Elektron Octatrack User Manual

FCC compliance statement
This device complies with part 15 of the FCC rules. Operation is subject to the following two conditions: (1) This device may not cause harmful interference, and (2) this device must accept any interference received, including interference that may cause undesired operation.
NOTE: This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures:
Reorient or relocate the receiving antenna.
Increase the separation between the equipment and receiver.
Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.
Consult the dealer or an experienced radio/TV technician for help.
European Union regulation compliance statement
This product has been tested to comply with the Low Voltage Directive 2006/95/EC and the Electromagnetic Com­patibility Directive 2004/108/EC.
This symbol indicates that your product must be disposed of properly according to local laws and regu­lations.
The included switched-mode power supply is CEC Level V compliant.
The device contains a non rechargable lithium perchlorate battery cell that may need to be recycled separately de­pending on local environmental laws. If the battery needs replacing, please contact Elektron or a local professional technician for servicing.
Important safety information for the Octatrack DPS-1
Carefully read these instructions and save them for future reference.
Warning
To reduce the risk of fire, electrical shock or product damage:
Do not expose the apparatus to rain, moisture, dripping or splashing and also
avoid placing objects filled with liquid, such as vases, on the apparatus.
Only use accessories recommended by the manufacturer.
Do not unmount the enclosure. There are no user repairable parts inside.
Leave service and repairs to trained service personnel only.
Do not expose the apparatus to direct sunlight, nor us e it in ambient temperatures exceed -
ing 50°C as this can lead to malfunction.
The apparatus can, thru the headphones output or via an amplifier generate high sound levels! High sound levels may damage your hearing, so protect your hearing by lowering the sound level.
Additional instructions for the power adapter Elektron PSU-2
Warning
The adapter is not safety grounded and may only be used indoors.
To ensure good ventilation for the adapter, do not place it in tight spaces. To
prevent risk of electric shock and fire because of overheating, ensu re that cur ­tains and other objects do not prevent adapter ventilation.
Do not expose the power adapter to direct sunlight, nor use it in ambient temperatures exceeding 40°C as this can lead to malfunction.
Connect the adapter to an easily accessible electrical outlet close to the apparatus.
The adapter is in standby mode when the power cord is connected, the primary circuit is always active as long as the cord is connected to the power outlet. Pull out the power cord to completely disconnect the adapter.
In EU, only use CE approved power cords.
Elektron machines are sold with a three year limited warranty , starting from the date of the original purchase. Being able to prove the date of the origi nal purchase with an invoice or a receipt is necessary if you require warranty service. If the machine should need a repair during the warranty period no charges will be applied for parts or labor. This warranty is transferable to other owners should the Elektron machine be resold during the warranty period. Items belonging to the Elektron Style range of products (t-shirts, stickers, posters etc.) are not covered by this warranty.
This warranty does not cover (a) damage, deterioration or malfunction resulting from acci­dent, negligence, misuse, abuse, improper installation or operation or failure to follow instructions according to the Owner's Manual for this product; any shipment of the product (claims must be presented to the carrier); repair or attempted repair by anyone other than Elektron or a certified Elektron repair center (b) any unit which has been altered or on which the serial number has been defaced, modified or removed; (c) normal wear and any periodic maintenance; (d) deterioration due to perspiration, corrosive atmosphere or other external causes such as extremes in temperature or humidity; (e) damages attributable to power line surge or related electrical abnormalit ies, lightning damage or acts of God; or (f) RFI/EMI (interference/noise) caused by improper grounding or the improper use of either certified or uncertified equipment, if applicable.
Warranty service procedure for machines bought from a retailer
Please contact their support if you need warranty service. You will then be guided how to proceed with your errand. Note that the Elektron three year limited warranty is in addition to any warranty your retailer may offer.
Warranty service procedure for machines bought from the Elektron Online Shop
Contact the Elektron Support at www.elektron.se if you need warranty service. You cannot send a unit to a certified Elektron repa ir cent er unless agre ed to by Elektr on. The custo mer is responsible for shipping charges if the machine needs to be shipped to a certified Elek­tron repair center for warranty service. Elektron covers the shipping back to the customer during the warranty period. Should the unit be dead on arrival, or if the hardware malfunc­tions within 2 weeks of the original purchase date, Elektron will cover the shipping to a cer­tified Elektron repair center.
INTRODUCTION..............................................................................................................1
CONVENTIONS IN THIS MANUAL........................................................................................................ 1
THE BACKGROUND OF THE OCTATRACK .................................................................2
SUGGESTED APPLICATIONS OF THE OCTATRACK.......................................................................... 2
LOOPER DEVICE ............................................................................................................................. 2
RADICAL SOUND PROCESSOR..................................................................................................... 2
BACKING TRACK MACHINE................ .......................................... ... ... ... ......................................... 3
LIVE SETUP HUB ............................................................................................................................. 3
REMIX TOOL..................................................................................................................................... 3
EFFECTS UNIT EXTRAORDINAIRE................................................................................................ 3
PANEL LAYOUT AND CONNECTORS...........................................................................4
FRONT PANEL....................................................................................................................................... 4
REAR CONNECTORS ........................................................................................................................... 6
OCTATRACK ACCESSORIES............................................................................................................... 7
RACK MOUNT KIT................................................................ ... .......................................... ... ............ 7
CARRYING BAG AND PROTECTIVE LID........................................................................................ 7
THE COMPACT FLASH CARD READER.............................................................................................. 7
COMPACT FLASH CARD SPECIFICATIONS................................................................................... 7
CONNECTING THE UNIT...................................................................................................................... 7
CARE INSTRUCTIONS.......................................................................................................................... 8
OVERVIEW OF THE OCTATRACK STRUCTURE .........................................................9
SETS ................................................................................................................................................. 9
AUDIO POOL .................................................................................................................................... 9
PROJECTS........................................................................................................................................ 9
FLEX AND STATIC SAMPLE SLOT LISTS..................................... ... ... ... .... ... ... ... .... ... ... ... ... .... ... ... 10
BANKS............................................................................................................................................. 10
PATTERNS...................................................................................................................................... 10
PARTS............................................................................................................................................. 10
SCENES.......................................................................................................................................... 10
ARRANGEMENTS .......................................................................................................................... 10
TRACKS.......................................................................................................................................... 10
MACHINES.......................................................................................................................................11
HOW INFORMATION IS HANDLED......................................................................................................11
THE USER INTERFACE................................................................................................12
MENUS AND WINDOWS..................................................................................................................... 13
PARAMETER EDITING ........................................................................................................................ 13
QUICK PARAMETER EDITING....................................................................................................... 13
PARAMETER VALUE SKIP............................................................................................................. 13
QUICK SCROLLING............................................................................................................................. 13
COPY, CLEAR AND PASTE................................................................................................................. 13
THE NAMING MENU............................................................................................................................ 14
POP-UP MENU NAMING............................................................. ... .......................................... ...... 14
QUICK START...............................................................................................................16
DEMO MODE ....................................................................................................................................... 16
PLAYING THE DEMO PATTERNS.................................................................................................. 16
ADJUSTING PARAMETERS........................................................................................................... 16
EXPERIMENTING WITH SCENES................................................................................................. 16
RECORDING A PATTERN USING GRID RECORDING................................................................. 17
RECORDING A PATTERN USING LIVE RECORDING.................................................................. 17
PARAMETER LOCKS ..................................................................................................................... 17
MOUNTING A SET AND LOADING A PROJECT................................................................................ 17
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MOUNTING A SET.......................................................................................................................... 17
LOADING A PROJECT.............. .... ... ... ... .......................................... ............................................... 18
LOADING SAMPLES......... .... ... ... ... .......................................... .... ... ... ... ............................................... 19
ASSIGNING A MACHINE TO A TRACK ......................................................................................... 19
ASSIGNING A SAMPLE TO A MACHINE.......................................................................................20
SETS..............................................................................................................................22
CREATING AND MOUNTING A SET................................................................................................... 23
AUDIO POOL........................................................................................................................................23
ADDING CONTENT TO THE AUDIO POOL................................................................................... 24
AUDIO FILE COMPATIBILITY....................................................................... ... .... ... ... ... .... ..............24
PROJECTS....................................................................................................................25
PROJECTS AND RAM MEMORY ........................................................................................................ 25
LOADING AND CREATING A PROJECT............................................................................................. 26
LOADING SAMPLES TO THE SAMPLE SLOTS ................................................................................. 26
LOADING FROM THE QUICK ASSIGN MENU ..............................................................................27
LOADING FROM THE PLAYBACK SETUP MENU......................................................................... 28
FILE BROWSER............................ ... ... ... .... ... .......................................... ........................................ 28
THE PROJECT MENU .........................................................................................................................29
PROJECT........................................................................................................................................30
SYSTEM.......................................................................................................................................... 31
CONTROL ....................................................................................................................................... 35
MIDI .................................................................................................................................................41
MIXER MENU....................................................................................................................................... 44
TEMPO MENU...................................................................................................................................... 46
TAP TEMPO .................................. ... ... ....................................... ... ... .... ... ... ... ... ............................... 46
PATTERN TEMPO NUDGE. .......................................... ... ... .... ... .......................................... ... ... ... ..46
SAMPLE TEMPO NUDGE................... ... .... ... .......................................... ... ... ... .... ........................... 46
TRACK RECORDERS AND PICKUP MACHINES.......................................................47
RECORDING SETUP MENUS................................................. .......................................... .... ... ... ... ..... 48
RECORDING SETUP 1 MENU ..... ... ... ... .... ... ... .......................................... ... ... .... ........................... 49
RECORDING SETUP 2 MENU ..... ... ... ... .... ... ... .......................................... ... ... .... ........................... 51
TRACK RECORDER SAMPLING METHODS...................................................................................... 52
MANUAL SAMPLING ...................................................................................................................... 52
RECORDER TRIG SAMPLING ....................................................................................................... 53
PLAYBACK OF CAPTURED RECORDER SAMPLES....................................................................53
PICKUP MACHINE SAMPLING ...........................................................................................................54
MASTER AND SLAVE PICKUP MACHINES................................................................................... 55
CONTROLLING THE PICKUP MACHINES ....................................................................................55
SEQUENCER TO PICKUP SYNC...................................................................................................56
BANKS, PARTS AND SCENES....................................................................................59
BANKS..................................................................................................................................................59
PARTS ..................................................................................................................................................59
PART QUICK SELECT ....................................................................................................................60
PARTS EDIT.................................................................................................................................... 60
PART RELOAD................................................................................................................................ 60
SCENES ............................................................................................................................................... 61
ASSIGNING AND ADJUSTING SCENES.......................................................................................61
SCENE VOLUME LOCKING ........................................................................................................... 61
SCENE MUTE ................................................................................................................................. 62
SCENE COPY ................................................................................................................................. 62
SCENE CLEAR................................................................................................................................ 63
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TRACKS ........................................................................................................................64
THE DIFFERENCE BETWEEN FLEX AND STATIC MACHINES........................................................ 64
ASSIGNING MACHINES TO TRACKS ................................................................................................ 64
ASSIGNING MACHINES IN THE QUICK ASSIGN MENU ............................................................. 65
ASSIGNING MACHINES IN THE PLAYBACK SETUP MENU........................................................ 65
ASSIGNING FLEX AND STATIC SAMPLES TO MACHINES.............................................................. 66
ASSIGNING SAMPLES IN THE QUICK ASSIGN MENU ............................................................... 66
ASSIGNING SAMPLES IN THE PLAYBACK SETUP MENU.......................................................... 66
TRACK PARAMETER PAGES ............................................................................................................. 67
TRACK MAIN LEVEL ...................................................................................................................... 67
TRACK CUE LEVEL........................................................................................................................ 67
PLAYBACK MAIN............................................................................................................................ 67
PLAYBACK SETUP......................................................................................................................... 67
AMP MAIN....................................................................................................................................... 68
AMP SETUP.................................................................................................................................... 68
LFO MAIN........................................................................................................................................ 70
LFO SETUP..................................................................................................................................... 70
LFO DESIGNER.............................................................................................................................. 71
EFFECT 1 AND EFFECT 2................................... ... ... .... ... ... ... .... ......................................... .... ...... 73
DIRECT TRACK MUTING................................... .... ... ... ... .......................................... .... ...................... 74
MAIN AND CUE OUTPUTS ROUTING................................................................................................ 74
MAIN OUTPUT ROUTING .............................................................................................................. 74
CUE OUTPUT ROUTING...................... ... ... ... .... ... .......................................... ... ... .... ...................... 74
PARAMETERS AFFECTING MAIN AND CUE LEVELS................................................................. 74
PATTERNS.....................................................................................................................76
TRIG LED INDICATIONS........................................ ... ... ... .... ... ... .......................................... ... ............. 76
BASIC PATTERN OPERATIONS.......................................... ... ... ... .... ... ... ... ... ....................................... 76
SELECTING A PATTERN................................................................................................................ 76
PATTERN CONTROL..................................... .... ... .......................................... ... ... .... ...................... 77
PATTERN CHAINING.................................. ... .... ... ... ... .... .......................................... ... ... ... ............. 77
RECORDING MODES................................................................... .... ................................................... 77
GRID RECORDING MODE.............................................................................................................77
LIVE RECORDING MODE .............................................................................................................. 78
TRIG TYPES .............................. ... ... ... .... ... .......................................... ... ............................................. 78
SAMPLE TRIGS.................................................................................... ... .... ... ................................ 79
TRIGLESS LOCKS.......................................................................................................................... 79
TRIGLESS TRIGS........................................................................................................................... 79
ONE SHOT TRIGS.......................................................................................................................... 79
SWING TRIGS................................................................................................................................. 80
SLIDE TRIGS .................................................................................................................................. 80
RECORDER TRIGS ........................................................................................................................ 80
PARAMETER LOCKS........................................................................................................................... 80
SAMPLE LOCKS................................................. .... ... ... .......................................... ... .......................... 81
TRIG MODES................................................ ... ... .... ... ... ... .... .......................................... ...................... 81
TRACK............................................................................................................................................. 81
CHROMATIC................................................................................................................................... 82
SLOTS............................................................................................................................................. 82
SLICES............................................................................................................................................ 83
QUICK MUTE.................................................................................................................................. 83
DELAY CONTROL........................................................................................................................... 84
SEQUENCER COPY, PASTE AND CLEAR OPERATIONS................................................................. 84
PATTERN COPY................................................... ... ... .... ... ... .......................................... ... ............. 84
PATTERN CLEAR.................................................................. .......................................... ... ............. 85
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TRACK COPY.................................................................................................................................. 85
TRACK CLEAR................................................................................................................................85
TRACK PAGE COPY....................................................................................................................... 85
TRACK PAGE CLEAR.....................................................................................................................86
TRACK PARAMETER PAGE COPY................................................................................................86
TRACK PARAMETER PAGE CLEAR.............................................................................................. 86
TRIG COPY.....................................................................................................................................86
TRIG LOCK CLEAR......................................................................................................................... 87
TRACK TRIG EDIT MENU ................................................................................................................... 87
TRIGS..............................................................................................................................................87
SLIDE............................................................................................................................................... 88
SWING............................................................................................................................................. 88
RECORDER TRIGS ........................................................................................................................ 88
PATTERN SETTINGS MENU................................................................ .... ... ... ... ... .... ... ... ... .... ... ... ........ 89
PATTERN.........................................................................................................................................89
TRACK 1-TRACK 8 ......................................................................................................................... 90
MICRO TIMING .................................................................................................................................... 91
SCALE SETUP ..................................................................................................................................... 92
NORMAL.......................................................................................................................................... 92
PER TRACK .................................................................................................................................... 93
THE AUDIO EDITOR.....................................................................................................95
ACCESSING THE AUDIO EDITOR......................................................................................................95
ACCESS FROM THE QUICK ASSIGN MENU................................................................................ 95
ACCESS FROM THE PLAYBACK SETUP MENU.......................................................................... 95
ACCESS FROM TRACKS AND TRACK RECORDERS ...................... ... ... ... ... .... ... ... ... .... ... ... ........95
AUDIO EDITOR FUNCTIONALITY.......................................................................................................95
TRIM................................................................................................................................................95
SLICE............................................................................................................................................... 97
EDIT................................................................................................................................................. 99
ATTRIBUTES................................................................................................................................. 102
FILE ............................................................................................................................................... 104
THE ARRANGER........................................................................................................106
THE ARRANGER MENU.................................................................................................................... 106
EDIT............................................................................................................................................... 107
RENAME........................................................................................................................................ 108
CHANGE........................................................................................................................................ 108
CHAIN............................................................................................................................................ 109
CLEAR...........................................................................................................................................109
SAVE.............................................................................................................................................. 109
RELOAD........................................................................................................................................ 109
THE MIDI SEQUENCER.............................................................................................. 110
ACCESSING THE MIDI SEQUENCER .............................................................................................. 110
HOW MIDI IS ROUTED......................................................................................... .... ......................... 110
MIDI MODE LIVE RECORDING AND PARAMETER LOCKING.........................................................111
MIDI TRACK PARAMETER PAGES................................................................................................... 112
NOTE MAIN...................................................................... ... .......................................................... 112
NOTE SETUP... ... ... ... ... .......................................... .... .......................................... ......................... 113
ARPEGGIATOR MAIN.. .... ... ... ... .... ... .......................................... .......................................... ... ...... 113
ARPEGGIATOR SETUP...... ... ... .... ... ... ... .... ... .......................................... ... ... ... .... ......................... 114
MIDI LFO MAIN ............ .... ... ... ... .... .......................................... .......................................... ............ 115
MIDI LFO SETUP ............. ... ... ... .......................................... .... .......................................... ... ......... 115
CTRL 1 MAIN................................................................................................................................. 115
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CTRL 1 SETUP ..............................................................................................................................116
CTRL 2 MAIN .................................................................................................................................116
CTRL 2 SETUP ..............................................................................................................................117
OCTATRACK SETUP EXAMPLES .............................................................................118
OCTATRACK AS A PERFORMANCE HUB ........................................................................................118
DIR METHOD.................................................................. ... ... ... .... ... ... ... .........................................118
THRU MACHINES METHOD ............................. ... .......................................... ... ... .... .....................119
OCTATRACK WITH EXTERNAL EFFECTS....................................................................................... 121
OCTATRACK PROCESSING LIVE INSTRUMENTS ......................................................................... 123
OCTATRACK AS A DJ MIXER AND SAMPLER ................................................................................ 124
DJ MIXING USING THE DIR METHOD ........................................................................................ 124
DJ MIXING USING THE THRU METHOD .................................................................................... 125
OCTATRACK AS A MIDI CONTROL CENTER.................................................................................. 127
MIDI CONTROL USING CC DIRECT CONNECT AND THE AUTO CHANNEL........................... 127
OCTATRACK TUTORIALS..........................................................................................130
TRACK RECORDER SAMPLING....................................................................................................... 130
MANUAL SAMPLING.................................................................................................................... 130
SAMPLING USING RECORDER TRIGS ...................................................................................... 131
PLAYBACK OF CAPTURED RECORDER SAMPLES.................................................................. 131
PICKUP MACHINE SAMPLING .................................................................................................... 132
CONTROLLING THE PICK UP MACHINES WITH A MIDI FOOT CONTROLLER ...................... 133
LOOP REMIXING.................................................... ... ... .......................................... ... .... ... ... .............. 134
LOOP REMIXING USING SLICES................................................................................................ 135
LOOP REMIXING USING THE CROSSFADER............................................................................ 135
PREPARING LOOPS AND SAMPLES............................................................................................... 136
THE OCTATRACK AS A DJ DECK .................................................................................................... 137
THE OCTATRACK AS AN EFFECTS PROCESSOR......................................................................... 139
EARLY STARTUP MENU............................................................................................140
TEST MODE....................................................................................................................................... 140
EMPTY RESET .................................................................................................................................. 140
MIDI UPGRADE ................................................................................................................................. 140
SEND UPGRADE............................................................................................................................... 141
SUMMARY OF BUTTON COMBINATIONS................................................................142
TECHNICAL INFORMATION.......................................................................................145
SPECIFICATIONS.............................................................................................................................. 145
CREDITS......................................................................................................................146
PRODUCT DESIGN AND DEVELOPMENT....................................................................................... 146
ADDITIONAL DESIGN ....................................................................................................................... 146
FACTORY DEFAULT SOUND DESIGN ............................................................................................. 146
USER’S MANUAL.................................... ... ... ... ... .... ... ... .......................................... ... ........................ 146
CONTACT INFORMATION..........................................................................................146
ELEKTRON WEBSITE ....................................................................................................................... 146
DELIVERY ADDRESS................................... .......................................... ... ... .... ................................. 146
TELEPHONE...................................................................................................................................... 146
APPENDIX A: MACHINE REFERENCE
THRU MACHINE .................................................................................................................................... 1
THRU MAIN....................... .... ... ... ... .............................................................................. ... .................. 1
THRU SETUP........................... ... ... .... ... .......................................... .................................................. 1
FLEX MACHINE ..................................................................................................................................... 2
FLEX MAIN...................................................................... .......................................... ... ..................... 2
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FLEX SETUP.......... ... ... .... ... ... ... .... ... .......................................... ... ... .... ............................................. 2
STATIC MACHINE.................................................................................................................................. 3
STATIC MAIN................................. ... ... ... .... ... ... ................................................................................. 3
STATIC SETUP.................................... ... .... .......................................... ... .......................................... 3
NEIGHBOR MACHINE ........................................................................................................................... 4
NEIGHBOR MAIN.............................................................................................................................. 4
NEIGHBOR SETUP........................................................................................................................... 4
PICKUP MACHINE................................................................................................................................. 5
PICKUP MAIN.................................................................................................................................... 5
PICKUP SETUP................................................................................................................................. 5
APPENDIX B: EFFECTS REFERENCE
NONE...................................................................................................................................................... 1
NONE MAIN....................................................................................................................................... 1
NONE SETUP.................................................................................................................................... 1
12/24DB MULTI MODE FILTER.......................................... ... ... .... .......................................... ... ... .......... 2
MULTI MODE FILTER MAIN .............................................................................................................2
MULTI MODE FILTER SETUP .........................................................................................................2
2-BAND PARAMETRIC EQ................................................... ... .... ... ... .......................................... .......... 3
PARAMETRIC EQ MAIN .................................. ... ... .... ... ... ... .... ... ... .......................................... ... ....... 3
PARAMETRIC EQ SETUP .................................. ... .... ... ... ... .... ... ... ... .... ... ... ....................................... 3
DJ STYLE KILL EQ................................................................................................................................. 4
DJ EQ MAIN .............. ... .... ... ... .............................................................................. ... ... ... ....................4
DJ EQ SETUP .................. ... ... ... .......................................... .... .......................................... ................ 4
2-10 STAGE PHASER............................................................................................................................ 5
PHASER MAIN.................................................................................................................................. 5
PHASER SETUP............................................................................................................................... 5
FLANGER...............................................................................................................................................6
FLANGER MAIN...................................................................... ... .......................................................6
FLANGER SETUP.. ... ... .... .......................................... ... ... ... .......................................... .... ... ............. 6
2-10 TAP CHORUS................................................................................................................................. 7
CHORUS MAIN ............ .... ... ... ... .... .......................................... .......................................... ... .............7
CHORUS SETUP ............. ... ... ... .... ... ... .......................................... ... .... ... ... ....................................... 7
SPATIALIZER..........................................................................................................................................8
SPATIALIZER MAIN .......................................................................................................................... 8
SPATIALIZER SETUP .......................................................................................................................8
COMB FILTER........................................................................................................................................ 9
COMB FILTER MAIN........................ ... ..............................................................................................9
COMB FILTER SETUP........................... .... ... .......................................... .......................................... 9
DYNAMIX COMPRESSOR................................................................................................................... 10
COMPRESSOR MAIN..................................................................................................................... 10
COMPRESSOR SETUP...............................................................................................................
LO-FI COLLECTION................. ... ... .......................................... .... ... ... ... .... ... ... ... .................................. 11
LO-FI MAIN............................. ... .... .................................................................................................. 11
LO-FI SETUP.................................... ... ... .... ... ... ... .......................................... ... ............................... 11
ECHO FREEZE DELAY........................................................................................................................ 12
DELAY MAIN ...................................................................................................................................12
DELAY SETUP ................................................................................................................................12
GATEBOX PLATE REVERB................................................................................................................. 13
PLATE REVERB MAIN....................................................................................................................13
PLATE REVERB SETUP.................................................................................................................13
SPRING REVERB ................................................................................................................................ 14
SPRING REVERB MAIN .................................................................................................................14
SPRING REVERB SETUP ..............................................................................................................14
...10
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DARK REVERB.................................................................................................................................... 15
DARK REVERB MAIN....... .............................................................................................................. 15
DARK REVERB SETUP........ .......................................................................................................... 15
APPENDIX C: MIDI CONTROL REFERENCE
NOTE MAPPING................................... ... ... ... .... ... .......................................... ... ............................... 1
CTRL CHANGE MAPPINGS............................................................................................................. 2
MIDI MODE CTRL CHANGE MAPPINGS......................................................................................... 2
INDEX
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INTRODUCTION

