Other Music

I've been getting back into my Elektron based setup and made a track I wanted to share with my fine friends at operator-1. Perhaps we could all use a place to share our creations on other gear. Hopefully this list grows long and strong.
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  • https://soundcloud.com/lymtronics/all-day

    This track was made with the octatrack, analog RYTM, and analog 4. Also one sound from a nord lead. It's a trap influenced beat arranged in and recorded back into the octatrack. I recently had a revelation to use my octatrack more like an op-1 and record full arrangements to the flex recorders and further process a long audio file and drop the wav straight to my computer.
  • Nice track, very pleasant to listen to!

    I did something similar with this track, recording parts from a Machinedrum, Monomachine and Minitaur (tuned to 432hz just because i found the master tune setting on the Mono) into the Octatrack.
    https://soundcloud.com/laughinganimal/taxes

    All the other tracks on my soundcloud besides the most recent one (my first op-1 track) are Elektron based. Here's another: https://soundcloud.com/laughinganimal/so-spun
  • edited July 2015
    trying something different with the monotribe. https://soundcloud.com/masterofstuff124/bony-mode
  • @masterofstuff124  your Bony Mode smells cabaresque sci fi . i dig that a lot 
  • edited April 2015
    thx @thor  I love scifi! 
  • I was messing around with the Circle 2 softsynth (via Ableton) and came up with this.  Found that it's great for sweet evolving pads.

  • Good idea for a thread, thx @Lymtronics
    I also gave my other equipment another chance lately and it's fun! Made with my M3. My first Jazz number.

    https://soundcloud.com/mixrasta/bossa-bellhoual
  • edited July 2015
    Dayum! They're all great tracks, kind of makes me not want to stink up the thread, but... Ahh pluck it! Here goes a sonic guff anyway.

    It's just a quick 80's inspired thing that I made in Propellerhead Reason while drinking my morning coffee. I
    mostly used coffee and spliffs (for inspiration), PX7 (for metallic sounds), NN-XT on Roland D-50
    multi-samples (Heavily modulated) and a bit of LinnDrum, Dr. Böhm and 707 inside a Kong.

    https://soundcloud.com/hellooperator-1/80s-pluck-ii



  • edited August 2015
    Octatrack did the heavy lifting, Synplant in for the assist, and together, an alien world is born in its dying days.


    Inspired by the possibility that Kepler-452b is a dying planet.
  • I was there @KrisM -really enjoyed that- my type of music (I just enjoyed resident evil last night -Marilyn Manson on theme.The best bits were without guitar).
    (On yours) I could hear an apocalyptic siren still trying to do its work every now and then- I couldn't quite tell if that was from my headphones or outside.
  • https://soundcloud.com/lymtronics/high-tide

    New track made with Elektron Octatrack, Analog 4, Rytm, Minimoog Voyager, Sub 37, Korg Mono/Poly, and Nord Lead 3 on FM duties.  Enjoy!
  • Stunning stuff, @Lymtronics :) Packed full of lovely sounds, yet not at all over-crowded. How do you go about arranging a track with all that gear? Did you involve Ableton? Or was it a practised performance type of thing? Anyways, always a pleasure!
  • working backwards....

    Ooo, I like that @KrisM! I also get a distinct Resident Evil feeling from it. Also reminds me about parts of "Reload - A Collection of Short Stories". 
  • Thanks for the comments @yoof .  I arranged everything with the octatrack, and actually used a recorder machine on it to capture the final performance.  That epiphany has really changed my workflow on the OT, making it feel more similar to the OP-1 in practice.  Something I really love about the Dark Trinity of Elektron gear is that all of the devices have basically a Plus Drive built into them (and limitless external storage in the case of the OT).  This makes me much more comfortable with burning patterns up since I can just load a new project once I run out of room.  So, I have a program change channel on the OT controlling the Rytm and A4 patterns.  It's something I hadn't used until fairly recently, but it just makes sure the slaved devices follow the pattern number of the master.  It works without doing any additional programming other than turning the right channels on on each machine.  So yeah, lots of copy and paste on all of the machines, then adding and removing parts, changing drum patterns, etc...  Then I use the arranger to set up the track on the OT and everything follows along while I make manual tweaks, mutes, crossfader actions, and whatever else on the other gear.

