#542

Limited to 350 units but they did say they will also be putting out a regular black MKII.

In short, now is a great time to buy an OT!

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#543

if they made a bigger octatrack-esque version of the digitakt with the same structure that the digi uses and newer effects + whatever makes it sound slightly better (master compressor maybe? mono only?), i think it would be even more popular. the ocatrack doesnt need to be as complex as it is as far as parts and machines. i still think you can implement the more complex lfos, effects, sequencing, fader/scenes, buffers, looping, trigger on something like that. plus it would probably allow for easier chromatic sample playing also. i dont think it needs to have the exact same code as the octatrack to be as interesting. a fully realized, deeper version of the digitakt would be a great idea

i hope to see a new sampler from them no matter what its based on specifically. it just seems like whoever did the digitakt is capable of making a nice octa sequel. it sucks if ess was the main engineer with that as well as the digitone. i never knew whether or not that was the case. but i guess there’s plenty of this talk over at elektronauts though, so i digress.

*oh wow i didnt see you guys mentioning the anniversary edition. dammit, thats so frustrating. i should have waited. so cool looking. now i know how the a4 and rytm mkii owners felt a month ago

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#544

I so want to, but I’d be shocked if there were any anniversary edition units left.

#545

This is interesting

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#546

It’s available on Elektronauts.
OS1.4 for mk1 and mk2 such a good news :slight_smile:

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#547

Absolutely insane update (esp MIDI slots and slices) and after 10 years. Just wow.

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#548

Just a few days ago I was seeing people asking for tempo per pattern, and today it is delivered, it’s amazing!

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#549

i wish there was probability per track, but whatever. midi slots and slices is mind blowing. i was just trying to figure out a good workaround for this with track trigs using orca the other day.

this is so nice:
"Added support for triggering trig modes on audio tracks via MIDI. To enable this, set AUDIO NOTE
IN in MIDI CONTROL to either FOLLOW TM or MAP/TRACK.

For tracks configured to play slices or slots when receiving MIDI note data, holding a trig in GRID
RECORDING mode while receiving a MIDI note now locks the same slice/slot that is played to the
held trig."

@license I must have read over this maybe 20 times and i’m still not grasping the concept. that isn’t your fault, but would you mind maybe breaking this technique down for me?

One somewhat related trick I’ve been using more lately, and I spotted JakoJako doing this on YouTube, is to take a track that has a pretty sparse amount of events, like a slow pad, or a loop getting triggered every 4 beats or something, and set that track to play at 1/4 (or 1/2 or 1/8) speed. It ends up being pretty intuitive to have a step correspond to a beat. This has a couple of other benefits to me - obviously you can cram up to 64 beats into the track, but you can also cram 4 beats into a 4-step pattern, and then things like repeating hi hats become much easier to improvise with, especially using microtiming and trig conditions.

Also, depending on how long your loops are, you might look into the retriggering options as well. You only get up to 8 steps, but you can modulate the start and length, so it can be interesting to perform with or to build up complexity from a simpler sample. If you want to get really hacky, you can halve, or possibly even quarter, the perceived BPM to get what feels like 16 or 32 steps, respectively. For example, if you’re working at 120 BPM, instead change the clock to 60 BPM and then your 8-step retriggers are actually 16 steps. Of course, this breaks time stretching, but I almost never use it.

you’re still talking about ‘plays free’ triggering with the jakojako technique, correct? i’m not sure what “step corresponding to a beat” means really. you’re just saying that’s a better way to fit more loops into a track? i think i understand here. i haven’t tried it exactly how you mentioned, but i think it would be cool to fit larger events like a hi hat roll into one slow rate step. just wanted to make sure i wasn’t missing a cool trick there because i’m not fully understanding the trick

also, when you say “retriggering”, you mean the RTRIG (ratchet/burst) parameter, right? i actually don’t understand that second paragraph at all, besides the part about automating start & end playback position for random variation, but i am interested

sorry, for some reason i can’t decipher this. although i’m sure it’s not as confusing as i’m making it

#550

Added support for triggering trig modes on audio tracks via MIDI. To enable this, set AUDIO NOTE IN in MIDI CONTROL to either FOLLOW TM or MAP/TRACK.