INTRODUCTION
Thank you for choosing the Octatrack DPS-1. The Octatrack is a dynamic performance sampler ideal for real-time sampling, remixing and audio manipulation. It features the improved Elektron step sequencer which makes it easy to bend and process samples in new and unique ways. To make the most of the machine, we would recommend you to carefully read this manual. Tutorial videos, found on the Elektron website, are also availa­ble. They cover the basics of the Octatrack and are a grea t com p lem e nt to this docu m en t.

CONVENTIONS IN THIS MANUAL

In this manual we have used certain conventions. They are listed below: Buttons are written in upper case, bold style, enclosed in brackets. For inst ance, the bu tton
labeled “function” on the main panel is written [FUNCTION]. Menu names are written in upper case. The PLAYBACK SETUP menu is an example of
that. Parameter names and certain menu options where settings can be made or actions per-
formed are written in bold, upper case, style. HEADPHONES MIX for example. Upper case style is used for parameter setting alternatives, for example ONE, and for cer-
tain menu settings, like EXTERNAL. Messages visible on the screen are written in upper case with quotation marks. Like this,
“CHOOSE BANK”. Knobs are written in upper case, bold, italic style. For instance, the knob “level” is written
LEVEL. LED indicators like the record light are written <RECORD>. The following symbols are used throughout the manual:
This symbol indicates information that you need to pay attention to.
This symbol indicates a tip that might make it easier interacting with the Octatrac k.
This symbol is not used, but it shows a nice ear.
1

THE BACKGROUND OF THE OCTATRACK

THE BACKGROUND OF THE OCTATRACK
The first relatively affordable samplers were released in the 1980’s and made a huge impact on the music scene of that time. Sonic elements, taken from completely new sources, could suddenly form a vital part of a composition. This resulted in the birth and evolution of several genres, for example hip hop. The concept of the sampler has since then branched off in several directions. Softwa re based samplers are today cap able of han­dling enormously large, multi-sampled, sample librares. Hardware samplers aren’t really suited for those tasks. Instead, they come to their best when conceived as dedicated devices focusing on new and radical approaches to sampling.
When we developed the Machinedrum UW, one of the goals was to allow for a creative use of samples. Once the machine was released it became apparent that especially the RAM machines, which made it possible to record sounds in real-time and instantly play them back, were utilized in ways we originally couldn’t even imagine. Users around the world used them to incorporate live sampled shortwave rad io sounds in their co mpositions, make instant remixes of 12” records and to more or less conceive new genres of music. It was obvious that the RAM machine concept harbored a tremendous potential. This was the starting point of the Octatrack. We wanted to create a machine that would regard recorded material not as inflexible sounds, but rather as something highly malleable. This is one of the reasons why the Octatrack exists.
The other one is because of the stage. The laptop computer has quickly established itself as a common instrument in live setups. It is a powerful and highly customizable tool, how­ever, the multi functionality is at the same time a disadvantage. When it comes to audio related tasks a laptop is still a jack of all trades but master of none. The Octatrack on the other hand is designed to be a streamlined, reliable and straightforward machine allowing live performers to really add something extra to their sets. It can act as a backing track machine, a second turntable, a so urce of e xperiment al soundscapes or simply as an instru­ment encouraging improvisation and fun.
These two reasons converge and form the ultimate raison d’être of the Octatra ck: its capa­bility to re-establish sampling as an art form. We hope it will be a trusty companion during your musical endeavours.

SUGGESTED APPLICATIONS OF THE OCTATRACK

The flexibility of the Octatrack makes it a very powerful device suited to a wide range of tasks. Here a few of them are presented.

LOOPER DEVICE

The Octatrack is ideal for DJ’s and live performers. You will be able to quickly sample a turntable or other sound sources present on the stage and instantly play back and affect the recorded loop. Add pre-recorded loops and sounds to samples captured in real-time to take your performance to a completely new level. The real-time timestretch will make sure everything stays in sync.

RADICAL SOUND PROCESSOR

The combined power of the sampling engine, the sequencer and the FX blocks makes the Octatrack a very powerful audio mangler. This functionality is great when working in the studio and wanting to obtain unique sounds and textures.
2
THE BACKGROUND OF THE OCTATRACK

BACKING TRACK MACHINE

Each of the eight stereo tracks can stream gigabyte-large samples. Despite the large size of the samples they can still be subject to timestretch. Change the tempo of the Octatrack and the backing track samples can be timestretched accordingly. On top of this you can treat the samples with the Octatrack effects and sequencer tricks.

LIVE SETUP HUB

The two input pairs combined with the extensive audio routing possibilities allow the Octa­track to function as a mixer. Connect for example a Machinedrum and a Monomachine to the inputs and enjoy a complete live setup with extreme possibilities.

REMIX TOOL

It is easy to change the pitch of different sections of a vocal sample without changing the overall tempo of the sample. Chopping up and rearranging samples and loops is extre mely simple thanks to features like the LFO designer and slice points. The Octatrack lets you break down audio content and restructure it in new and interesting ways.

EFFECTS UNIT EXTRAORDINAIRE

Chained FX blocks paired with automated real time sampling can warble and twist incom­ing audio in ways previously unachievable by a single machine. Two chains, each with 8 simultaneous effects, can be active at the same time.
OCTATRACK DPS-1 USER’S MANUAL for operating system version 1.25. This manual is copyright © 2013 Elek­tron Music Machines MAV AB. All reproduction without written authorization is strictly prohibited. The information in this manual may change without notice. Elektron’s product names, logotypes, titles, words or phrases may be registered and protected by Swedish and international law. All other brand or product names are trademarks or registered trademarks of their respective holders.
3

PANEL LAYOUT AND CONNECTORS

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PANEL LAYOUT AND CONNECTORS

FRONT PANEL

        
The Octatrack front panel. For a mo re comprehensive list of key combinations, please see “SUMMARY OF BUTTON COMBINATIONS” on page 142.
1. HEADPHONES VOLUME CONTROL sets the volume for the stereo headphones jack.
2. [AUDIO RECORD] buttons are used for real-time sampling through the external inputs.
There is one [AUDIO RECORD] button per audio input pair. The functionality of these button change if a Pickup machine is assigned to the active track.
3. The <AUDIO RECORD> LEDs indicate the strength of the signal received on the exter-
nal inputs. When in the RECORD SETUP menu these LEDs also indicate the source selection for recorder trigs.
4. [TRACK] buttons. Press a [TRACK] button to move the focus to the corresponding
track. Pressing a [TRACK] button + an [AUDIO RECORD] button will record audio to the recorder of the selected track. [FUNCTION] + [TRACK] will mute the selected track. [CUE] + [TRACK] will cue the selected track. The <TRACK> LEDs indicate which track is active as well as the mute and cue status of the tracks.
5. The LCD graphical interface.
6. <CARD STATUS> LED, indicating the activity of the Compact Flash card.
7. The LEVEL encoder sets the overall volume level of the active track. [FUNCTION] +
LEVEL controls the main output volume.
8. [TEMPO] key. Brings up the TEMPO menu. The current tempo is always indicated by
the flashing speed of the <TEMPO> LED. Tapping the BPM is done by holding [FUNC-
TION] and then repeatedly tapping [TEMPO].
9. DATA ENTRY kn obs. Used for tweaking parameters.
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PANEL LAYOUT AND CONNECTORS
10. [MIXER] opens up a menu where settings for the in- and outputs can be made. Tracks
can also be muted and solo:ed here. Pressing [FUNCTION] + [MIXER] opens the PRO­JECT menu.
11. Pressing the [MIDI] button activates the MIDI sequencer mode. A lit <MIDI> LED indi-
cates the MIDI sequencer is active. When in the RECORD SETUP menu this LED indi­cates both the signal strength of the internal sample source and the internal source selection for recorder trigs. [FUNCTION] + [MIDI] opens the PARTS menu. When a Pickup machine is used, the button combination performs a multiply command.
12. [FUNCTION] key. Press and hold it for accessing the secondary function of another
key. Secondary functions are often printed in re d te xt on the panel.
13. Pressing [CUE] + a [TRACK] key will cue the track. The audio of the track will then be
routed to the cue outputs. [FUNCTION] + [CUE] will reload the parameter settings of the selected part.
14. Pressing [PATTERN] + a [TRIG] key selects the active pattern within a bank. The
ARRANGER menu is opened by pressing [FUNCTION] + [PATTERN].
15. [BANK] + a [TRIG] key selects the active bank. Pressing [FUNCTION] + [BANK]
opens various context based menus.
16. [ENTER/YES] key. Used for entering sub-menus and for confirming choices.
17. [EXIT/NO] key. Used for exiting an active menu and for deselecting options.
18. The [ARROW] keys. Used for menu navigation. They are called [UP], [DOWN], [LEFT]
and [RIGHT]. Pressing [LEFT]/[RIGHT] while no particular menu is open will temporar­ily nudge the BPM up or down.
19. The [TRACK PARAMETER] keys switches between the TRACK PARAMETER pages
of the active track. Pressing [FUNCTION] + a [TRACK PARAMETER] key or quickly double pressing a [TRACK PARAMETER] key will open the SETUP menu of the selected TRACK PARAMETER page. In MIDI SEQUENCER mode the TRACK PARAMETER pages reflect the MIDI functionality of the tracks.
20. [REC] key . Toggles GRID RECORDING mode on/off. Starts LIVE RECORDING mode
if held while pressing [PLAY]. In GRID RECORDING mode, the <RECORD> LED gives a steady light, while in LIVE RECORDING mode it flashes. Pressing [FUNCTION] +
[REC] performs a copy command.
21. [PLAY] key. Starts playback of a pattern or arrangement. Pressing [PLAY] a second
time pauses playback. [FUNCTION] + [PLAY] performs a clear command.
22. [STOP] key. Stops the playback of a pattern or arrangement. [FUNCTION] + [STOP]
performs a paste command.
Copy , c lear and paste functions are available in many menus. The implementation
is described in “SEQUENCER COPY, PASTE AND CLEAR OPERATIONS” on page 84.
23.[SCENE A]/[SCENE B] + [TRIG] assigns one of 16 scenes to the A and B scene
slots.[SCENE A]/[SCENE B] + a DA TA ENTRY knob will assign the chosen parameter value to the scene. [FUNCTION] + [SCENE A]/[SCENE B] mutes the scene.
24. The crossfader interpolates between the parameter values of scene A and scene B.
25.[TRIG] keys 1 to 16. They have many uses, for example trigging either the machine of a
track or a complete track. Also used for placing trigs while in GRID RECORDING mode. When pressed in combination with the [PATTERN], [BANK] and [SCENE] but- tons they select patterns, banks and scenes. Above each [TRIG] key a <TRIG> LED indicates the position of placed trigs.
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PANEL LAYOUT AND CONNECTORS
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26.[PATTERN PAGE] selects the active pattern page when GRID RECORDING mode is
active. Above the [PATTERN PAGE] key four <PATTERN PAGE> LEDs are found. They are used for indicating the pattern page currently being played or edited. If for example 64 steps, or four pattern pages, are used in a pattern, all four LEDs will be lit. For scale lengths up to 16 steps, the <1:4> LED will stay lit and pressing [PATTERN PAGE] will have no effect. [FUNCTION] + [PATTERN PAGE] opens the SCALE SETUP menu where track length and time signature settings are made.

REAR CONNECTORS

The Octatrack rear connectors:
1. Power on/off switch.
2. 6V DC power in.
Caution! Use only the bundled PSU-2 with your Octatrack. It can, using an appro-
priate power cord, be used all over the globe without the need of voltage con­verters. Using the wrong type of adapter may damage your unit . Damage caused by the use of incorrect power supply is not covered by warran ty. Please see “TECHNICAL INFORMATION” on page 145 for details about the Octatrack power supply.
3. Hi Speed USB 2.0 connection.
4. Compact Flash card reader.
5. MIDI Thru.
6. MIDI Out.
7. MIDI In.
8. Input C/D.
9. Input A/B.
10. Cue out L/R.
11. Main out L/R.
12. Headphones output.
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PANEL LAYOUT AND CONNECTORS

OCTATRACK ACCESSORIES

RACK MOUNT KIT

The Octatrack can be rack mounted in a standard 19” rack, using the Oct atrack rack mount kit which can be ordered separately. When rack mounted, the Octatrack occupies four standard height units plus additional sp ac e, usually abo ut 1 HE, which is n eeded to accom­modate cables plugged into the unit.
When assembling the rack mount kit, make sure that you have a Philips screwdriver of the right
size. Use the included M3x6mm size screws to secure the rack mount consoles on each side of the Octatrack. Make sure all screws are fastened for secure operation of the unit.

CARRYING BAG AND PROTECTIVE LID

The carrying bag accomodates one Octatrack. The protective plastic lid is put on top of the Octatrack panel and protects the crossfader and the knobs. The protective lid is by default included with the bag.

THE COMPACT FLASH CARD READER

The <CARD STATUS> LED lights up when a Compact Flash card is inserted. A blinking bright green LED light means the card is being read, a red LED light means the card is being written to. Sometimes data cannot be written until [STOP] is pressed. The <CARD STATUS> LED will then remain yellow until so happens.
Eject the Compact Flash card by pressing the button located to the right of the reader. After being pressed the button will protrude a few millimeters. Press it again to eject the Com­pact Flash card.

COMPACT FLASH CARD SPECIFICATIONS

Cards supporting UDMA and at least 133x (~20MB/s) for both reads and writes are com­patible with the Octatrack. Cards must be FA T16 or FA T32 fo rmatted, prefera bly F AT32. Up to 64 GB Compact Flash cards are supported.
Never remove the card while data is being read or written to the it . Doing so might
corrupt files and data. Only when the <CARD ST ATUS> LED emits a dimmed green and steady light the card might be removed.

CONNECTING THE UNIT

Before you start connecting the Octatrack to other units, make sure all units are switched off.
1. Plug the supplied DC adapter to a power outlet and connect the small plug to the 6 V DC
connector of the Octatrack unit.
2. Connect the main out L/R from the Octatrack to your mixer or amplifier.
3. If MIDI control is desired, connect MIDI OUT from the Octatrack to the MIDI IN of the
device you wish to send data to. Connect the MIDI IN of the Octatrack to the MIDI OUT of the device you wish to receive data from. The M IDI THRU port “echoes” the data a rriv­ing at the MIDI IN port, so it can be used for chaining MIDI units together.
4. Switch on all units.
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PANEL LAYOUT AND CONNECTORS
The USB connection may inject computer noise in the outputs of the Octatrack.
Should this occur, use balanced cables or use a battery operated computer. Do not remove the safety grounding of your computer. It is there to protect against electric shocks.