    One more nice thing about using the OT track recorders to capture a whole song is that you're essentially left with a "tape" track of your performance in stereo. You are then free to load this as a static sample in a new pattern and do all sorts of messing about with it to add some dirt and grime (which I did not do with this track).  Setting up a lot of crossfader scenes for things like playback rate, pitch, distortion, flange, and whatnot make available all sorts of states of audio decay which you can introduce organically with a gesture of the wrist. And since your new Flex playback pattern is empty, you can chain all sorts of effects with neighbor machines to have access to the full variety of onboard effects and more LFOs than you'll know what to do with (although sadly they are not "modular" like the LFOs on the Machinedrum).

    Cheers!
  • @Lymtronics You're limited to 4 mins recording though right?    
  • Thanks for the in-depth reply @Lymtronics! Really inspires me to get playing with the OT again (I seemed to haven fallen out of love with it for a while). I didn't realise you could capture a full track of audio with a track recorder... and that's cool about playing back while going mad with scenes. That's inspiring ne to hook up my 2/3 dark 1/3 silver trilogy and have a play!
  • edited August 2015
    Thanks for the in-depth reply @Lymtronics! Really inspires me to get playing with the OT again (I seemed to haven fallen out of love with it for a while). I didn't realise you could capture a full track of audio with a track recorder... and that's cool about playing back while going mad with scenes. That's inspiring me to hook up my 2/3 dark 1/3 silver trilogy and have a play!
  • @Lymtronics – quick question: how do you set up the program change track? A midi track, with a trig, but what does the trig contain? Or am I totally lost here? 

    I've been tearing my hair out because of the A4 having a bug which makes following the Octatrack not work when the A4 has 1/2 speed patterns (or any other speed than the vanilla 1/1)
  • @ghostly606 I think you can get over 5 minutes with 16 bit audio.  I don't know the specifics, but I know you can change the record buffer size and the bit depth between 16 and 24 bit.  It's somewhat of a limitation, but the OP-1 has the six minute limitation, and sometimes it's nice to be forced to cut things down to size rather than keep going on and on.  Different styles of music may work better with shorter/longer tracks however.

    @yoof Totally set your trinity up and have a go.  If your silver box is plus drive, then you'll have no worries at all.  Otherwise just stick to free banks or do a sysex dump and start fresh.  I'm not a computer guy, so I understand if backing things up is a pain.  Hopefully you've got a plus drive, though.  I would say I use the OT as a hub more than a sampler, though not taking away from the sampling capabilities which are immense.  The note triggering options (max poly, whatever) are more limited than many hardware sequencers and likely all DAWs, but I like hardware and it's really easy to set up things like per part program changes that will be recalled everytime you visit the pattern (assuming the channels and external machines are the same). The only real shame if you go down the MIDI road with the OT is that it can't record parameter slides on MIDI tracks, meaning it will be hard to get smooth value changes without using an LFO. I have, for example, wanted to record smooth pitch bends, but the pitch wheel data is too crude and one cannot slide between pitch A and B with regular or trigless trigs if desired.  Small qualm, especially considering you could just sample such a slide when wanted.

    @josker The program change channel is completely separate from trig channels.  I suppose you could run into trouble if your program change channel was the same as an A4 channel or a channel you're using for an external synth, but as long as it's on its own it should work quite simply and without any trigs or anything.  If the A4, Rytm, are set to receive program changes on the same channel the OT sends them out, it will automatically make them follow pattern for pattern without any other fuss.  And yes, the A4 will be forced to change if the OT pattern length for that pattern location is 64 steps, but if you set the OT to change after 128 steps it will be fine.  If the OT was set for 128 steps as the pattern length (in advanced mode) and the A4 was only set for 64, the A4 pattern would play twice while the OT pattern played once.  It's a slight bit of extra work, but just make sure IE pattern G4 was 128 steps on both units and everything should work as intended.  Also: maybe you know or not, but if you chain patterns in the A4 (or any Elektron machine- either using the chain function which is Greek to me, or simply holding the pattern button and selecting two patterns before releasing the pattern button) you can live record seamlessly across the two chained patterns to treat them essentially as one 8 bar pattern.  I generally prefer to use the advanced scale settings, though.
  • edited August 2015
    @ghostly606 http://www.elektronauts.com/topics/view/1848