Finally! I think we had to use a CC + Note combo to play slices via midi before, am I right ? This is a game changer.

I do hope it takes the velocity into account too (and records it)… I can’t test right now…

Page randomization is gonna be so cool too. Super happy to receive this update.

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#551

Afaik audio tracks don’t have velocity per se (ofc you can plock amp vol) but the MIDI might.

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#552

Yes exactly that’s what I had in mind, note velocity mapped to the Amp param.

If it’s not implemented I will live without but it’s always been problematic for me to always have to play the samples or slots at full 127 velocity when recording a sequence on the Octa

1 Like
#554

They posted an updated version of the manual (p71) . No mention of a velocity mapping. It could have been mapped to the amp param like the note number is mapped to the pitch param. I can probably use an external midi processor

12.8 MIDI NOTE MAPPING FOR AUDIO TRACKS
Similarly, as the TRIG modes decide how the 16 [TRIG] keys are used to affect the tracks, you can also choose how incoming MIDI note data affects the audio tracks. The overall setting for this is the AUDIO NOTE IN parameter in the PROJECT > MIDI > CONTROL menu. For more information, please see “8.7.1 CONTROL” on page 39. The options are:
OFF No incoming MIDI notes affect the tracks, meaning tracks or machines can’t be trigged externally. STANDARD Incoming MIDI notes affect the tracks according to the STANDARD MIDI note mapping. For
more information, please see “C.1 STANDARD NOTE MAPPING” on page 137.
FOLLOW TM Incoming MIDI notes affect all audio tracks according to the chosen TRIG mode. For more information, please see “12.7 TRIG MODES” on page 69. The MIDI note mappings are the same as described below for the various MIDI MAP configurations.
MAP/TRACK This option makes it possible to set a separate MIDI MAP configuration for each track. Incoming MIDI notes then affect each audio track depending on its selected MIDI MAP configuration. Select which MIDI MAP configuration should be used for the active track by pressing [MIDI] + [UP]/

#555

My enthusiasm is only limited by the fact thaty Pickup machines didn’t get much love in this update. But there’s lots of wonderful upgrades in it nonetheless!!! :slight_smile:

2 Likes
#556

wow this is so cool. the trig leds look so much better for some reason and the trig slot lock looks like the digitone/takt now. haven’t figured out the midi mapping slots exactly yet. if anyone nails that, could you clarify that process?

edit: i see now, if you hold a trig in a flex track (grid rec mode activated) and press a midi note on your controller, it will show you which slot corresponds to that incoming midi note. so you just have to assign your sample to that specific slot this totally changes how i can arrange my samples in a track now. amazing

im having so much fun just randomizing src page 1 and the fx pages on my flex machines. oh and you can randomize each lfo independently

i wonder if there is a way to randomize scenes. maybe theres some roundabout way of randomizing a page and saving that state as a scene before reloading the randomize function for that page?

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#557

What a pleasant surprise. Happy birthday, OT. I remember being disappointed when I first realized you couldn’t p-lock multiple trigs at the same time before, and this always seemed unfortunate:

It was not possible to see or enter trigs after latching FILL mode on while in GRID RECORDING mode.

Nice to see them continue to refine things in a way us lowly mk. I users can still enjoy.

Are you referring here to the lack of start/end (cross)fades, or the timestretching algorithm, or something else (or more general)?

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#558

Wow, this update is pretty exciting. I’m looking forward to trying it out.

Literally just set track speed to 1/4, is the whole trick :grinning:. I would use Per-Track time scales, not necessarily Plays Free, just so you don’t lose precision for the whole pattern, and you can choose it where it makes sense to. It feels most clever to me using short track lengths, because there’s less event data to keep track of. That probably sounds really hand-wavey but if you try it yourself with, say, a 4-step 1/4 speed track, it might make more sense.

Yes, exactly, both of those things and also delay time modulation adds these weird swooshing artifacts. Nicholas Lem uses these as part of his performance aesthetic, though, and it sounds pretty cool to me!

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#559

So nice to see them update the OS.
I really wish they would have included disabling the time stretching and tempo jumps in the pickup machines :cry:

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