CARE INSTRUCTIONS

To ensure many years of trouble free operation, please follow the advice below:
Never use any aggressive cleaners on the casing or the LCD overlay. Remove
dust, dirt and fingerprints with a soft dry cloth. More persistent dirt can be removed with a slightly damp cloth using only water.
To avoid scratches or damage, never use sharp objects near the display. Also
avoid applying any pressure to the display itself.
When transporting the Octatrack, preferably use the box and padding the unit
originally shipped with.
Make sure you place the unit on a stable surface before use . If you mount the unit
in a rack, be sure to tighten all four screws in the rack mount holes.
The memory used for storing p atterns an d p art s is power ed by a batter y inside the
unit. It will hold data at least 6 years before needing replacement. If the battery needs replacement, the “BATTERY LOW” message will appear in the display. Con­tact Elektron support or your nearest repair center.
Turn off the machine when it is not in use. Use the power switch.
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OVERVIEW OF THE OCTATRACK STRUCTURE

OVERVIEW OF THE OCTATRACK STRUCTURE
The Octatrack is organized in a hierarchical way. The image below outlines the data struc­ture of the Octatrack.

SETS

A set is the top level structure of the Octatrack. It can contain a near unlimited amou nt of projects plus one audio pool. The amount of samples in the audio pool as well as the amount of projects are limited only by the size of the Compact Flash card. The samples in the audio pool are available to all projects of the se t. Sets are saved on the Comp act Flash card. Since a set can contain many projects, some users might find that one set is all they need. Read more about sets on page 22.

AUDIO POOL

Each set contains one audio pool which is stored on the Compact Flash card. The audio pool contains the samples that can be loaded to the Flex and Static sample slot lists of the projects of a set. Read more about how to fill the audio pool with samples on page 24.

PROJECTS

For the Octatrack to work as intended, a set needs to be mounted and a project needs to be loaded. A project contains 16 banks, 8 arrangements, 8 track recorders and their
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OVERVIEW OF THE OCTATRACK STRUCTURE
recorder buffers, 128 sample slots dedicated to Flex machines, 128 slots dedicated to Static machines, various project specific settings and the BPM setting fo r all the patter ns of the project. A project can therefore be regarded as a collection of compositions.
The samples used to fill the Flex and Static sample slots are fetched fr om the audio pool of the set. The samples used by a project can also be collected and saved in the project folder. The command COLLECT SAMPLES are used for this and makes a project more or less self contained. Please see section “PROJECTS” on page 25 for more information about projects. For the sake of sample organization it is recommended to only store sam­ples in the audio pool.

FLEX AND STATIC SAMPLE SLOT LISTS

For samples to be available to Flex and Static machines they first need to be loaded from the audio pool to the Flex or Static sample slot lists. When samples are present in these lists they can be assigned to, and thus pr ocessed by, Flex and Static machines assigned to the audio tracks of a pattern. Read how to load audio pool samples to the sample slot lists in the section “LOADING SAMPLES TO THE SAMPLE SLOTS” on page 26. Read how to assign samples to a machine in the section “ASSIGNING FLEX AND STATIC SAMPLES TO MACHINES” on page 66.

BANKS

Each project hosts 16 banks and each bank hosts 16 patterns and 4 parts. This makes a bank suited for hosting a complete composition as the available patterns and parts allow a large number of song variations. Switching between banks is seamless, meaning playback won’t be halted or audio cut off. More information about banks is found on page 59.

PATTERNS

For each bank 16 patterns are available, meaning 256 patterns are always at hand. A pat­tern consists of sequencer data like trigs, parameter locks, track lengths and time signa­tures for the eight audio tracks and the eight MIDI tracks. See section “PATTERNS” on page 76 for more information.

PARTS

4 parts are available to each bank. A part contains machine assignments and their associ­ated samples, track parameter settings, FX assignment s as well as 16 scenes. A p attern is always linked to a part. Changing parts will let the new part be controlled by the active pat­tern. Read more about parts on page 59.

SCENES

Scenes are assigned to the scene A and scene B slots. They decid e which p aram eters the crossfader will affect. The section “SCENES” on page 61 gives more in-depth information about this functionality.

ARRANGEMENTS

Each project contains eight arrangements. They are used to structure the playback of pat­terns. An arrangement is a great way to form a long sequence out of several pa tterns. More information is found in the section “THE ARRANGER” on page 106.

TRACKS

An Octatrack pattern handles eight audio tracks and eight MIDI tracks. Each audio track can host a machine. With the exception of Neighbor machines, any machine type can be assigned to any of the eight audio tracks. More information about tracks are found in the section “TRACKS” on page 64.
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OVERVIEW OF THE OCTATRACK STRUCTURE

MACHINES

Machines are assigned to the eight audio tracks. Each machine fills a different purpose. Read more about the various machine types in “Appendix A: MACHINE REFERENCE“. How machines are assigned to tracks is covered in “ASSIGNING MACHINES TO TRACKS” on page 64.
Flex machines process samples. They offer instant control over samples since Flex sam­ples are loaded to the RAM memory of the Octatrack. The samples available to Flex machines are located in the Flex sample slot list, which can host 128 Flex samples.
Static ma chines process samples. The samples available to Static machines are located in the Static sample slot list, which can host 128 Static samples streamed from the Compact Flash card. A single Static sample can be as big as 2 gigabytes.
Thru machines are used to listen to the inputs of the Octatrack. They can be used to affect incoming audio with filtering and effects.
Neighbor machines listen to the output of the preceding track. They can be used to build powerful effects chains.
Pickup machines are ideal when wanting to use the Octatrac k as a loo per de vice .

HOW INFORMATION IS HANDLED

When working within a project there is no need to save as all changes are automatically cached on card. Changes made to a project will be remembered even after the machine has been switched off. The only time an operation needs to be carried out is before remov­ing the Compact Flash card. The project should th en be synced to the ca rd. For more infor­mation about this operation, please see page 30.
There exists a SAVE command for projects though. Once you are content with a project it is wise to save it. If you continue your work with the project, but are not satisified with the results, you can then bring back the project to the previously saved state by performing a project RELOAD command. Read more about these commands in sectio n “PROJECT” on page 30.
Never turn off the Octatrack while the <CARD STATUS> LED is blinking. It indi-
cates data is being written to the Compact Flash card and disrupting this process may corrupt data. Only when the <CARD STA TUS> LED emit s a dimmed green and steady light the Octatrack might be switched off.
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THE USER INTERFACE

THE USER INTERFACE
The center of Octatrack editing is the LCD display. The main interface screen is shown below:
1. Track icons showing the machine assignments and status of the tracks. The active track
is highlighted. Track assignments are abbreviated. “F” = Flex machine, “S” = Static machine, “T” = Thru machine, “N” = Neighbor machine, “P” = Pickup machine, “M” = Master track. Beneath the track assignment symbols the status of the track is shown. A play symbol means the sample of the track is playing, a stop symbol means the track is not playing, a plus sign means the track recorder or the Pickup machine of the track is recording. For Pickup machines, more track icons exist. For a complete list, see “PICKUP MACHINE SAMPLING” on page 54. If the Octatrack MIDI mode is active, the icons will show the MIDI channels the tracks send data to.
2. The current tempo displayed with one decimal.
3. Four boxes showing the playback position. Each box represents a downbeat.
4. The playback/recording status shown by the standard “record”, “play”, “pause” and
“stop” symbols; , , and .
5. Level bar showing the overall volume level of the machine of the active track.
6. Up to six track parameters. They show what the DATA ENTRY knobs control and also
indicate the current parameter values. When two parameters belong to each other in some way, they will have a small “clip” between them as shown below:
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7. Assigned scenes and the current position of the crossfader.
8. Graphics indicating which TRIG mode that is currently act ive.
9. Info about which TRACK PARAMETER page is active.
10.Info box where the name of the active part and the name of the sample assigned to the
machine of the track is shown.
11.The currently active pattern.
THE USER INTERFACE

MENUS AND WINDOWS

When a menu or window is opened the function of certain buttons and/or knobs will change. When a window has functions mapped to certain interface controls, icons repre­senting these controls will be visible in the opened window. The icons are:
The [ARROW] buttons The [FUNCTION] key
The [TRIG] keys The LEVEL knob
All windows can be closed using the [EXIT/NO] key.
Buttons or knobs not used by an active menu retain their original function. For
example, the TEMPO menu makes use of the LEVEL knob, but you can still use the DATA ENTRY knobs to control the parameters of the track in focus.

PARAMETER EDITING

The DATA ENTRY knobs are used to change the value of the track parameters. The phys- ical location of the knobs on the front panel correspond to the layout of the parameters on the screen. Turn DATA ENTRY knob A to adjust the upper left parameter, turn DATA ENTRY knob B to adjust the the middle p arameter of the upper r ow and so on . If one of the slots in the parameter grid is blank, the corresponding DATA ENTRY knob fills no function in that particular menu.

QUICK PARAMETER EDITING

If the DAT A ENTRY knob is pressed down while being turned parameters will be adjusted in increments of 7. This makes it much quicker to sweep through a whole p ara meter range.

PARAMETER VALUE SKIP

Keeping [FUNCTION] pressed while turning a parameter will make the parameter values jump to relevant positions. For parameters ranging from 0 to 127 either 0 or 127 will be selected. For parameters ranging from -64 to 63 the values will jump between -64, 0 and +64. Other alternatives exist as well, the value of the Echo Freeze Delay TIME parameter will for example be doubled for each increment. This is useful when using the effect as a repeater.

QUICK SCROLLING

In menus containing lists, like the file browser or the sample slot lists, quick scrolling is available. Press [FUNCTION] + the [UP] or [DOWN] arrow keys to move the cursor one menu page at a time.
When previewing sounds in the sample slot lists or in the file browser, the quick
scroll feature will be temporarily disabled for as long as [FUNCTION] is pressed.

COPY, CLEAR AND PASTE

Copy, clear and paste commands are available in a lot of contexts. A copy operation is per­formed by pressing [FUNCTION] + [REC]. A paste operation is performed by pressing
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THE USER INTERFACE
[FUNCTION] + [STOP]. A clear operation is performed by pressing [FUNCTION] + [PLAY]. Paste and clear operations can be undone by repeatin g th e button pr ess combina-
tion. See the different sections in the manual for more information about where these co m­mands are available.

THE NAMING MENU

The naming procedure is identical for the various naming menus that exist.
The [LEFT] and [RIGHT] arrow keys are used to navigate between the letter s. Turning the
LEVEL knob or pressing the [UP] or [DOWN] arrow keys select the letter. Press [FUNC- TION] + [EXIT/NO] to quickly erase characters. Another method of erasing characters is to
press [CUE] + [EXIT/NO]. The difference comp ared to using the [FUNCTION] + [EXIT/NO] method is that the naming pop-up menu will not appear.

POP-UP MENU NAMING

While in a NAMING menu it is possible to open a pop up-menu displaying all available let­ters, symbols and digits. Entering names in the pop up-menu is often a conside rably faster naming method. When a NAMING menu is open, press the [FUNCTION] key to access the pop up-menu.
While keeping [FUNCTION] pressed use the [ARROW] keys to navigate to the character you want to insert. Once there, release [FUNCTION] to insert the character.
When naming projects, sets and samples there are two extended pop-up menu pages of characters to choose from. Scroll between the pages by moving the cursor upwards or downwards until the other page is reached.
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The number of characters to choose from is slightly more limited when naming parts and arrangements. Only one page of character s exists for these pop-up menus.
THE USER INTERFACE
Copy, paste and clear commands are available in the naming menus. If you
instead of pressing [FUNCTION] press [CUE] when performing the commands, the pop-up menu won’t open.
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QUICK START

QUICK START
This quick start will guide you through some of the basic operations to allow you to start using the Octatrack right away. First connect it as described in section “CONNECTING THE UNIT”, on page 7.

DEMO MODE

While in this mode the Octatrack will be able to play back a set of 16 demo patterns without needing to have a Compact Flash card inserted. Demo mode is a great way to get acquainted with the basics of the Octatrack. Note that you can no t save any changes made to the sounds or patterns while in demo mode.
1. Make sure no Compact Flash card is inserted. Switch on the Octatrack while keeping the
[ENTER/YES] button pressed. The LCD screen will state that demo mode is being
entered.

PLAYING THE DEMO PATTERNS

In demo mode 16 demo patterns, ranging from A01 to A16, are available.
1. Press [PLAY] to listen to pattern A01.
2. Select pattern A02, which is the second demo pattern, by pressing [PATTERN] + [TRIG]
key 2. Pattern A03 is selected by pressing [PATTERN] + [TRIG] key 3 and so on.
3. Mute tracks by pressing [FUNCTION] + the [TRACK] key of the track you want to mute.
Unmute by repeating the procedure.

ADJUSTING PARAMETERS

Each track contains five TRACK PARAMETER pages. There parameters affecting the sample of the track are found. The buttons used to open the pages are located directly below the LCD screen.
1. Make sure the pattern is still playing.
2. Press the [TRACK] key of the track whose sample you wish to affect.
3. To change the pitch of the sample, press the [PLAYBACK] key. The PLAYBACK page
will open. The parameter labelled PTCH changes the pitch of the sample. Turn DATA ENTRY knob A to change the parameter value.
4. Try out the rest of the TRACK PARAMETER menu parameters to experiment with the
sound shaping possibilities.
5. To reload the parameter settings to their original state, press [FUNCTION] + [CUE].

EXPERIMENTING WITH SCENES

Scenes contain locked parameters. The crossfader is used to morph between the locked scene parameters. Scenes are covered in the section “SCENES”, on page 61.
1. Select any demo pattern. Set the crossfader to its rightmost position. This will fully acti-
vate the scene assigned to scene slot B.
2. Hold [SCENE B] and press a [TRIG] key to assing a new scene to the scene slot. The
already assigned scene is indicated by a red <TRIG> LED. Experiment with assigning different scenes to the scene slot and listen to how the sound of the pattern changes.
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QUICK START

RECORDING A PATTERN USING GRID RECORDING

Use GRID RECORDING mode to input sample trigs to the sequencer. Sample trigs trig the machines and samples of the tracks. In depth information about this mode is found in sec­tion “GRID RECORDING MODE” on page 77.
1. Press the [REC] key to enter GRID RECORDING mode. The <REC> LED will light up,
indicating the mode is now active.
2. Select the track to which you want to input sample trigs by pressing the relevant
[TRACK] button.
3. Press a [TRIG] key to enter a sample trig. Press the same [TRIG] key again to remove
the sample trig. If the pattern contains more than 16 steps, use the [PATTERN PAGE] key to switch between the pattern pages.
4. To edit other tracks, change the active track by pressing the other [TRACK] buttons.

RECORDING A PATTERN USING LIVE RECORDING

The LIVE RECORDING mode allows you to record sample trigs and parameter changes while the sequencer is running. In depth information about this mode is found in section “LIVE RECORDING MODE” on page 78.
1. To enter this mode, hold [REC] and then press [PLAY]. The <RECORD> LED starts to
blink, indicating LIVE RECORDING mode is activated, and the sequencer starts to play.
2. You can now record sample trigs manually by pressing the last 8 [TRIG] keys. Pressing
[TRIG] key 9 will add a sample trig to track 1, [TRIG] key 10 adds a sample trig to track
2 and so on. You will be able to hear all recorded sample trigs the next time the pattern starts over.

PARAMETER LOCKS

A parameter lock allows individual parameter values for a trig. It is one of the most impor­tant Octatrack features. More information about parameter locks is found on page 80.
1. When in GRID RECORDING mode, hold a [TRIG] key and then tweak a parameter. The
LCD screen graphics of the adjusted parameter will become inverted to indicate that the sample trig now is locked to the value you have set. The <TRIG> LED above the sample trig will flash to indicate that a parameter is locked for that step.
2. To remove all locks for a sample trig, pr es s the [TRIG] key of the locked trig twice. You
can also remove single locks. Hold the [TRIG] key while clicking the DATA ENTRY knob corresponding to the locked parameter to do so. The inverted graphics will disappear and the parameter lock is now removed.

MOUNTING A SET AND LOADING A PROJECT

A set needs to be mounted for the Octatrack to be able to load projects and populate the Flex and Static sample slot list s with samples. The Compact Flash card that came shipped with your Octatrack contains a set called “PRESETS”. This set contains a project also named “PRESETS”. The project contains the same patterns and samples as the demo mode project.
If you are using an empty Compact Flash card a set needs to be created and mounted before you can start processing samples. More information about sets is found in section “SETS” on page 22.

MOUNTING A SET

1. Turn on the Octatrack. Make sure you have a Compact Flash card inserted. If you are
using a new Compact Flash card an information window st ating “NO SET IS MOUNTED!
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QUICK START
PLEASE MOUNT ONE.” may appear. Press [ENTER/YES] and the menu where sets are mounted and created will automatically be opened. Otherwise, proceed to step 2.
2. Press [FUNCTION] + [MIXER] to open the PROJECT menu. Select PROJECT and
press [ENTER/YES] or the [RIGHT] arrow key. Scroll down the list and select CHANGE, located in the SET section.
3. Press [ENTER/YES] to open the menu where sets are mounted and created. If you are
not working within an existing project a window asking “NOT WITHIN A PROJECT. CHANGES MADE WILL BE DISCARDED. CONTINUE?” will appear. Press [ENTER/ YES] to proceed with the mounting of the set. Note that any changes you have made will be discarded. If you want to save the changes to a new project, use the SAVE TO NEW command found in the PROJECT menu. Pressing [EXIT/NO] will cancel the set mount­ing operation.
4. If you are using the Compact Flash card that came with the unit, select “PRESETS” and
press [ENTER/YES]. If you are using an empty Compact Flash card a set needs to be created. Select <CREATE NEW SET> and press [ENTER/YES]. Name the set by using the [ARROW] keys and when done press [ENTER/YES]. Select the set in the list and press [ENTER/YES]. A set has now been mounted.
After a set has b een mounted the menu where project s are loaded is automa tically
opened.

LOADING A PROJECT

After a set has been mounted a project should be loaded. The Compact Flash card that came shipped with the unit contains o ne proj ect, named “PRESETS”. Thi s project cont ai ns 16 demo patterns. If an empty Compact Flash is used the newly created set will not contain any projects and a project should therefore be created. Read more about projects in sec­tion “PROJECTS” on page 25.
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QUICK START
1. Press [FUNCTION] + [MIXER] to open the PROJECT menu. Select PROJECT and
press [ENTER/YES] or the [RIGHT] arrow key. Select CHANGE, located in the PRO­JECT section.
2. Press [ENTER/YES] to open the menu.
3. If the bundled Compact Flash card is inserted, and the set called “PRESETS” has been
mounted, select the project “PRESETS” and press [ENTER/YES]. The project will be loaded. If a new Compact Flash is used select <CREATE NEW PROJECT> and press [ENTER/YES]. Name the project and press [ENTER/YES]. The newly created project will be loaded.

LOADING SAMPLES

When a set has been mounted, and a project preferably has been loaded, the samples in the audio pool of the set can be processed by the Flex and Static machines. To do so a Flex or Sta tic machine needs to be assigned to a track and samples need to be loaded to the Flex or Static sample slot lists. Note that if the audio pool of the mounted set doe s n ’t contain any samples it first needs to be filled with content. Read more how to do that in section “AUDIO POOL” on page 23.
Two main methods of assignin g machines and samples exist. This quick st art guide covers the one where the PLAYBACK SETUP menu is used. The other method, using the QUICK ASSIGN menu, is covered in sections “ASSIGNING MACHINES IN THE QUICK ASSIGN MENU” on page 65 and “ASSIGNING SAMPLES IN THE QUICK ASSIGN MENU” on page 66.