    A comment on that thread quotes the maximum record reserve length as 5 minutes 26 seconds at 24 bit, and 8 minutes and 7 seconds at 16 bit.  Usually once I've sampled something I'll save it and load it up from the card thusly leaving the available recording time at max.  More experimental or improvisational artists may find this limiting if they are building tracks from the ground up using recording ram that will eat into this maximum time, but it's not too bad either way.  One [undocumented in my public body of work] situation in which I may personally want to leave extra RAM on a track before recording one final performance is for interesting transitions such as placing a recorder trig on step one of the fourth bar of a pattern and a playback trig with the Playback Rate at negative 64 on step nine of the fourth bar for a cool reverse sweep of what has just been recorded.  My setup has my other synths going into a mixer with AUX send effects going into inputs A and B and the A4 going into the Rytm (and its analog compressor) then being fed into inputs C and D.  These record buffers used for reverse fills can then be set to either the more melodic content of the other synths, or the rhythmic Rytm stuff mixed with the A4.  I also have a stereo input on my mixer coming back from the OT CUE outputs so I can run something I have sampled through my AUX effect, which are a Big Sky and an Eventide Timefactor. Just make sure you have CUE Mutes Track set in your preferences, or manually mute CUEd tracks or else there will be feedback.

    @josker  Just to clarify:  it is called the program change channel, which had previously led me to believe it would most practically be used to change an A4 patch with an OT message, for example.  The truth is that when nothing else is used on this channel, it very simply causes slave machines to follow the pattern number of the master machine.  There might be other Global settings that interfere with this behavior, such as if the A4 individual channels were also set to receive data at a certain MIDI channel, but I've always got this turned off as I prefer to use each machine's dedicated sequencer.  There are likely instances where one might want to control an individual track on an Elektron machine, such as using a pad controller or something knobby to have access to multiple pages of parameters at once, but those channels can always be disassociated from MIDI if you intend to use the sequencer bolted onto the machine itself, which I do.
  • edited August 2015

    @Lymtronics Thanks for that really useful. I thought you could record that length but my record buffer was full after 4 mins or so. No doubt had the wrong settings for the memory allocation or something.

    I still haven't found my ideal setup for the Octatrack yet. I currently have everything running into the OT and use it as a mixer but run out of inputs all too quickly. I would love it if the 4 inputs were stereo or if there were more mono inputs (8 say, seeing as it's an Octatrack!). I have a mixer with two mono sends so might consider hooking everything up to that with AUX sends running into A+B. Just need to experiment huh.

    The OT is just too darn flexible!

    [Gear list I want to use if anyone has any tips, typically I like to do live jams with lots of tweaking, sample playback limited to the odd field recording or dialogue, guitar or the odd synth line:

    • OT
    • OP-1
    • Alesis Micron
    • Volcas (Bass / Keys)
    • PO12
    • Monotron Delay / Behringer EM600 delay (Optional)
    • Monotribe

     I have the Alesis Multimix 8]

  • I grabbed a limited-edition cassette of Jah Connery's "Killa Tape" from Bandcamp (Geweih Ritual Documents), and it's delicious. Not sure what his workflow is, but I love it.

    http://geweihritual.bandcamp.com/album/killa-tape

  • I'm having a blast recording my OP-1 into FL Studio. I put together this atmospheric galactic ditty. Let me know what you think.

    https://soundcloud.com/katsucurrytime/starsoldier-lx
  • I made this track the other day using mainly Animoog on the iPad.  Man, that is a great synth.

    https://soundcloud.com/wi_ngo/pads-of-the-blind
  • edited September 2015
    Nord Drum 2 controlled by Patterning + Moog Sub Phatty + Waldorf Pulse 2 + a bunch of fx boxes.

  • This is a live jam on volca beats and keys (through KP2 and played from Korg SQ-1)

  • I really live your music Olle !
    It's screaming, never ending,  there is this live feeiling.

    And the videos...
    A journey.

    Really, really nice thing you did there.
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