ASSIGNING A MACHINE TO A TRACK

1. Select the first track by pressing [TRACK] key 1.
2. Enter the PLAYBACK SETUP menu by pressing [FUNCTION] and [PLAYBACK]. From
here the machine list needs to be accessed. If a sample slot list was opened move to the machine list by pressing the [LEFT] arrow key.
19
QUICK START
3. Select the machine you want to assign from the list of machines. Press [ENTER/YES] to
assign it to the track. Note that only Flex and Static machines can play samples. Press the [RIGHT] arrow button to enter the sample slot list for the assigned machine.

ASSIGNING A SAMPLE TO A MACHINE

Make sure a set with an audio pool containing samples is mounted. The audio pool
1.
belonging to the “PRESETS” set found on the bundled Compact Flash card is full of samples. A project should preferably have been loaded as well.
2. Select a track containing a Flex or St atic machine by pre ssing the relevant [TRACK] key.
3. Enter the PLAYBACK SETUP menu by pressing [FUNCTION] and [PLAYBACK]. The
sample slot list will be opened. If the machine list is opened, press the [RIGHT] arrow key to enter the sample slot list. The sample currently assigned to the machine is indi­cated by inverted graphics.
4. If samples already are present in the sample slot list, select a sample and press
[ENTER/YES] to assign it to the machine.
5. To load a new sample from the audio pool to an empty sample slot, select the sample
slot and press [ENTER/YES]. The file browser listing the content of the audio pool will be opened. If a sample slot already contains a sample, press the [RIGHT] arrow key to access the audio pool without assigning the selected sample slot to the machine.
6. Navigate in the audio pool by using the [UP] and [DOWN] arrow keys. Subfolders in the
audio pool are marked with a “(D)”, which is short for directory. Open subfolders by pressing the [RIGHT] arrow key or [ENTER/YES]. Press the [LEFT] arrow keys to move
20
QUICK START
back one step in the folder hierarchy. Localize the sample that should be loaded to the sample slot. Press [ENTER/YES] to load the sample to the sample slot list.
Press [FUNCTION] + [ENTER/YES] to preview samples from the main outputs.
Press [CUE] + [ENTER/YES] to preview from the cue outputs.
21

SETS

SETS
A set is the top layer of the Octatrack hierarchy. Sets are completely self contained. Sets contain:
An amount of projects only limited by the size of the Compact Flash card.
An audio pool, where the samples shared by the projects of the set are stored.
A set needs to be mounted in order for the Octatrack to be able to load a project belo nging to the set. A mounted set and a loaded project is required for the Octatrack to work as intended. Read more about projects in section “PROJECTS” on page 25.
When booting, the Octatrack automatically mounts the previously mounted set and loads the previous project, but sometimes that might not be possible, for instance when a freshly formatted Compact Flash card has been inserted or when switching cards to a card con­taining other sets. Sets then have to be manually mounted.
If Compact Flash cards are changed a window st ating “WRONG COMPACT FLASH CARD INSERTED. CONTINUE?” will appear. This is a prompt indicating a new Compact Flash card has been inserted. Press [ENTER/YES] to continue. If you decide to proceed a win­dow stating “NO SET IS MOUNTED! PLEASE MOUNT ONE.” will appear. Pressing [ENTER/YES] will automatically open the menu where sets can be created and mounted. If the inserted card contains sets, mount one of them. If the card doesn’t contain any sets, create and mount one.
If the Octatrack boots with a set, but no proj ect is active, a window stating “YOU ARE NOT WORKING IN ANY PROJECT. USE THE SAVE AS NEW COMMAND TO KEEP ANY CHANGES!” will appear. Press [ENTER/YES] to make the prompt disappear. Since no pro­ject is active, any changes made while in this state will be discarded when mounting another set or loading another project. Use the SAVE TO NEW command found in the PROJECT menu to save any changes to a new project. Otherwise, just create or load a new project.
Back up your sets to a computer. Should you lose your Compact Flash card it is
easy to transfer the sets from the computer to a new card.
Sets are stored as folders in the root directory of the Compact Flash card. This
can be seen when for example connecting the Octatrack to a computer via USB and browsing the content of the Compact Flash card with the computer. Read more on how to connect the Octatra ck to a comp ute r in th e s ect io n “SYSTEM ” on page 31.
22
SETS

CREATING AND MOUNTING A SET

Sets are created and mounted in the PROJECT menu. Press [FUNCTION] + [MIXER] to open this menu. Select PROJECT and press the right [ARROW] key or [ENTER/YES] to access the sub-menu options. Then select CHANGE, located in the SET section.
Press [ENTER/YES]. The active project will automatically be synced to the Compact Flash card, storing all settings and assignments, before the menu where sets are changed is opened.
If no project is active a prompt asking “NOT WITHIN A PROJECT. CHANGES
MADE WILL BE DISCARDED. CONTINUE?” will appear. Press [ENTER/YES] to continue with the change sets procedure. Note that this will discard any settings and assignments already made. If you don’t want to lose any information, press [EXIT/NO] to cancel the operation. Then save all settings to a new project by using the SAVE TO NEW command before changing sets.
Once CHANGE has been selected and [ENTER/YES] been pressed a list of available sets stored on the Compact Flash card will appear.
The currently active set is indicated by inverted graphics. To mount another set, select one from the list of sets found in the menu. Mount it by pressing [ENTER/YES]. Once the set has been mounted, the menu where projects are loaded and created will automatically be opened.
Create a new set by selecting <CREATE NEW SET> and pressing [ENTER/YES]. A nam- ing menu will appear where the new set can be named.
After a set has been mounted a project should preferably be loaded or, if the set
doesn’t contain any projects, created and then loaded.

AUDIO POOL

All the samples of a set are collected in the audio pool. These samples are used to fill the Flex and St atic sample slot s of the project s of the set. When a set is created, an audio pool is automatically created as well.
23
SETS
The content of an audio pool is exclusive to a set. If you want to use the same
sample in two sets, the sample needs to be copied to both audio pools.

ADDING CONTENT TO THE AUDIO POOL

To add content to the audio pool the Octatrack should preferably be conn ected to a com­puter.
1. Connect the Octatrack to a computer using a USB cable.
2. Open the PROJECT menu, select SYSTEM and then USB DISK MODE. Press [ENTER/
YES] to make the Compact Flash card appear as a mass storage device in the com-
puter. Read more about the USB DISK MODE in the section “SYSTEM” on page 31.
3. Using the computer, locate the set folder whose audio pool you want to add audio con-
tent to. Inside the set folder a folder called AUDIO is located. This is the audio pool o f the set. All audio material in this folder will be accessible by the projects of the set.
4. To add content to the audio pool of the set, simply drag and drop audio files or folders
containing audio files to the AUDIO folder. When done the Octatrack should be unmounted from the computer.
When loading samples to the Flex and Static sample slots, the file browser of the
Octatrack is used to browse the Compact Flash card. Read more about the file browser in “FILE BROWSER” on page 28.
After opening a set folder, the AUDIO folder and the saved projects of the set are
visible. Although audio files can be placed in the project folders it is for conveni­ence sake recommended to put audio files only in the AUDIO folder.
Folders and subfolders in the audio pool should contain a maximum of 1024 files
or subfolders.

AUDIO FILE COMPATIBILITY

Both Flex and Static machines can handle 16 or 24 bit/44.1 kHz wav/aiff files, either in mono or stereo.
24

PROJECTS

PROJECTS
Each set can contain an amount of projects only limited by the size of the Compact Flash card. A project contains:
16 banks.
8 arrangements.
128 Flex sample slots and their associated Flex samples.
128 Static sample slots and their associated Static samples.
8 track recorders and their recorder buffers.
A BPM setting controlling the tempo of the patterns.
PROJECT menu settings.
Projects can be regarded as a collection of compositions. A project could for example con­tain your whole live set or a certain amount of songs you are working on. One project at a time can be loaded. For the Octatrack to work as intended, a project should always be active, i.e. loaded.
All changes made to an active project are automatically cached on card. This means you can work on a project, switch off the Octatrack, switch it on and start working exactly from where you left off. It is possible to save a project by performing a project SAVE command though. This is only necessary if you want to be able to revert the project to a specific st ate. In general, performing a projec t SAVE command is recommended once you are content with a project. This way you can keep on experimenting with the project, but, if needed, always go back to the saved state by performing a RELOAD command. Read more how about how to save and reload a project in section “PROJECT” on page 30.
When not working within a project, for example after moun ting a set conta ining no project s, it is still possible to assign machines, effects and make parameter and pattern settings. The Octatrack will remember the settings of the active bank even after being switched off, but will discard them if a new set is mounted or another project is loaded. Should you want to save the changes as a new project, use the SAVE TO NEW command, found in the PRO- JECT menu. If the Octatrack boots and senses no project is active a prompt will appear saying “YOU ARE NOT WORKING IN ANY PROJECT. USE THE SAVE AS NEW COM­MAND TO KEEP ANY CHANGES!”
Before ejecting the Compact Flash card the active project should always be
synced to the card, by using the SYNC TO CARD operation. Otherwise changes will be lost. For more information, please see page 30.

PROJECTS AND RAM MEMORY

The total amount of RAM memory available to a project is 85,5 MB. This memory is shared between the track recorders and the samples loaded to the Flex sample slots. By default the Flex sample slots can be filled with 64 MB of samples while the reserved track recorder memory ensures that each track recorder always can sample 2.7 MB of stereo audio. The boundary between the reserved track recorder memory and the Flex RAM memory is blurred though. Track recorder memory can be increased at the cost Flex RAM memory.
25
PROJECTS
The opposite also applies, meaning Flex RAM memory can be increased at the cost of track recorder memory. The track recorders also can use Flex RAM when sampling. Read more on how to allocate RAM memory on page 39.

LOADING AND CREATING A PROJECT

Before loading a project, a set needs to be mounted. Read more about how to create and mount sets in section “CREATING AND MOUNTING A SET” on page 23.
Projects are loaded in the PROJECT menu. Press [FUNCTION] + [MIXER] to open this menu. Select PROJECT and press the right [ARROW] key or [ENTER/YES] to access the sub-menu options. Then select CHANGE, located in the PROJECT section.
Press [ENTER/YES] to open a list of the projects available to the set.
Below the header of the menu the name of th e active set is visible. The currently active pro­ject is indicated by inverted graphics. To load a new project, select one from the list and load it by pressing [ENTER/YES]. The currently active project will automatically be synced to card, meaning all settings and assignments will be saved to the card, before the new project is loaded.
Create a new, empty, project by selecting <CREATE EMPTY PROJECT> and pressing [ENTER/YES]. A naming menu will appear where the new project can be named.
It it possible to rename and delete projects while in the CHANGE menu. Press
[FUNCTION] + [BANK] to open a menu where rename and delete options are pres­ent.

LOADING SAMPLES TO THE SAMPLE SLOTS

For the Flex and S t atic ma chines to b e able to play back audio, samples need to be loaded to the Flex and St atic samp le slots list s of t he project. Samp les loaded to the 128 Flex sam­ple slots are called Flex samples. They are only available to Flex machines. Samples loaded to the 128 Static sample slots are called Static samples. They are only available to Static machines. The samples in the sample slot lists are accessible by all Flex and Static machines of the project. Read more how to assign the samples of the sample slot lists to
26
PROJECTS
Flex and Static machines in section “ASSIGNING FLEX AND STATIC SAMPLES TO MACHINES” on page 66.
To load samples to the sample slots the audio pool must contain samples. Read
more about how to fill the audio pool with content in the section “AUDIO POOL” on page 23.

LOADING FROM THE QUICK ASSIGN MENU

The quickest method to load samples to the sample slots is to quickly double press a [TRACK] button. The QUICK ASSIGN menu for that track will appear. The Flex sample slot list will be displayed if the active track contained a Flex machine. The St atic sample slot list will be displayed if the active track contained a Static machine. If the track contained any other machine type the machine list will appear. If so, open the Flex sample slot list by moving the cursor to FLEX and press the [RIGHT] arrow key. Open the Static sample slot list by moving the cursor to STATIC and pressing the [RIGHT] arrow key.
Select an empty sample slot position and press [ENTER/YES]. The file browser, covered in the section “FILE BROWSER” on page 28, will be opened. It reflects the content of the audio pool of the mounted set. Locate the sample you wish to load and press [ENTER/ YES]. Both the Flex and Static samp le slot lists can be entered and samples loaded with out the machine of the track being changed.
If you want to replace a sample already loaded to a sample slot position, but don’t want to assign the sample to the Flex or Static machine of the track, press the [RIGHT] arrow key to open the file browser.
It is possible to load samples to the recorder buffers, just as if they were Flex sample slot s. The recorder buffers, which cont ain any audio captured by the track recorders, are found in the Flex sample slot list, located above Flex sample slot position 1. The length of the sam­ple is restricted by the reserved memory of the buffer. If the loaded sample is longer than allowed by the buffer it will be truncated. Mono samples will also be converted to stereo.
It is possible to copy, paste and clear sample slots while in the QUICK ASSIGN
menu. Copying a sample slot will copy all its attributes, slices and trim settings.
Select a sample in the Flex/Static sample slot list and press [FUNCTION] + [BANK]
to edit it in the audio editor.
Selecting a sample in the Flex or Static sample slot list and pressing [FUNCTION]
+ [LEFT]/[RIGHT] will load the next or previous sample fro m th e dire ctory th e or ig­inal sample resided in.
27
PROJECTS
At the top of the Flex sample slot list the amount of RAM memory available to the
project is shown. If Flex samples are present in the list their BPM and size in MB are also displayed.
Samples can be previewed in the sample slot lists. Select a sample and press
[FUNCTION] + [ENTER/YES] to do so. This will preview the sample from the main outputs. Press [CUE] + [ENTER/YES] to preview from the cue outputs. When pre­viewing the quick scroll feature will be temporarily disabled for as long as [FUNC­TION] is pressed.
A blinking star next to a file name indicates the sample has been edit ed in the
EDIT menu found in the audio editor, but not yet been saved.

LOADING FROM THE PLAYBACK SETUP MENU

The PLA YBACK SETUP menu can also be used when loading samples to sa mple slots. To access the Flex and Static sample slot lists, press [FUNCTION] + [PLAYBACK] to open the PLAYBACK SETUP menu. If the machine list appears, select the machine type whose sample list you want to access and press the [RIGHT] arrow key.
Load a sample by selecting a sample slot and pressing [ENTER/YES]. The file browser reflecting the content of the audio pool of the active set will be opened. Locate the sample you wish to load and press [ENTER/YES] to load it.
If you want to replace a sample already loaded to a sample slot position, but don’t want to assign the sample to the Flex or Static machine of the track, press the [RIGHT] arrow key to open the file browser.
Select a sample in the Flex/Static sample slot list and press [FUNCTION] + [BANK]
to edit it in the audio editor.
Selecting a sample in the PLAYBACK SETUP sample list and pressing [FUNC-
TION] + [LEFT]/[RIGHT] will load the next or previous sample from the directory the original sample resided in.
Samples can be previewed in the sample slot lists. Select a sample and press
[FUNCTION] + [ENTER/YES] to do so. This will preview the sample from the main outputs. Press [CUE] + [ENTER/YES] to preview from the cue outputs. When pre­viewing the quick scroll feature will be temporarily disabled for as long as [FUNC­TION] is pressed.
28
PROJECTS

FILE BROWSER

The file browser is used when locating samples that should be loaded to the Flex and S tatic sample slots. It is a representation of the audio pool of the set.
Folders are indicated by a “(D)”. Open folders by selecting them and pressing the [RIGHT] arrow key or [ENTER/YES]. If an opened folder contains more files or folders than the menu list can show, two arrows pointing downwards will be visible in the lower right part of the screen. Scroll down in the folder by pressing the [DOWN] arrow key. A sample is loaded by selecting it and either pressing [ENTER/YES] or the [RIGHT] arrow key. How­ever, the file browse r is not closed until [ENTER/YES] is released. This makes it possible to keep holding [ENTER/YES] and use the [UP]/[DOWN] arrow keys to instantly load the next or previous file in the directory without having to re-open the file browser for each file. This mode of assignment is handy to use when the sequencer is running and you want to try out how different sample assignments will affect sound and feel of the pattern.
At the top of the menu the folder path is visible. To go back one step in the folder hierarchy, press the [LEFT] arrow button. If the file browser was opened from a Flex sample slot list, the bottom of the LCD screen will show how much RAM memory that is available to the project. The size of the samples are indicated in MB to the right of the sample names.
When the cursor is moved over a sample, the smiley symbol at the bottom of the screen will show a happy face if the sample is ready to be loaded without any problems. If the file is too big to be loaded, or if the file is incompatible with the Octatrack audio engine, the smiley will look sad. Samples with an unsupported sample rate, like 48 kHz, will make the smiley look indifferent, indicating the sample will be played back albeit at the wrong speed. To the right of the smiley the sample rate, bit de pth and number of cha nnels of the selecte d sample is shown.
When opening the file browser from a Flex/Static slot already containing a sample, that sample will be indicated by inverted graphics.
Audio files can be previewed in the file browser. Select the file and press [FUNC-
TION] + [ENTER/YES] to do so. This will preview the file from the main outputs. Press [CUE] + [ENTER/YES] to preview from the cue outputs. Prev iewing samples temporarily disables the page scrolling function, initiated by pressing [FUNC­TION] +[UP]/[DOWN], for as long as [FUNCTION] is held. When previewing, the sample will be affected by the track effects of the active track. It is possible though to preview samples in a dry fashion. The pre view behavior setting is found in the PERSONALIZE menu. Read more on page 32.
At the root of the audio pool file structure several folders might be found. The
AUDIO folder contains the aud io pool. Any ot her folders most likely represent any saved projects of the set. If audio files, as recommended, only have been put in
29
PROJECTS
the AUDIO folder the project folders will appear as empty when exploring them using the file browser.

THE PROJECT MENU

In the PROJECT menu various project related settings can be made. Press [FUNCTION] + [MIXER] to open the menu. Four main menus are located to the left. To access their sub- menus and setting options, select a main menu and press either [ENTER/YES] or the [RIGHT] arrow key. At the top of the menu the names of the currently active set and project
are visible.

PROJECT

Here commands relating to sets and projects are found. Scroll down in the settings list on the right hand side by using the [DOWN] arrow key. Select a command by pressing
[ENTER/YES].
CHANGE changes the active project to a new one. When selecting this command and
pressing [ENTER/YES] a list of all projects of the set will appear. Locate the project you want to load and once found, load it by pressing [ENTER/YES]. Selecting <CREATE NEW PROJECT> and pressing [ENTER/YES] will create a new project. A naming menu will then appear.
It it possible to rename and delete projects while in the CHANGE menu. Press
[FUNCTION] + [BANK] to open a menu where rename and delete options are pres­ent.
SAVE saves the project. As all changes to a proj e ct are aut omati cally c ached on ca rd, sa v-
ing a project and then reloading it is the only way to return to a specific project state. In general you should save a project once you are satisfied with it. Wh en performing a SAVE command the project will be synced to card as well.
RELOAD reloads the project to the state it was saved in. SYNC TO CARD is a recommended operation before ejecting the Compact Flash card as it
will sync the cache to the card. Removing the card without first card syncing the project might result in data losses. If a project has been saved using the project SAVE command, information about the saved state will be written to the card as well.
30
PROJECTS
SAVE TO NEW saves a copy of the active project under a new name. After selecting this
option a naming window will appear. If the currently mounted set contains no projects it is advised to save the current settings and sample assignments to a new project.
EXPORT TO SET allows the currently active project to be exported to a different set. All samples located in the Flex and Static sample slot list s of the active project will be copied to the destination set. Samples located in the project folder will be copied to the new project folder and samples located in the audio pool will be copied to the audio pool of the destina­tion set. Note that the active project will be saved, just as if a project SAVE command had been performed, prior to being exported to the new set. It is possible to export a project to a new, empty set which can be created in the export process. This will create a set contain­ing only the exported project together with an audio pool str ipped of u nnecessary samp les. To make sure the audio pool of the new set only contains samples actually being used by the project, the PURGE SAMPLES command can be used on the project prior to export.
SET CHANGE will change sets. Read more about sets in section “SETS” on page 22. COLLECT SAMPLES copies samples that are used by the currently active project into the
project directory, which will effectively disconnect the project from the audio pool. PURGE SAMPLES will remove all unused samples from the project. Note that samples are
only removed from the Flex and S tatic sample slot lists of the project; the actual samples will not be deleted from the audio pool.
SAVE CURRENT BANK works like the save project command, but on a per bank basis. The command will save the settings and assignments of the currently active bank.
RELOAD CURRENT BANK works like the reload project command, but on a per bank basis. The command will revert the currently active bank to the previously saved state.

SYSTEM

In this menu the USB connection is activated, OS updates performed, date and time set and personal settings made. It also contains a file manager for basic file editing tasks.
USB DISK MODE enables the USB connection. Connect the Octatrack to a computer using a USB cable, select USB DISK MODE and press [ENTER/YES] to make the Com­pact Flash card appear as an external mass storage device to the computer. When the Octatrack is connected to a computer via USB audio pools can be filled with content. Read more about this in the section “ADDING CONTENT TO THE AUDIO POOL” on page 24.
Unmount the Octatrack from your computer operating system once you want to
exit USB DISK MODE.
31
PROJECTS
Use the USB connection to back up sets to a computer hard disk.
OS UPGRADE is an alternative to the EARLY START UP menu method of OS upgrading. When upgrading the OS in this way an Octatrack OS file, with the file exten sion .bin, needs to be placed in the root of the Compact Flash card. Select OS UPGRADE and press [ENTER/YES]. A prompt will appear asking if you want to continue with the OS upgrade. Press [ENTER/YES] to upgrade the OS. Press [EXIT/NO] to cancel the operation.
Starting from OS 1.00, the active project will automatically be synced to the Com-
pact Flash card before the OS is upgraded.
DATE/TIME is where the date and time of the built-in clock are set.
Navigate between the date and time settings using the [LEFT] and [RIGHT] arrow keys. Use the [UP] and [DOWN] arrow keys to adjust the settings. Press [ENTER/YES] to con­firm.
PERSONALIZE offers a menu where it is possible to customize the behavior of the Octa­track. Open the menu by selecting it and pressing [ENTER/YES]. Activate and deactivate settings by pressing [ENTER/YES]. It is also possible to use the [LEFT]/[RIGHT] arrow keys for this.
QUANTIZE LIVE REC will when checked quantize notes input while in LIVE RECORDING mode to full sequencer steps. When this option is unchecked notes will be quantized according to the micro timing resolution, which is 1/384 steps.
PREVIEW WITHOUT FX will when unchecked preview samples through the track effects of the active track. If checked, track effects will not affect the previewed sam­ple.
32
MUTE FOCUSES TRACK will when checked make a track active when being muted through pressing [FUNCTION] + [TRACK].
CUE FOCUSES TRACK will when checked make a track active when it is being cued by pressing [CUE] + [TRACK].
PROJECTS
CUE MUTES TRACK will when checked combine the cue and mute functions.
When a track is being cued it will at the same time automatically be muted. DISABLE FUNCTION + ENCODER will when checked disable all functions that nor-
mally occur when [FUNCTION] is held and an encoder turned. DISABLE YES/NO ARM will when checked disable the one shot trig arming and dis-
arming when simply pressing [ENTER/YES] or [EXIT/NO]. Note that when this arm/ disarm functionality is disabled, the same functionality can be achieved by pressing [FUNCTION] + [ENTER/YES] or [FUNCTION] + [EXIT/NO]. Read more about one shot trigs in section “ONE SHOT TRIGS” on page 79.
DIS. STOP-STOP ARM will when checked disable one shot trig arming when double pressing [STOP] while the sequencer is stopped.
DIS. PAGE AUTOCOPY will when checked no longer auto copy existing trigs when extending the length of a track or pattern. Read more about how to change pattern and track length in section “SCALE SETUP” on page 92.
DEFAULT TRIG MODE selects the default track trigging mode when creating new projects. Read more about the modes in the section “PATTERN SETTINGS MENU” on page 89.
DEFAULT REC MODE selects the default trig mode for the track recorders when creating new projects. Read more in the section “RECORDING SETUP MENUS” on page 48.
SAVE SAMPLES TO offers two settings.
AUDIO POOL will when saving recorded audio or saving samples in the
audio editor save the data to the audio pool of the set.
PROJECT DIRECTORY will when saving recorded audio or saving samples in the audio editor save the data to the project folder.
SHORT SAMPLE NAME controls how samples will be abbreviated when loaded to the Flex and Static sample slot lists.
BEG+END will combine the five first characters of the file name with the five last characters. This is the default option.
BEG ONLY will show the first ten characters of the sample name.
END ONLY will show the last ten characters of the sample name.
RECORD QUICK MODE will when activated alleviate the need to press a [TRACK]
key in combination with the [AUDIO RECORD] keys to initiate manual sampling. Instead, pressing the [AUDIO RECORD] keys will directly initiate manual sampling for the track recorder of the active track, making one handed sampling operation possible. This quick mode of sampling works a bit different when sampling internal sources. Pressing [MIDI] will only initiate sampling when the RECORDING SETUP menus are active. If these menus are not active, MIDI mode will be accessed when the button is pressed. Read more about manual sampling in the section “MANUAL SAMPLING” on page 52.
33
PROJECTS
CARD TOOLS offers tools for managing the Compact Flash card. The card can be format-
ted and files copied, erased, renamed etc.
FILE MANAGER is where files on the Compact Flash card are handled. It exists as an alternative to handling files and folders with a computer. When entering the FILE MANAGER mode, sequencer playback will be stopped and the project synced to card.
Navigate in the file manager using the [ARROW] keys. At the top of the screen a folder path is visible.
Two workspaces are available, acting as user-definable short cuts to different loca­tions on the Compact Flash card. To assign a location to workspace 1, navigate to the location you want to assign the workspace to and press [TRACK] keys 1-4. The same procedure applies for assigning a location workspace 2, but [TRACK] keys 5­8 are used instead. Once workspaces have been assigned, jump to workspace 1 by pressing [TRACK] keys 1-4 and to workspace 2 by pressing [TRACK] keys 5-8.
The files belonging to the project are located in the folder with the same name as the project. Each file of the project exists in two variants, one with the file extention .strd and one with the extention .work. Files with the extention .strd are the files that previ­ously have been saved by performing a project SAVE command. The files with the .work extention contain the active project.
At the bottom of the screen the available commands are listed. The commands are chosen with the [TRACK PARAMETER] keys. Press [FUNCTION] to gain access to more commands.
MK DIR will create a folder. The NAMING menu will appear where the folder can be named.
RENAME will rename a file or folder. The NAMING menu will appear where the file or folder can be renamed.
34
DELETE will delete a file or folder. COPY will copy a file or folder.
PROJECTS
PASTE will paste a copied file or folder. CUT is accessed when holding [FUNCTION]. Will cut a selected file or folder.
Be very careful when working within the file manager. If the wrong files are acci-
dentally deleted or renamed projects can be ruined.
By copying a bank file to another project you can create a project featuring your
favorite banks. Note that only sequencer data, parts, scenes and parameter set­tings will be copied when copying a bank file. No samples will be copied and the machines assigned to the tracks will refe r to the s ame Flex a nd Static sample slot positions as before. Hence you might need to load the samples used by the cop­ied bank to empty Flex and Static sample slots of the new project and assign these sample slots to the correct machines of the tracks.
FORMAT CARD formats the card. Once selected and [ENTER/YES] is presse d a
prompt will appear, asking if the operation should proceed. Press [ENTER/YES] to format the card. Note that all information on the card will be lost and any partitions gone.
STATUS is a menu where information relating to the OS, battery and Compact Flash card is found.

CONTROL

Here various track and sequencer settings can be modified.
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PROJECTS
AUDIO controls the behavior of the output s an d selects whether track 8 should be used as a master track or not. Activate and deactivate settings by pressing [ENTER/YES]
TRACK 8 offers two settings. Only one setting can be activated at a time.
MASTER will when active turn track 8 into a master track. The track effects
of track 8 will then affect all the other tracks as well as any audio coming from the external inputs.
NORMAL will make track 8 function like all the other tracks.
AMP SETUP, LFO MAIN/SETUP and EFFECT 1 and EFFECT 2 MAIN/SETUP a re the
only TRACK PARAMETER pages available to a master track.
CUE CFG offers settings which can make the cu e outputs function as an assignable
pair of outputs. Two settings are available. Only one setting can be activated at a time. Read more about the cue outputs in section “MAIN AND CUE OUTPUTS ROUTING” on page 74.
NORMAL will make the cue outputs function normally, meaning a track will be routed to the cue outputs when [CUE] + [TRACK] is pressed.
STUDIO will disable the normal cue functionality . Audio tracks can now be routed to the cue outputs as if they were a standa rd pair of assignable output s. Each audio track gets two independent LEV settings, one for the main outs and one for the cue outs. Adjust the LEV setting for the main outputs by turn­ing the LEVEL knob. Adjust the LEV setting for the cue outputs by pressing [CUE] and turning the LEVEL knob. Muting a track while STUDIO mode is enabled will mute the sound from both the main and cue outputs.
INPUT controls the noise gates and the delay compensation of the audio inputs.
36
NOISE GA TE AB sets the dB level of the noise gate for input p air AB. The threshold
is set with the LEVEL knob. Any signal below the threshold will be cut. An -INF set­ting deactivates the noise gate.
PROJECTS
NOISE GA TE CD set s the dB level of the noise gate for input p air CD. The threshold
is set with the LEVEL knob. Any signal below the threshold will be cut. An -INF set­ting deactivates the noise gate.
DELA Y COMPENSATE will when activated introduce a very short delay to the audio signal listened to via the DIR setting. If for example an audio signal is listened to through both the DIR input and a Thru machine/Pickup machine, both signals will then be in sync. If DELAY COMPENSATE would have been deactivated in the above scenario, the delay caused by the internal processing would make the audio signal routed to the Thru/Pickup machine play a few milliseconds later than the DIR signal. The combined DIR and Thru/Pickup signal would then exhibit a slightly phased sound.
SEQUENCER is a menu where default behavior of the sequencer can be made.
CHAIN AFTER controls when chained patterns will start to play . The default mode is
PAT.LEN. When a pattern is playing and a new pattern is selected, the pattern cur­rently playing will play to its end before the new pattern starts playing. If PER TRACK scale mode is active and a very long, or infinite, master length setting is used it might be more convenient to initiate a new pattern afte r the active pa ttern has played a cer­tain amount of steps. Set the amount of steps using the LEVEL encoder . This setting affects all patterns in a project, but can be overridden on a per pattern basis in the PATTERN SETTINGS men u. There the USE PRJ SET. setting can be unchecked, allowing for a unique chaining behavior for the chosen pattern. Read more about the PER TRACK mode and the master length setting in section “SCALE SETUP” on page 92. Read more about the PATTERN SETTINGS menu on page 89.
SILENCE TRACKS will, when checked, silence all tracks when changing to a pat­tern linked to a different part. The samples of the tracks will then enter their release phase as set in the AMP menu. When unchecked, samples from the previous pat­tern/part will continue to play until trigs occur on the tracks of the new pattern. Acti­vate and deactivate this setting by pressing [ENTER/YES]. This setting affects all pattern in the project, but can be overridden on a per track basis. See “PATTERN SETTINGS MENU” on page 89 for more info.
LFO AUTO CHANGE will when checked make all LFOs automatically restart with any new LFO settings activated when changing to a pattern containing another p art. If unchecked, the settings of the LFOs of the previous pattern/part will not be changed until trigs occur on the tracks of the new pattern. Activate and deactivate this setting by pressing [ENTER/YES].
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PROJECTS
MIDI SEQUENCER contains the CC direct connect setting.
CC DIRECT CONNECT is activated/deactivated by pressing [ENTER/YES]. Two
settings exist.
ON will, when the Octatrack MIDI mode is activated, route MIDI CC mes­sages straight to the MIDI output port. When MIDI mod e is enable d an d LI VE RECORDING mode is active, specified CCs in the CTRL 1 and CTRL 2 SETUP pages can also be recorded by the sequencer. Other CCs will not be recorded by the Octatrack, but still routed to the MIDI output port.
OFF makes the auto channel listen to MIDI CC messages according to the MIDI MODE MAPPINGS table found in “Appendix C: MIDI CONTROL REF­ERENCE“. MIDI CCs 36-45 sent on the auto channel will be remapped according to the CC messages specified in the CTRL 1 and CTRL 2 SETUP pages.
Messages received on the MIDI channel of the a ctive MIDI t rac k always b eha ve a s
if CC DIRECT CONNECT is activated.
CC DIRECT CONNECT comes in hand when for example connecting the MIDI IN
and OUT of an external synthesizer to the MIDI OUT and IN of the Oct at rack. When CC DIRECT CONNECT is enabled, and the synth is set to local off, turning a knob on the synthesizer will affect that particular synth parameter, given the knob sends a CC message and sends it to the auto channel or the MIDI channel of the active MIDI track. If the CC value of the knob also has been mapped to a CTRL 1/ CTRL 2 SETUP menu parameter, it is possible for knob changes made on the external synthesizer to be recorded by the Octatrack when in LIVE RECORDING mode. This behavior also applies to parameter locks. Hold down a [TRIG] key, turn the synth knob and the synth parameter will be locked accordingly.
See “OCTATRACK AS A MIDI CONTROL CENTER” on page 127 for a tutorial on
how the Octatrack can be set up with external MIDI devices when CC DIRECT CONNECT is activated.
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PROJECTS
MEMORY contains settings related to sample bit depth and the track recorder memory dis-
tribution. Use the LEVEL knob or the [LEFT]/[RIGHT] arrow keys to change the settings.
The total amount of RAM memory available to a project is 85,5 MB. This memory is shared by Flex RAM, which is used when loading Flex samples, and tr ack recorder memory, which is used when sampling. In this menu the distribution of Flex RAM and track recorder mem­ory can be set. To the right a bar is shown visualizing the memory distribution. The dotted area in the top represents occupied Flex memory, the white area in the middle represents free RAM and the black area in the bottom represents reserved track recorder memory.
Changes made does not come into effect until exiting the menu. When doing so, a prompt will appear asking you to confirm the changes. This is because the recorder buffers are cleared when changes are made and confirmed.
FLEX FORMAT controls what bit depth samples will be in when loaded to the Flex sample slot list. Samples loaded to the Static slot list are unaffected by this setting. Two settings exist.
24-BIT will retain the bit dept h of 24-bit samples when they are loaded. 16-bit samples will still be in 16-bit.
16-BIT will convert 24-bit samples to 16-bit samples when loaded, meaning samples will occupy less Flex RAM memory at the cost of reduced bit depth. If a sample is saved when this setting is active, it will be saved as a 16 bit sam­ple no matter the original bit depth. If a 24-bit sample is saved a prompt will appear informing it will be saved as a 16-bit sample.
DYNAMIC RECORDERS offers two settings.
NO forces the track recorders to use only the track recorder memory, which
by default is 16 seconds of sampling time per track recorder. It is possible to increase or decrease the available track recorder memory by using the
RESERVE RECORDINGS and the RESERVE LENGTH settings.
YES makes it possible for track recorders to exceed the track recorder mem-
ory and utilize any free Flex RAM memory.
RECORDER FORMAT selects in what bit depth the track recorders will sample. 24­bit and 16-bit settings are available.
RESERVE RECORDINGS chooses which track recorders that can be assigned a certain amount of dedicated sample time. This setting in combination with the
RESERVE LENGTH setting basically decides the size of the track reco rde r memory.
R1...R1-R8 select s the track recorders that will be affected by the RESERVE LENGTH setting. Track recorders outside the selected track recorder range
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PROJECTS
will have not have any track recorder memory allocated, making it impossible for them to sample unless DYNAMIC RECORDERS is set to YES. These track recorders will then use the Flex RAM memory when sampling.
NONE will add all track recorder memory to the Flex RAM memory, making the total amount of available RAM, which is 85.5 MB, consist of only Flex RAM. As no track recorder memory will be available to the track recorders, sampling will be not be possible unless DYNAMIC RECORDERS is set to YES. The track recorders will then utilize the available Flex RAM memory when sampling. When NONE is selected the RESERVE LENGTH setting will have no effect at all.
RESERVE LENGTH makes it possible to reserve sample time to the track recorders chosen by the RESERVE RECORDINGS setting. These track recorders will always be able to sample the amount of seconds set here. When selecting the reserved sample time, the equivalent in sequencer steps based on the current Octatrack BPM, as well as the amount of RAM the reserved time will occupy, is shown in the upper left corner of the LCD screen. The black bar in the lower right corner of the LCD will also change according to size of the reserved track recorder memory . The more track recorders affected and the more sampling time reserved, the less Flex RAM will become available for Flex samples. This works the other way around as well. Less reserved sampling time means more Flex RAM will be available. If DYNAMIC RECORDERS is set to YES and the reserved sampling time is exceeded when sampling, the track recorders will start using the available Flex RAM memory.
By reserving a large amount of RAM memory to a track recorder, internal sam-
pling of complete Octatrack songs are possible.
METRONOME configures the Octatrack metronome. A click track is very useful when for
example inputting sample trigs or note trigs while in LIVE RECORDING mode. Note that the metronome will only sound when the sequencer is running. The metronome can quicky be toggled on/off by pressing [CUE] + [TEMPO]. Use the LEVEL knob or the [LEFT]/
[RIGHT] arrow keys to change the settings of this menu.
ACTIVE activates/deactivates the metronome. TIME SIG. NUMER controls the note measure of the time signature of the metro-
nome. TIME SIG. DENOM controls the beat measure of the time signature of the metro-
nome.
40
PROJECTS
PREROLL controls for how many bars the metronome will sound before the
sequencer starts playing. This setting only affects the start of the sequencer when LIVE RECORDING mode is initiated.
CUE VOLUME controls the metronome volume sent to the cue outputs. MAIN VOLUME controls the metronome volume sent to the main outputs. TONAL will when active give the click track a tonal character. When deactivated the
click track will be constituted of short atonal impulses.
PITCH sets the pitch of the tonal click track. This setting is not available when TONAL is deactivated.

MIDI

Here MIDI related settings are made.
CONTROL sets how the Octatrack handles certain MIDI messages.
AUDIO CC IN controls whether the audio tracks react to incoming MIDI CCs or not.
Enable or disable by pressing [ENTER/YES]. When disabled no CCs will affect the audio tracks.
AUDIO CC OUT sets in what way the knobs used for audio tracks will transmit MIDI CCs. This setting contains three options. Select between the options by pressing the
[LEFT] or [RIGHT] arrow keys or by pressing [ENTER/YES].
INT will make the knobs affect only internal parameters. They will not send
out any MIDI CCs.
EXT makes the knobs send out MIDI CCs but stops them from affecting internal parameters. This option essentially makes the knobs work in a local off mode.
INT+EXT makes the knobs control both internal parameters and send out MIDI CC data.
AUDIO NOTE IN controls whether incoming MIDI notes should affect a udio tracks or not. Enable or disable by pressing [ENTER/YES]. When disabled no incoming MIDI
41
PROJECTS
notes will affect the audio tracks, meaning tracks or machines can’t be trigged exter­nally.
AUDIO NOTE OUT sets what MIDI information the [TRIG] keys transmit. This set­ting contains three options. Select between the options by pressing the [LEFT] or
[RIGHT] arrow keys or by pressing [ENTER/YES].
INT will make [TRIG] key presses affect only internal machines or tracks. [TRIG] keys will not send out any MIDI notes, unless pressed when being on
a MIDI track.
EXT will make [TRIG] key presses send out MIDI notes. No internal machines or tracks will be trigged. This option essentially makes the [TRIG] keys function in a local off mode fashion.
INT+EXT makes [TRIG] key presses trig internal machines and tracks. MIDI notes will at the same time be sent out.
SYNC is a menu where the Octatrack can be set to transmit and respond to sequencer related MIDI messages. Open the menu by selecting it and pressing [ENTER/YES]. Move between the menu options by using the [ARROW] keys. Activate and deactivate settings by pressing [ENTER/YES].
TRANSPORT SEND will when active make the Octatrack send out system realtime messages like play, stop, continue and song position pointer.
TRANSPORT RECEIVE will when active make the Octatrack respond to system realtime messages like play, stop, continue and song position pointer
CLOCK SEND will when active make the Octatrack transmit MIDI clock. CLOCK RECEIVE will when active make the Octatrack respond to MIDI clock sent
from external devices. PROG CH SEND will when checked send out program change MIDI messages
when the active pattern on the Octatrack is changed. Which channel the messages are sent on is dictated by the setting below.
CHANNEL sets which channel the Octatrack should send program change mes­sages on. The LEVEL knob is used to change this setting. If AUTO is chosen the first MIDI channel used by the audio tracks, and not used by any of the MIDI tracks, will be used. If a MIDI channel is set, the program change message will be transmit­ted on that channel.
42
PROJECTS
PROG CH RECEIVE will when checked make the Octatrack listen and react to
incoming program change messages. Which channel the messages will be received on is dictated by the setting below.
CHANNEL sets which channel the Oct atrack will receive program change messages on. If set to AUTO any channel specified in the CHANNELS menu will be used. The auto channel is set in the CHANNELS menu. More info about this menu is found in the heading below. If the channel is set to a specific MIDI channel, that channel will be used to receive program change messages.
If both CLOCK RECEIVE and TRANSPORT RECEIVE are activated, the Octatrack
will wait for MIDI clock after receiv ing start or continue messages for 16 seconds before considering external sync lost. This, for example, allows for preroll in sequencers not starting clock until preroll is completed. If only TRANSPORT RECEIVE is enabled the machine will start as soon as possible after receiving start or continue.
CHANNELS is where the MIDI channel configuration of the audio tracks is done. Navigate in the menu with the [LEFT] and [RIGHT] arrow keys. Change MIDI channels by using the [UP] and [DOWN] arrow keys or the LEVEL knob.
AUTO CHANNEL is the MIDI channel giving access to the currently active track.
MIDI CC messages sent to the auto channel can in LIVE RECORDING mode be recorded to the active track. When in MIDI mode and CC DIRECT CONNECT is enabled, CC messages sent to the auto channel will be sent straight to the MIDI out­put port. CC messages specified in the CTRL 1 and CTRL 2 SETUP menus can also be recorded while in LIVE RECORDING mode. If CC DIRECT CONNECT is disa­bled the Octatrack MIDI tracks will react to incoming CCs according to the MIDI MODE MAPPINGS table found in “Appendix C: MIDI CONTROL REFERENCE“.
Pitch information for the audio tracks can be recorded in a chromatic fashion by sending MIDI note data to the auto channel. This is another way of controlling sam­ples chromatically instead of using CHROMATIC mode. For more info about this, please see the NOTE MAPPINGS table found in “Appendix C: MIDI CONTROL REFERENCE“. Read about the CHROMATIC mode on page 82.
TRIG CHANNEL sets which MIDI channels the audio tracks respond and send da ta to. If for example MIDI channel 1 is assigned to track 1, the track can be externally controlled according to the mappings found in “Appendix C: MIDI CONTROL REF­ERENCE“. The track can at the same time, when active, send out MIDI data on MIDI channel 1. This occurs when the DATA ENTRY knobs are adjusted and when [TRIG] keys are pressed. An OFF setting means the audio track will not respond to, nor send out, any MIDI data.
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PROJECTS
To avoid unwanted MIDI conflicts when controlling external instruments with the
Octatrack MIDI sequencer, the MIDI channels assigned to the audio tracks should preferably not be the same as those assigned to the MIDI tracks. Read more about this matter in section “HOW MIDI IS ROUTED” on page 110.
Parameter locks and scene locks can be entered via the auto channel. This is
done by holding down a [TRIG] key or a [SCENE] ke y and sending the cor respond­ing CC message. MIDI CC mappings are cover ed in “Appendix C: MIDI CONTROL REFERENCE“.
TURBO STATUS allows Turbo mode negotiation between Elektron gear. Connecting the
Octatrack to other Turb o prot ocol comp atible ge ar, like the Machinedrum and the Monoma­chine, makes it possible to increase the normal MIDI bandwidth by up to 10x. This increases the accuracy of MIDI clock signals as well as the timing of CC messages.
CURRENT SPEED shows the current multiplier of the MIDI transfer rate. When the Octatrack is not connected to a MIDI device using Turbo protocol compatible soft­ware, the speed will be x 1.0.
NEGOTIATE selects the multiplier of the MIDI transfer rate that should be used. The [LEFT]/[RIGHT] arrow keys are used. Press [ENTER/YES] to start the negotiation.
Note that Octatrack MIDI IN/OUT must be connected to the MIDI OUT/IN of the turbo protocol compatible device for this to function.

MIXER MENU

In the MIXER menu settings for the headphones output and inputs AB and CD are made. The LEVEL knob is used to change settings. While this menu is active, tracks can also be muted and soloed by pressing the [TRIG] keys. The MIXER menu settings are common for all banks and patterns of a project.
MIX determines what will be heard from the head phones output. If the indicator is set to the leftmost position, the headphones output will be a mirror of the main outputs. If set to the rightmost position only audio from cued tracks will be routed to the headphones output.
44
PROJECTS
MAIN/CUE OUT sets the final output level of the main and cue output s respectively. A zero
setting will neither gain nor attenuate the signal. A +63 setting will boost the signal by 12 dB.
AB/CD DIR offers parameters that will make the Octatrack act like a very basic mixer. It simply routes audio coming from the A/B and C/D inputs to the main outputs. An AB/CD DIR setting of 0 will not send any incoming audio to the main outputs. When AB/CD DIR is set to 127 the level of incoming audio sent to the main outputs will neither be increased nor attenuated.
The DIR parameters don’t af fect the volume of incoming audio when sampling. Even if they are set to 0 sampling is therefore possible. AB/CD DIR are however affected by AB/CD GAIN settings.
The DIR mode of input is handy when you perform live and don’t have any Octa-
track tracks to spare. Depending on the size of your setup a dedicated mixer might not be necessary at all.
DIR sound won’t be affected by any of the dual FX blocks, but will be affected by
the master track effect s if a mast er tra ck is use d. Use T hru ma chines f or af fect in g incoming audio with the FX blocks.
When not in the MIXER menu the MAIN parameter can be adjusted by pressing
[FUNCTION] while turning the LEVEL knob.
AB/CD GAIN can attenuate or gain the audio signal coming from inputs AB/CD. A -64 set-
ting will mute audio altogether , a setting of 0 will neither gain nor attenuate the signal and a setting of +63 will boost the signal by 12 dB. These settings affect the volume of incoming audio when sampling, when setting AB/CD DIR levels and when using THRU machines.
MUTE offers a visualization of the mute and solo status of the tracks. When the MIXER menu is open the [TRIG] keys can be used to mute and solo both audio and MIDI tracks. [TRIG] keys 1-8 affect the audio tracks and [TRIG] keys 9-16 affect the MIDI tracks.
To mute a track, simply press the corresponding [TRIG] key. An unlit <TRIG> LED and a line instead of a square in the track mute section indicate a muted track. A lit red <TRIG> LED and an outlined square in the track mute sectio n me an s a track is au dible . While h old­ing [FUNCTION] and pressing the [TRIG] keys, the mute changes will be held until [FUNC- TION] is released. A track that is currently muted but will be unmuted when [FUNCTION] is released is displayed as a “+” sign. A track that is currently not muted but will be muted when [FUNCTION] is released is displayed as an “X” sign.
It is possible to solo tracks by pressing [CUE] + the [TRIG] keys corresponding to the tracks you want to solo. A solo’ed track is indicated by a green <TRIG> LED and the letter “S”. Unsolo a track by repeating the button combination. Tracks that will be audible once all tracks are unsolo’ed are indicated by half bright red <TRIG> LEDs and dotted squares. The <TRIG> LEDs of tracks muted before the solo operation will be unlit. When exiting the solo mode these tracks will stay muted. Muted tracks being solo’ed will revert to their muted sta­tus once solo mode is exited.
If a track is cued, muting it prevents it from being sent to the main outputs. The track will however still be audible from the cue outputs. A cued track being solo’ed will be audible from the main and cue outputs.
45
PROJECTS
If track 8 has been turned into a master track it won’t be affected by mutes.
If Neighbor machines are used the track or tracks preceding the last Neighbor
machine can not be muted. To mute the chain, mute the last Neighbor machine.
It is possible to mute a track without entering the M IXER me nu. Just pr ess [FUNC-
TION] + the [TRACK] key corresponding to the track you want to mute. Track solo’ing is only possible in the MIXER menu though.
The <TRACK> LEDs also indicate mute status. A muted and currently active track
is indicated by a yellow <TRACK> LED. A muted and currently not selected track is indicated by an unlit <TRACK> LED.

TEMPO MENU

Here the BPM of the project is set. The TEMPO screen is opened by pressing the [TEMPO] key.
The LEVEL encoder changes the current tempo in integer steps. The [UP] and [DOWN] arrow keys change the decimal part of the tempo.
Holding [FUNCTION] while adjusting the tempo will not change the temp o until the
[FUNCTION] button is released.

TAP TEMPO

To tap a tempo, hold the [FUNCTION] key and tap the [TEMPO] key in a steady rhythm. After four consecutive taps the average tempo of the tap s will be set as the new tempo. You can continue tapping the [TEMPO] key, the tapped tempo average will then keep on updat­ing.

PATTERN TEMPO NUDGE

Y ou can temporarily shif t the tem po up or down b y 10% by pressing the [LEFT] or [RIGHT] arrow keys. When the key is released the BPM will revert back to the original setting. This functionality is very handy when manually syncing your Octatrack to a turnt able or an exter­nal sound source. Note that you do not need to be in the TEMPO menu to perform this tempo shift.

SAMPLE TEMPO NUDGE

By holding one or more [TRACK] keys and pressing [LEFT]/[RIGHT] the tempo of the samples currently playing on those tracks can be temporarily nudged. This does not affect the sequencer tempo.
46
PROJECTS
In the ARRANGER menu, patterns can be assigned individual tempo settings.
Read more in the section “THE ARRANGER” on page 106.
47

TRACK RECORDERS AND PICKUP MACHINES

TRACK RECORDERS AND PICKUP MACHINES
There are two ways to sample with the Octatrack. Either by using track recorder sampling, which can be performed manually or by using recorder trigs, or by using specialized machines called Pickup machines, which essentially work like loopers. Read more about track recorder sampling in the section “TRACK RECORDER SAMPLING METHODS” on page 52. Pickup machine sampling is covered in section “PICKUP MACHINE SAMPLING” on page 54.
When performing track recorder sampling or Pickup machine samplin g, track recorders are always used. Each project features eight track recorders, one for each track, and they can be set up to record audio from the external inputs, from the main and cue output s, from the individual tracks and from various combinations of these sources. Track recorders do not have to be assigned to the tracks as they always are available. The RECORDING SETUP menus, covered on page 48, are used to control from which source s an d in wh at wa y the track recorders should sample.
By default the track recorder memory is used when sampling, meaning each track recorder can sample for about 16 seconds. The reserved track recorder memory can however be increased or decreased. It is even possible for the track recorders to sample directly to the Flex RAM memory. Settings relating to RAM memory distribution is found in the MEMORY menu, which is covered on page 39. Read more about the general handling of RAM mem­ory in section “PROJECTS AND RAM MEMORY” on page 25.
Samples captured by the track recorders are stored in recorder buffer s. The eight recorde r buffers are located in the Flex sample slot list. To pla y back a sample captured via track recorder sampling, the corresponding recorder buffer needs to be assigned to a Flex machine of a track. Since track recorder sampling is independent from playback, the same track can be used for both sampling and playback of the sample. It is also possible to assign the same recorder buffer to several Flex machin es of a pattern. Each Flex machine track can of course still contain individual settings and sequencer trigs. Read more about recorder buffers in section “PLAYBACK OF CAPTURED RECORDER SAMPLES” on page 53. Playback of recorded Pickup machine samples works a bit differently. If a Pickup machine is assigned to a track, it will be hard-linked to both the track recorder and recorder buffer of that track. No recorder buffers thus need to be assigned for Pickup machines to play back recorded samples. Samples captured by Pickup machines are still stored in the recorder buffers though, making it possible to save and edit these recordings.
Recorder buffer content is not automatically saved. If a recorder buffer contains a sample and the corresponding track recorder starts to sample, the original buffer sample will be overwritten by the new sample. Also, samples in the recorder buffers are not retaine d in memory after switching off the Octatrack or changing proje cts. If you want to keep recorder buffer samples they need to be saved to the Compact Flash card. This operation can be performed in the RECORDING SETUP EDIT menu, accessed by pressing [FUNCTION] + [BANK] while either RECORDING SETUP menu is active. Alternatively, saving can be done from within the audio editor. This is covered in the section “FILE” on page 104.
48
For tutorials on how to sample, see “TRACK RECORDER SAMPLING” on
page 130.
TRACK RECORDERS AND PICKUP MACHINES
Captured samples can be saved either directly in the audio pool or in the project
folder. The setting controlling this is found in the PERSONALIZE menu. Read more on page 33.
Recorded samples can immediately be time stretched or time compressed to
match the BPM of the Octatrack. Note tha t TSTR in the PLAYBACK SETUP menu must be set to either AUTO, NORM or BEAT for this to function. If set to AUTO, make sure time stretch is activated for the recorder buffer. That is done in the ATTRIBUTES menu of the audio editor. Read more in the section “ATTRIBUTES” on page 102.
The samples captured by the track reco rd e r s ca n be ope n ed dire ct ly in th e au d io
editor for further editing. First select the track whose corresponding recorder buffer sample should be edited. Then press [AUDIO RECORD] + [BANK] to open the recorder buffer sample in the audio editor . Read more abo ut the audio editor in section “THE AUDIO EDITOR” on page 95. The audio editor can also be accessed from the RECORDING SETUP EDIT menu. Access this menu by pressing [FUNC­TION] + [BANK] while either RECORDING SETUP menu is active.
It is possible to sample even though the DIR parameters in the MIXER menu are
set to 0.
It is possible to cue incoming audio by pressing [CUE] + [AUDIO RECORD] keys.

RECORDING SETUP MENUS

Each track recorder features two dedicated RECORDING SETUP pages, where settings relating to what and how the track recorder should sample are found. Placing recorder trigs on the step sequencer, which is needed for record er trig sampling, is also carried out while either of the two menu pages is active. As track recorders are directly linked to the tracks, the track whose track recorder you wish to edit must be active. To open the RECORDING SETUP menus, press [FUNCTION] + [AUDIO REC AB]/[AUDIO REC CD]
Pressing [FUNCTION] + [PLAY] while inside the RECORDING SETUP menus will clear the recorder buffer of the active track recorde r from any audio content. GRID RECORDING mode needs to be inactive for this to function.
While in either RECORDING SETUP menu, an EDIT menu can be opened by pressing
[FUNCTION] + [BANK]. This menu offers various commands relating to the track record er .
EDIT THIS RECORDING will open the recorded sample in the audio editor. The audio edi-
tor is covered in the section “THE AUDIO EDITOR” on page 95. SAVE THIS RECORDING will save the recording made by the active track recorder to the
Compact Flash card. SAVE ALL RECORDINGS will save all recordings of all track recorders to the Compact
Flash card.
49
TRACK RECORDERS AND PICKUP MACHINES
GO TO MEMORY CO NFIG will open the MEMOR Y menu, where the allocation of the RAM
memory can be set. Read more about this menu on page 39.

RECORDING SETUP 1 MENU

Enter RECORDING SETUP 1 menu by pressing [FUNCTION] + [AUDIO REC AB].
The bar at the bottom of the window indicates track record er sampling and playback. It rep­resents the length (or projected length) of the recorder buffer. The two arrows visible when sampling or playing back samples show the record- and p layback positions. Th e top arrow, pointing towards the bar, shows the recording position. The bottom arrow shows the play­back position. To the right of the bar, the amount of sampling time available to the active track recorder is expressed in seconds as well as in sequencer steps.
When sampling or playing back a recorded sample, the tape recorder wheel will start to spin.
INAB selects which input or inputs of the input pair AB the recorder should sample from. Five options exist.
• - will make the recorder disregard input AB when sampling.
A B will make the recorder capture a stereo file in which the signal from input A is
panned hard left and the signal from input B is panned hard right. This is the default option.
A will make the recorder sample from input A. The captured sample will be in ste­reo even though only one input is used.
B will make the recorder sample from input B. The captured sample will be in ste­reo even though only one input is used.
A+B will make the recorder capture a stereo file in which the signals from input A and input B are summed.
INCD selects which input or inputs of the input pair CD the recorder should sample from. Five options exist.
• - will make the recorder disregard input CD when sampling.
C D will make the recorder capture a stereo file in which the signal from input C is
panned hard left and the signal fro m input D is panned hard right. This is the default option.
50
C will make the recorder sample from input C. The captured sample will be in ste-
reo even though only one input is used.
TRACK RECORDERS AND PICKUP MACHINES
D will make the recorder sample from input D. The captured sample will be in ste-
reo even though only one input is used.
C+D will make the recorder capture a stereo file in which the signals from input C and input D are summed.
RLEN sets the duration of the recording once the track recorder starts to sample. This set­ting is dependent of the BPM of the sequencer but disregards any scale settings of the track. A setting of 16 will for example always record the equivalent of 16 1/16th notes with a scale setting of 1x. If RLEN is set to MAX the track recorder will sample for as long as the reserved sampling time allows. By default this is 16 seconds, but this be increased in the MEMORY menu. Read more on page 39.
TRIG offers three different approaches to the sampling process. This setting also controls how a Pickup machine assigned to the track will work.
ONE will make the recorder, once the sampling process is initiated either manually or by recorder trigs, sample according to the length set by RLEN. The sampling pro­cess is restarted when pressing [TRACK] + [AUDIO RECORD]/[MIDI].
ONE-2 will make the recorder, once the sampling process is initiated either manu­ally or by recorder trigs, sample according to the length set by RLEN. The sampling process can be stopped prematurely by pressing [TRACK] + [AUDIO RECORD]/
[MIDI].
HOLD will make the recorder , once the sampling process is initiated, sample for as
long as the [TRACK] + [AUDIO RECORD]/[MIDI] buttons are pressed and held, given they are not pressed longer than the time frame of the RLEN setting allows. The outcome of the sample depends on if manual sampling or recorder trigs are used.
When sampling through the use of a recorder trig, the trig will capture only silence as long as [TRACK] + [AUDIO RECORD]/[MIDI] are not manually pressed. An exam- ple: a recorder trig with an INAB setting of A+B, TRIG set to HOLD and with an RLEN setting of 16 is placed on the first step of the sequence r. [PLAY] is pressed to start the sequencer. When the sequencer reaches step 4
[TRACK] + [AUDIO REC
AB] is pressed and held and just before the sequencer reaches step 6 the button
combination is released. The recorded sample will then consist of 3 inital 1/16th notes of silence, 2 1/16th notes of audio and finally 11 1/16th notes of silence.
SRC3 chooses which internal source should be recorded. The source selection also defines how sample playback will work when a track recorder trig and a recorder buffer trig are placed on the same sequencer step. If SRC3 is set to - and a track recorder trig records the audio inputs, the sound the sample trig will play back will be the sound that at the same time is being captured by the recorder trig. All other SRC3 settings will in a similar scenario make the sample trig play back the sound recorded by the previous trig.
• - will make the recorder disregard any internal sources when sampling.
MAIN will make the recorder sample the mix routed to the main outputs.
CUE will make the recorder sample the mix routed to the cue outputs.
T1 - T8 will make the recorder sample the output of the selected audio track.
51
TRACK RECORDERS AND PICKUP MACHINES
LOOP sets whether the captured sample will loop or not when played.
If a source is set to “-” and you try to sample from it , only silence will be record ed.

RECORDING SETUP 2 MENU

Enter RECORDING SETUP 2 menu by pressing [FUNCTION] + [AUDIO REC CD].
FIN applies a fade in when starting the recording. The value is expressed in sequencer
steps. Applying a very short fade in can be used to avoid clicks that otherwise might occur when a recorded sample loops.
FOUT applies a fade out to the recording. The value is expressed in sequencer ste ps. The fade out is added after the re cording stops. If for example recording occurs for 16 step s and FOUT is set to 2, the total length of the sample will be 18 sequencer steps. This parameter behaves differently for Pickup machines. In this scenario the fade out will be applied to the beginning of the captured loop.
AB sets th e monitoring level of the signal coming from the input p air AB. The setting is only relevant when a Pickup machine is assigned to the track. The INAB setting, located in the RECORDING SETUP 1 page, decides which input or inputs that should be monitored. If different track recorders contain different AB settings, the setting made for the track recorder of active track is the one that will dictate the current Pickup machine monitoring level. The monitor signal is routed to the active track, meaning any track effects will affect the signal. It will also be routed to the output destination of the active track. This setting is useful if you want to monitor incoming audio a Pickup machine should sample, but don’t want to use DIR parameter of the MIXER menu.
QREC makes it possible to time quantize manual sampling and Pickup machine sampling.
OFF disables recording quantization.
PLEN will, after pressing the keys initiating recording, start the recording process
once the pattern has played its full length.
1... will time the start of the sampling process according to th e set num b er of sequencer steps. If for example 4 is selected, sampling will start on the next beat. If 8 is selected, sampling will start after half a bar.
QPL makes it possible to quantize manual trigging of the recorder buffers and Pickup machines. Manual trigging is done by for example pressing [TRACK] + [PLAY] or the last eight [TRIG] keys. This parameter has no effect on track record ers trigged by the sequencer. This parameter is a reflection of the QUANTIZED TRIG setting available in the ATTRIBUTES menu found in the audio editor. If the QPL parameter is changed, QUAN-
TIZED TRIG will thus be changed as well, which can be seen when the recorder buffer of
52
TRACK RECORDERS AND PICKUP MACHINES
the track recorder is opened in the audio editor. Read more on in the section “ATTRIB­UTES” on page 102.
OFF will make the recorder buffer immediately play back audio once it is trigged. This is the default option.
PLEN will, once the recorder buffer has been trigged, start playback once the pat­tern has played its full length.
1... will time the start playback of the recorder buffer according to the set amount of sequencer steps. If for example 4 is selected, playback will start on the next beat. If 8 is selected, playback will start after half a bar.
CD works just like the AB setting, but for inputs CD.
Setting FIN and FOUT to their lowest values will help avoid any unwanted clicks
that might occur when a recorded sample loops.

TRACK RECORDER SAMPLING METHODS

Two main methods of sampling exist. Manual sampling is performed by manually pressing keys while recorder trig sampling is an automated process conducted by the use of recorder trigs.

MANUAL SAMPLING

Manual sampling is done through pressing button combinations. By setting INAB, INCD and SRC3 of the RECORDING SETUP 1 menu appropriately both mono and stereo sources can be sampled.
[TRACK] + [AUDIO REC AB] will sample from the external input AB to the track recorder of the track.
[TRACK] + [AUDIO REC CD] will sample from the external input CD to the track recorder of the track.
[TRACK] + [MIDI] will sample internal sounds to the track recorder of the track.
If a recorder buffer cont ains a sample and the corr esponding tr ack recor der st a rt s
to sample, the original buffer sample will be overwritten by the new sample.
When sampling manually the Octatrack will make a qualified guess of both the
BPM of the recorded sample and how many bars that have been sampled. This info can be seen, and changed if needed, when the recorder buffer is opened in the audio editor. Read more in the section “ATTRIBUTES” on page 102.
It is possible to simultaneously sample from several sources by pressing the
appropriate button combinations.
By enabling the RECORD QUICK MODE setting, the [TRACK] keys don’t need to
be pressed to initiate sampling. Just pressing the [AUDIO RECORD] keys is then
53
TRACK RECORDERS AND PICKUP MACHINES
enough to make the track recorder of the active track start sampling. Read more about RECORD QUICK MODE on page 33.
The QREC parameter is very useful when ma nually sampling external gear sy nced
to the Octatrack. Perfect loops are then easy to capture. When manually trigging the loops, use QPL to ensure they are played in perfect sync with the Octatrack pattern.

RECORDER TRIG SAMPLING

Recorder trigs allow an automated sampling process as each recorder trig initiates sam­pling. Recorder trigs can be placed on the sequencer while being in either the RECORD­ING SETUP menus or in the TRACK TRIG EDIT menu, covered on page 87. To be able to place recorder trigs on the sequencer GRID RECORDING mode must be active. Recorder trigs are entered by pressing the [TRIG] keys.
A recorder trig defaults to sampling from all three input sources, but the source selection can be changed for each recorder trig. When in the RECORDING SETUP 1 menu, the source a recorder trig samples from can b e seen by pressing a nd holding the [TRIG] key of the recorder trig. The activated sources are indicated by inverted graphics in the LCD and by lit <AUDIO RECORD> and <MIDI> LEDs.
To activate or deactivate a sampling source for a recorder trig, keep the [TRIG] button of the recorder trig pressed while pressing either [AUDIO REC AB], [AUDIO REC CD] or [MIDI]. Subsequent recorder trigs being placed on the sequencer will default to the latest activated source selection.
Recorder trigs can be turned into one shot recorder trigs. They trig sampling only once, which can be very useful when for example sampling live and not wanting to have to remove a recorder trig once it has initiated sampling. One shot recorder trigs are entered by pressing [FUNCTION] + [TRIG] and are indicated by yellow <TRIG> LEDs. Read more about one shot trigs section “ONE SHOT TRIGS” on page 79.
If a recorder buffer cont ains a sample and the corr esponding tr ack recor der st a rt s
to sample, the original buffer sample will be overwritten by the new sample.
When sampling using recorder trigs the captured sample will be assigned the
same BPM as the current BPM setting of the Octatrack. In the ATTRIBUTES menu of the audio editor the BPM assignment of the sample can be changed. Rea d more in “ATTRIBUTES” on page 102.

PLAYBACK OF CAPTURED RECORDER SAMPLES

Each track recorder samples to a dedicated recorder buffer. The eight r ecor der b uffers are located in the Flex sample slot list, directly above the first sample slot position.
54
TRACK RECORDERS AND PICKUP MACHINES
A recorder buffer thus functions just like a Flex sample and needs, just like a regular Flex sample, to be assigned to a Flex machine before it can be trigg e d by the se qu en cer. How­ever, when sampling with a Pickup machine, no buffer needs to be assigned since Pickup machines are hard-linked to the track recorders and recorder buffers. Read more how to assign samples to machines in section “ASSIGNING FLEX AND STATIC SAMPLES TO MACHINES” on page 66.
Recorder buffer samples are not retained in memory after the Octatrack has been
switched off. If you want to keep them they need to be saved t o the Compa ct Flash card. This is done either in the audio editor, described in the section “FILE” on page 104, or in the RECORDING SETUP EDIT menu, which is accessed by press­ing [FUNCTION] + [BANK] while either RECORDING SETUP windows is active.
Before starting to sample using the tra ck r ecorder sampling met hods, it is often a
good idea to first assign a recorder buffer to the Flex machine of a track. The recorder buffer should preferably correspond to the track recorder you are going to use when sampling. If for example track recorder 1 is used, recorder buffer 1 could be assigned to a Flex machine assigned to track 1. When sampling with track recorder 1 you will then immediately be able to play back the recorded sam­ple.

PICKUP MACHINE SAMPLING

Pickup machines offer a specialized way of sampling and are oriented towards building loops. By using Pickup machines it is possible to capture loops, add overdubs, repeat looped sections, add new loops and even adjust the g ene ral Octatrack BPM to the BPM of captured loops. Pickup machines can be controlled with for example MIDI foot controllers, making them very well suited for live manipulation of audio.
Pickup machines are still dependent on track recorders and recorder buffers, but can be regarded as an alternate way of controlling them. As soon as a Pickup machine is assigned to a track, it is hard-linked to the both the track recorder and the recorder buff er of that track. Pickup machine behavior is thus controlled by the settings available in the RECORD­ING SETUP menus. The source they will sample from is set there and the same goes for recording length, fade in/outs and so on. Since Pickup machines are linked to recorder buffers as well, no recorder buffer a ssignments need to be done for a Pickup machine to play back recordings. Note that for a Pickup machine to be able to sample, the track it is assigned to needs to be active.
Given Pickup machines are focused on loops, their playback works very differently com­pared to Flex and Static machines. Pickup machines are not possible to sequence, nor parameter lock. The screen graphics for the Pickup machines also differ a bit compared to other machines. Where the sample name is normally shown, the playback position and
55
TRACK RECORDERS AND PICKUP MACHINES
loop length, expressed in sequencer steps, are shown instead. To the right of the loop length, information about which trig mode that has been chosen for the Pickup machine is shown. One block equals ONE, two blocks equal ONE2, a standing block equals HOLD.

MASTER AND SLAVE PICKUP MACHINES

The first Pickup machine that records a loop acts as the master. The BPM of the Octatrack will automatically change according to the calculated BPM of the recorded loop. If Pickup machines are assigned to other tracks, the loops they record will be slave loops. The length of these loops can be dependent of th e length of the ma ster loop. If the LEN p arameter of a slave Pickup machine is set to X1, the loop that machine will record will have the same length as the master loop. It will also force the slave loop to be in phase with the master loop. If set to X2, the slave loop will be double the length of the master loop. If playback of all Pickup machines is stopped, the first Pickup machine that records a new loop will be the new master.
The master/slave relation is visualized by the track icons. Two pixels located at the top left side of the “P” indicate a master Pickup machine. Two pixels to the bottom left indicate a slave Pickup machine.
In the illustration above, the leftmost track icon depicts a master Pickup machine while the right icon shows a slave Pickup machine.

CONTROLLING THE PICKUP MACHINES

To suit a more looper oriented workflow, the function of the [AUDIO RECORD] keys is altered for tracks containing Pickup machines. They no longer correspond to the external inputs, but rather function as record and play keys. In general [AUDIO REC AB] controls the record function of the Pickup machine, while [AUDIO REC CD] controls the play func­tion. However, how they work in more detail depends on the TRIG setting found in RECORDING SETUP 1 menu. A detailed diagram of Pickup machine st ates is found in the end of this chapter.
If ONE is selected, recording of a new loop will begin when pressing [AUDIO REC AB], given that the track is currently stopped. The loop length is decided by the RLEN parame­ter of the RECORDING SETUP 1 menu. If [AUDIO REC AB] is pressed again, while still recording, the recording will restart, just like it does when sampling using a track recorder whose TRIG option is set to ONE. When the loop has been recorded the Pickup machine will automatically enter overdubbing mode, unless [AUDIO REC CD] was pressed during sampling, in which case it will start playing the loop without overdubbing. Toggle between overdubbing and replacing using the [AUDIO REC AB] key. To stop overdubbing, or replacing, press [AUDIO REC CD]. This will not stop the playback of the loop, only the sampling process. Toggle between stop and play using [AUDIO REC CD]. To overdub again, just press [AUDIO REC AB] while the loop is playing.
ONE2 works very similar to the ONE mode. The difference is that the the loop length may be actively defined by pressing [AUDIO REC AB] or [AUDIO REC CD] after sampling has started. If [AUDIO REC AB] is pressed overdubbing begins, if [AUDIO REC CD] is pressed playback begins. If none of the keys are pressed, the loop length will be defined by the RLEN setting and the Pickup machine will automatically start overdubbing when the set length has been recorded.
56
TRACK RECORDERS AND PICKUP MACHINES
When HOLD is selected, sampling is made by pressing and holding [AUDIO REC AB]. When the key is released, the Pickup machine will start playing the loop. To make over­dubs, just press and hold [AUDIO REC AB] again while the loop is playing. Replacing is not possible in this mode, but you can achieve the same results by setting the GAIN parameter of the PICKUP MAIN menu to -INF, given OP, found in the same menu, is set to DUB.
The Pickup machine track icons change depending on their current status.
The various Pickup machine states are illustrated above. From left: stopped, playing, recording, overdubbing, replacing.
Once a loop has been recorded it can be doubled by either pressing [MIDI] while in the RECORDING SETUP menus, or by pressing [TRACK] + [MIDI] at any time. Note that this operation makes a copy of the loop at that specific moment, so it is recommended not to do this while overdubbing.
See “PICKUP MACHINE SAMPLING” on page 132 for a step by step tutorial on
how to sample with the Pickup machines.
Use a MIDI foot controller for hands-free operation of the Pickup machines. The
MIDI notes the Pickup machines respond to are outlined in “Appendix C: MIDI CONTROL REFERENCE“. A MIDI foot controller tutorial is found is the section “CONTROLLING THE PICK UP MACHINES WITH A MIDI FOOT CONTROLLER” on page 133.

SEQUENCER TO PICKUP SYNC

The Octatrack sequencer can be tempo synchronized to a Pickup machine recordin g. This is useful if you want to mix pre-progammed tracks with Pickup machine loops and don’t want the sync of the sequencer to drift.
Press [TRACK] + [TEMPO] to sync the sequencer to a Pickup machine loop. The BPM value normally shown in the top left corner of the LCD will at the same time be replaced with information about which Pickup machine that is controlling the sequencer BPM. To see the tempo of the loop the sequencer is locked to, open the TEMPO window.
If Pickup sync is activated when the sequencer is stopped and Pickup machines are play­ing loops, pressing [PLAY] will make the sequencer start playing the next time the synced Pickup machine loop starts over. If no Pickup machine is playing, the sequencer will start playing immediately when [PLAY] is pressed.
57
TRACK RECORDERS AND PICKUP MACHINES
If the Octatrack seqencer is playing, use the QPL setting, found in the RECORD-
ING SETUP 2 menu, to start playing the Pickup machines in sync with the pattern.
58
TRACK RECORDERS AND PICKUP MACHINES
1)
THE OLD RECORDING IS ERASED
2)
IF THE BUTTON IS NOT PRESSED (OR RELEASED), THE TRANSITION WILL OCCUR WHEN THE RECORDING POSITION HAS REACHED ITS DESIGNATED LENGTH
3)
THE TRANSITION OCCURS WHEN THE RECORDING POSITION HAS REACHED ITS DESIGNATED LENGTH
[AB]
Ç
È
BUTTON PRESSED
Ç
BUTTON RELEASED
[AB]
[CD]
[AB]
È[AB]
HOLD
RECORDING
STOPPED PLAYING
OVERDUBBING
RECORDING
STOPPED PLAYING
OVERDUBBING REPLACING
[AB]
1
[AB]
[CD][CD]
[CD]
3
[CD]
[AB][AB]
1
NO BUTTON
3
[AUDIO RECORD] KEYS FUNCTIONALITY FOR VARIOUS PICKUP MACHINE TRIG SETTINGS
RECORDING
STOPPED PLAYING
OVERDUBBING REPLACING
[AB]
[CD][CD]
[CD]
[CD]
[AB][AB]
1
[AB]
2
ONE2
59

BANKS, PARTS AND SCENES

BANKS, PARTS AND SCENES
Each project contains up to 16 banks. Banks contain:
16 patterns.
4 parts.
Each part contains:
Information about which machines are assigned to the tracks.
Information about which Flex and Static samples are assigned to the machines.
Track effects assignments.
Track parameter settings.
16 scenes.
Scenes contain:
Scene parameter locks.

BANKS

An Octatrack project consists of up to 16 banks. Each bank hosts up to 16 patterns. Pat­terns in bank 1 are labeled A01-A16, patterns in bank 2 B01-B16 and so on.
Select a bank by pressing the [BANK] button plus one of the 16 [TRIG] keys. [BANK] + the first [TRIG] key will access the first bank, pressing [BANK] + [TRIG] key 2 will select the second bank and so on.
As soon as [BANK] is pressed a prompt saying “CHOOSE BANK” will appear. Banks with content are indicated by green <TRIG> LEDs. A red <TRIG> LED indicates the currently active bank. As soon as a bank is selected the prompt will change to “CHOOSE PAT­TERN”. Pressing a [TRIG] key now will select a pattern located in the selected bank. Pat­terns with content are indicated by green <TRIG> LEDs. A red <TRIG> LED indicates the currently active pattern. This method of pattern selection allows for quick changes of the active bank and pattern. If you don’t wish to select a pattern, just release the button combi­nation after the “CHOOSE PATTERN” prompt appears.
If you are not working within a project only the active bank will be retained in
memory after the Octatrack has been switched off. If you have made changes to other banks, and want to keep them, it is very important to save the project. Use the SAVE TO NEW command for this. Read more about this command in the sec­tion “PROJECT” on page 30.
60

PARTS

Parts are very useful for adding variations to the patterns of a bank. A part consists of machine, sample and effect assignments along with track parameter settings and up to 16 scenes. Each pattern is linked to a part and one pa rt is thus always active. Each bank hosts 4 parts.
BANKS, PARTS AND SCENES
All patterns of a bank default to using part 1. If you for example want the machines of pat­terns A01 and A02 to use different samples or have diff erent settings, it is important these patterns are linked to different parts.

PART QUICK SELECT

To link a part to the active pattern, press [FUNCTION] + [MIDI]. The PART QUICK SELECT menu will appear.
The part currently linked to the pattern is shown with inverted graphics. If a part has been altered but not saved it will be marked with an asterisk. Select the part that should be linked to the active pattern by pressing the appropriate [ARROW] keys. Press [ENTER/YES] to link it. It is possible to quick-link a part by keeping [FUNCTION] pressed when selecting the part.

PARTS EDIT

Use the [ARROW] keys to select the part that should be edited and then press [FUNC­TION] + [BANK] to open the PARTS EDIT pop-up menu.
RENAME makes it possible to give each part a unique name. After selecting this option and pressing [ENTER/YES] a naming window will appear.
RELOAD makes a part revert to its saved settings. If performing this command and the
part previously hasn’t been saved a prompt will appear asking to do so. SAVE saves the part. It is necessary to save a part to be able to perform the part reload
command. SAVE ALL saves all changes made to all parts.
Copy/paste/clear commands are available in the EDIT PARTS menu.

PART RELOAD

If the parameters of a part have been adjusted and you want to revert them to their saved state, press [FUNCTION] + [CUE]. This command can only be applied to parts that have been saved. Should an unsaved part be active when pressing the button combination a prompt stating “SAVE PART FIRST” will appear.
61
BANKS, PARTS AND SCENES
This command is great in a live setting if a lot of parameters ha s been tweaked
and you want the part to sound as it originally did.

SCENES

Each part contains 16 scenes. A scene is a set of locked parameter values that can be assigned to the two scene slots of the crossfader. Scene locks function much like parame­ter locks, which are covered in “PARAMETER LOCKS” on page 80.
The scene assigned to slot A comes into full effect when the crossfader is at its leftmost position and the scene assigned to slot B comes into full effect when the crossfader is at it s rightmost position. For all other crossfader positions interpolation between the locked scene parameters will occur. If only one of the assigned scenes contains locked parame­ters the crossfader will interpolate between those values and the general parameter values of the active part.
The currently assigned scenes are displaye d in the lowe r rig ht part of the LCD screen. Another way to see the assignments is by pressin g one of the [SCENE] buttons. The scene already assigned to the scene slot of the pressed [SCENE] button is indicated by a red <TRIG> LED. The scene assigned to the other scene slot is indicated by a green <TRIG> LED. Scenes containing locks are indiciated by half-bright green <TRIG> LEDs.
When moving the crossfader, locked scene parameters have priority over parame-
ter locks. This ensures smooth transitions bet ween scene parameters without the sudden changes that might be caused by parameter locks.

ASSIGNING AND ADJUSTING SCENES

To assign a scene to scene slot A, press [SCENE A] + a [TRIG] key. The chosen scene will now be assigned to scene slot A. The procedure is the same for assigning a scene to scene slot B, but instead press [SCENE B] + [TRIG]. It is possible to assign an empty scene to a scene slot, but note that if two empty scenes are assigned crossfader move­ments will have no effect.
Once a scene is assigned you can lock its parameters. The functionality is similar to assigning parameter locks to a sample trig. Press the [SCENE] button containing the scene you want to assign locks to and choose the value of the track parameters you want to lock by turning the DATA ENTRY knobs. The graphics of the parameters will, just as for parameter locks, become inverted and their lo cked values displayed. Remove a scene lock by holding the [SCENE] button and pressing the corresponding DATA ENTRY knob.
To quickly see which tracks and TRACK PARAMETER pages that contain scene locks, press and hold a [SCENE] key. The <TRACK> LEDs of all tracks containing scene locks will turn half-bright green and/or start to blink. Selecting one of these tracks will show half­bright green and/or blinking <TRACK PARAMETER> LEDs. They indicate which TRACK PARAMETER pages that contain scene locks.

SCENE VOLUME LOCKING

Certain parameters specially made for volume fades are available exclusively to scenes. The XLV, XVOL and XDIR parameters can be r egarded as a set of extra volume controllers
62
BANKS, PARTS AND SCENES
on top of the LEVEL, VOL and DIR parameters. The difference lies in the way they handle volume fades. Locking them accordingly will make the crossfader fade between the volume of the tracks or inputs in an equal energy fashion. This way of locking volumes is suitable when wanting to avoid the volume dip that otherwise would occur when the crossfader is used to fade between two tracks and reaches the center position.
The parameters are only visible when keeping a [SCENE] button pressed. The XLV parameter is found as an overlay to the LEVEL parameter found in all TRACK PARAME­TER pages. The XVOL parameter is found in the AMP MAIN menu. The XDIR AB and XDIR CD parameters are found in the MIXER menu.
The XLV parameter can be locked to two settings.
MIN will mute the signal, post track effects.
MAX will let signal through at the set LEVEL signal level.
The XVOL parameter can be locked to two settings.
MIN will mute the signal, pre track effects.
MAX will let signal through at the set VOL signal level.
The two XDIR parameters can each be locked to two settings.
MIN will mute the signal.
MAX will let signal through at the set DIR signal level.
Pressing the LEVEL knob while holding down the [SCENE] key pressed will
remove the LEVEL lock. An XVOL lock is removed by pressing the corresponding DA TA ENTR Y knob while keeping the [SCENE] button pressed. An XDIR AB lock is removed by pressing knob B while keeping the [SCENE] button pressed. XDIR CD is removed by pressing knob C while keeping the [SCENE] button pressed.

SCENE MUTE

Mute a scene assigned to a scene slot by pressing [FUNCTION] + [SCENE A]/[SCENE B]. When muting a scene the locked parameters of assigned scene will be disregarded and
instead the general parameter values of the active part will come into effect. This makes it possible, given the scene parameter values are locked accordingly and the position of the crossfader fully activates the scene, to for example apply washes of effects by unmuting a muted scene.

SCENE COPY

It is possible to copy a scene and paste it to a new scene location. To copy a scene assigned to scene slot A or B, press and hold a [SCENE] key and press
[REC]. A window saying “COPY SCENE” will appear. Paste a scene by holding a [SCENE] key and pressing [STOP]. A window showing “PASTE SCENE” will be shown. The copied scene will be pasted to the location of the scene assigned to the scene slot.
63
BANKS, PARTS AND SCENES

SCENE CLEAR

It is possible to clear all scene parameter lock data from a scene. Hold a [SCENE] button and press [PLAY]. A window saying “CLEAR SCENE” will appear .
The scene assigned to the scene slot will be cleared. The clear scene operation can be undone by performing the operatio n one more time . The
message “UNDO SCENE” will be shown in the display.
64

TRACKS

TRACKS
The Octatrack sequencer can control 8 audio stereo tracks and 8 MIDI tracks at the same time. This chapter will deal with the audio tracks. For an explanation of the MIDI tracks, see the section “THE MIDI SEQUENCER” on page 110.
For a track to be able to process or affect sound a machine need s to be assigned to it. Flex and Static machines are used to process samples. Thru and Neighbor machines offer vari­ous audio routing options. Pickup machines act as looper devices. Read more about the various machine types and the controls available to them in “Appendix A: MACHINE REF­ERENCE“.
Each track has 5 TRACK P ARAMETER pages, each consisting of one MAIN page and one SETUP page. The parameters on these p ages af fect the behavior of the machine assign ed to the track. Read more on “TRACK PARAMETER PAGES” on page 67.
The parameters found in t he SETUP menus open up for more in-depth contr ol of a
machine, track or effect. It is recommended that you first acquaint yourself with the parameters found in the MAIN pages before starting to experiment with the SETUP menu parameters.
The parameters found in the PLAYBACK and EFFECT 1/EFFECT 2 pages differ
depending on the machine and effects assigned to the track.

THE DIFFERENCE BETWEEN FLEX AND STATIC MACHINES

Apart from Flex samples being loaded to the RAM memory of the Octatrack and Static samples streamed from the Compact Flash card, a few other differences between the two machine types exist.
The track LFOs can not modulate the STRT parameter of a S t atic machine. The crossfader can, but if the modulation is too fast the Static machine will not be able to update the start point position correctly, resulting in the sample not being played. Once the Static machine catches up the sample will be played back from the correct start position. Parameter lock­ing the STRT parameter will however make the sample play back exactly according to the locked position. Flex samples do not experience these limitations and will always play back from the correct position no matter how heavily modulated the STRT parameter is.

ASSIGNING MACHINES TO TRACKS

Machines can be assigned to a track in either the QUICK ASSIGN or PLAYBACK SETUP menus.
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TRACKS

ASSIGNING MACHINES IN THE QUICK ASSIGN MENU

Open the QUICK ASSIGN menu by quickly double pressing the [TRACK] button of the track you wish to assign a machine to.
If the track contained a Flex machine the Flex sample slot list will be opened. If the track contained a Static machine the Static sample slot list will be opened. Press the [LEFT] arrow key to access the machine list. In all other cases the machine list will be accessed directly when opening the QUICK ASSIGN menu.
Select the machine that should be assigned to the track and press [ENTER/YES] to assign it.
After assigning a Flex or Static machine, pressing the [RIGHT] arrow key will
access the sample slot list of the selected machine.

ASSIGNING MACHINES IN THE PLAYBACK SETUP MENU

Select the track you want to assign the machine to by pressing the corresponding [TRACK] button. Press [FUNCTION] + [PLAYBACK] to open the PLAYBACK SETUP menu. If the track contained a Flex machine with an assigned sample the Flex sample slot list will be opened. If the track contained a Static machine with an assigned sample the Static sample slot list will be opened. Press the [LEFT] arrow key to access the machine list. In all other cases the machine list will be accessed directly when opening the PLAY­BACK SETUP menu.
66
In the leftmost menu all machine types are available. With the cursor, highlight the machine you want to assign. Press [ENTER/YES] to assign it to the selected track.
TRACKS
After assigning a Flex or Static machine, pressing the [RIGHT] arrow key will
access the sample slot list of the selected machine.

ASSIGNING FLEX AND STATIC SAMPLES TO MACHINES

Once samples have been loaded to the sample slot lists they can be assigned to the Flex and Static machines of the tracks. If no samples have been loaded, read how to do so in section “LOADING SAMPLES TO THE SAMPLE SLOTS” on page 26. Both the QUICK ASSIGN menu and the PLAYBACK SETUP menu can be used when assigning samples.

ASSIGNING SAMPLES IN THE QUICK ASSIGN MENU

Open the QUICK ASSIGN menu by quickly double pressing the [TRACK] button of a track containing a Flex or Static machine you wish to assign a sample to. The Flex sample slot list will be displayed if the track contained a Flex machine. The Static sample slot list will be displayed if the track contained a Static machine.
Select the sample that should be assigned to the machine of the track and press [ENTER/
YES] to assign it.

ASSIGNING SAMPLES IN THE PLAYBACK SETUP MENU

To assign a Flex sample, select a track containing a Flex machine and pr ess [FUNCTION] + [PLAYBACK] to open the PLAYBACK SETUP menu. The Flex sample slot list will appear. To assign a Static sample, open the PLAYBACK SETUP menu of a track contain­ing a Static machine. The Static sample slot list will then appear.
Select the sample that should be assigned to the machine of the track and press [ENTER/ YES] to assign it.
Samples can be previewed in the sample slot lists. Select a sample and press
[FUNCTION] + [ENTER/YES] to do so. This will preview the sample from the main outputs. Press [CUE] + [ENTER/YES] to preview from the cue outputs. When pre­viewing, the sound is by default affected by the track eff ects. Samples can be pre­viewed dry though. The setting controlling this is found in the PERSONALIZE menu. Read more on page 32.
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TRACKS

TRACK PARAMETER PAGES

The five TRACK P ARAMETER p ages conta in parameters tha t affect the assigned machine and effects. Each TRACK PARAMETER page is divid ed in two sub-pages. MAIN pa ges are accessed by simply pressing the [TRACK PARAMETER] keys and offer parameters that are possible to parameter lock, assign to scenes and modulate with the LFOs. Parame ters located in the SETUP menus are accessed by either pressing [FUNCTION] + [TRACK PARAMETER] or by quickly double tapping a [TRACK PARAMETER] button. Setup parameters cannot be parameter locked, assigned to scenes or affected by the LFOs. They usually affect the behavior of the main parameters. All TRACK PARAMETER pages con­tain a shared LEVEL and CUE parameter.

TRACK MAIN LEVEL

All TRACK P ARAMETER pages feature a LEVEL setting. It is adjusted by the LEVEL knob and controls the overall volume of the track, post effects. This setting only affects the level of signals routed to the main outputs. Signals routed to the cue outputs are not affected.

TRACK CUE LEVEL

When pressing [CUE] and turning the LEVEL knob the cue level for the track is set. Just like the main level it adjusts the volume of the track post effects. This setting only affects the level of signals routed to the cue outputs. Signals routed to the main outputs are not affected.
Pressing [FUNCTION] and turning the LEVEL knob will affect the MAIN parameter
of the MIXER menu. This parameter controls the volume of the main outputs. Use this button and knob combination to quickly adjust the main volume of the Octa­track.
When STUDIO mode is activated, LEVEL and [CUE] + LEVEL control the sound
sent to the two output pairs. This mode of routin g overrides the default routing mode. Read about STUDIO mode on page 36.

PLAYBACK MAIN

Open the PLAYBACK MAIN menu by pressing the [PLAYBACK] key. This menu will diff er depending on the type of machine assigned to the track. Read more about the various machine types and their parameters in “Appendix A: MACHINE REFERENCE“.

PLAYBACK SETUP

Open the PLAYBACK SETUP menu by either pressing [FUNCTION] + [PLAYBACK] or quickly double tapping [PLAYBACK]. Machines and samples can be assigned in this menu. Setup parameters of the chosen machine are controlled here as well. On page 26
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TRACKS
the procedure of loading samples to sample slots is described. For more info rmation how to assign machines to tracks and samples to machines, see page 64.

AMP MAIN

Access the AMP MAIN page by pressing [AMP]. Here settings affecting the amplitude and the stereo positioning of the track are found.
ATK sets the time it will take for the amplitude envelope to reach its full level. HOLD sets the hold time of the amplitude envelope. The signal will be held at full level dur-
ing the duration of the hold phase. The hold phase is by default dependent on the BPM. The parameter is expressed in the amount of sequencer steps the hold phase will last.
REL sets the time it will take for the signal to fade out once the hold phase is over. VOL sets the volume of the track, pre effects. This setting affects signals being sent to both
the main and cue outputs.
BAL positions the sample in the stereo field. XVOL is a setting that only will appear when pressing a [SCENE] key. This parameter can
only be locked to scenes. See “SCENES” on page 61 for more information.

AMP SETUP

Open the AMP SETUP menu by either pressing [FUNCTION] + [AMP] or quickly double pressing [AMP]. The graphical envelope shows which parameters control which aspect of the envelope. It is a static image and doesn’t reflect the current envelope settin gs.
AMP controls the behavior of the amplitude envelope.
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TRACKS
ANLG will not necessarily make the envelope start from zero once a sample is
being trigged. Instead, when a sample is trigged the envelope attack will start from the current envelope level.
RTRG will make the amplitude envelope start from zero every time a sample is being trigged.
R+T will make the amplitude envelope start from zero every time a sample trig or a trigless trig is activated by the sequencer.
TTRG will not necessarily make the envelope start from zer o o nce a sample trig or a trigless trig is activated by the sequencer. Instead, when a sample or a trigless trig is activated the envelope attack will start from the current envelope level.
SYNC sets if the amplitude envelope should be synced to the Octatrack BPM or not. ATCK sets how the attack of the envelope should behave.
LIN will make the envelope attack work in a linear fashion.
LOG will make the envelope attack work in an exponential fashion. This setting
allows for more smooth fade ins.
FX1 controls how the envelope will affect the multi mode filter or the amplitude modulator when either of these effects are assigned to effect block 1.
ANLG will, if the multi mode filter is assigned to effect 1, not necessarily make the filter envelope start from zero once a sample trig is being trigged. Instead, the filter envelope attack will start from the current envelope level. If the amplitude modulator is assigned to effect 1 the phase will be restarted each time a sample trig is trigged.
RTRG will, if the multi mode filter is assigned to effect 1, make the filter envelope start from zero every time a sample trig is being trigged. If the amplitude modulator is assigned to effect 1 the phase will be restarted each time a sample trig is trigged.
R+T will, if the multi mode filter is assigned to effect 1, make the filter envelope start from zero every time a sample trig or a trigless trig is activated by the sequencer. If the amplitude modulator is assigned to effect 1 the phase will be restarted each time a sample trig or a trigless trig is being activated.
TTRG will, if the multi mode filter is assigned to effect 1, not necessarily make the filter envelope start from zero once a sample trig or a trigless trig is activated by the sequencer. Instead, the filter envelope attack will start from the current envelope level. If the amplitude modulator is assigned to effect 1 the phase will be restarted each time a sample trig or a trigless trig is being activated.
FX2 works just like FX1 parameter. It only affects the multi mode filter or amplitude modula­tor when either of these effects are assigned to the second effects slot.
70
FX1 and FX1 AMP SETUP parameters ar e the only TRACK PAGE p arameters, ap art
from the EFFECT pages, that are available to a mas ter track.
TRACKS

LFO MAIN

Here the speed and depth settings of the three track LFOs are found. LFOs are always synced to the tempo of the Octatrack. Press the [LFO] button to access this page.
SPD1 sets the speed of LFO1. The higher the value the faster the LFO runs. For LFO speed synchronised to straight beats, try settings of 16, 32 or 64. Note that the MULT set- tings in the LFO SETUP menu affect the LFO speed settings. The SPD1 setting is reflected by the SPD setting found in the LFO1 page of the LFO SETUP menu.
SPD2 sets the speed of LFO2. This setting is reflected by the SPD setting found in the LFO2 page of the LFO SETUP menu.
SPD3 sets the speed of LFO3. This setting is reflected by the SPD setting found in the LFO3 page of the LFO SETUP menu.
DEP1 sets the modulation depth of LFO1. This setting is reflected by the DEP setting found in the LFO1 page of the LFO SETUP menu. See p age 71 for a more detailed description of the modulation depth parameters.
DEP2 sets the modulation depth of LFO2. This setting is reflected by the DEP setting found in the LFO2 page of the LFO SETUP menu.
DEP3 sets the modulation depth of LFO3. This setting is reflected by the DEP setting found in the LFO3 page of the LFO SETUP menu.

LFO SETUP

This page contains more det ailed settings for the three LFOs. Op en the LFO SETUP menu by either pressing [FUNCTION] + [LFO] or quickly double pressing [LFO].
In the column to the left there are three identical pages for the three track LFOs, plus one LFO designer page.
To edit the behavior of an LFO, navigate to the corresponding page by using the [UP]/
[DOWN] arrow buttons. The track LFOs feature six setup parameters. PMTR chooses the parameter the LFO will modulate. LFOs can only modulate parameters
found in the TRACK P ARAMETER MAIN p ages. When selecting the parameter that will be modulated the TRACK PARAMETER page it belongs to are shown above the parameter name.
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TRACKS
If you use an LFO to modulate the speed and depth of the two other LFOs, note
that an LFO only can modulate LFOs with a lower number. This means LFO 3 can modulate the speed and depth of LFO 1 and 2 while LFO 2 only can modulate the speed and depth of LFO 1.
WAVE selects the waveform shape of the LFO. Eleven basic waveforms plus eight LFO
designer waveforms are available.
MULT multiplies the SPD parameter by the selected value. TRIG sets how the LFO should react when a sample is trigged.
FREE makes the LFO run continuously, never resta rting or stopping.
TRIG makes the LFO restart when a sample is trigged. After that it runs continu-
ously until a new sample is trigged.
HOLD makes the LFO run free in the background, but when a sample trig is encountered the output LFO level is latched and held still until the next sample trig.
ONE will make the LFO restart when a sample is trigged, run for one cycle and then stop.
HALF will make the LFO restart when a sample is trigged, run for half a cycle and then stop.
SYNC TRIG will restart the LFO on track start. The LFO then plays continuously.
SYNC ONE will restart the LFO on track start. The LFO will then play for one
period.
SYNC HALF will restart the LFO on track start. The LFO will then play for half a period.
SPD sets the base speed of the LFO. The speed is always synced to the BPM setting. As both speed and multiplier parameters exist the speed of an LFO can range from very slow to very fast. The SPD settings for all three LFOs are also reflected in the LFO MAIN page.
DEP sets the amount of modulation applied to the target parameter. Setting DEP to 127 allows for modulating a parameter to and from any extreme value. For example, if the tar­get parameter is set to 64 a saw wave LFO DEP setting of 64 is sufficient for modulating the target value to its minimum (0) and maximum (127) values. The DEP settings for all three LFOs are also reflected in the LFO MAIN page.

LFO DESIGNER

The LFO designer allows you to draw customized LFO shapes. Such waveforms can in some instances almost be regarded as mini-sequencers as they for example can be used to make rhythmic track parameter changes. Each audio track h osts one LFO designer and all designer waveforms are available to all audio track LFOs. MIDI tracks can only use designer waveforms created in the MIDI LFO SETUP menu. The LFO designer waveforms are selectable by the WAVE parameter found in the LFO 1-3 pages of the LFO SETUP
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TRACKS
menu. They are represented by small visualizations of their waveform shapes and are labeled T1-T8. Access the LFO designer by navigating to the DESIGNER menu in the left­side column.
A custom LFO waveform consists of 16 steps where each step can have a unique value. The steps can either be stepped or interpolated. All changes made to the waveform are instantly visualized by the LFO waveform representation in the center of the LCD screen.
[TRIG] buttons in combination with the upper row of DATA ENTR Y knobs are used to draw the LFO waveform.
To change a waveform step, press the corresponding [TRIG] button and turn one of the top-row DATA ENTRY knobs. While the [TRIG] pressed the <TRACK> LED above it will be dimmed. The first knob you turn will manipulate the selected step value and any knobs on its right and left side will affect the waveform step values to the right and left of the originally selected step. Press a [TRIG] butto n to see the value assigne d to the corr espondi ng wave­form step.
More waveform steps than one can be manipulated simultaneously. To do that, just press down several [TRIG] buttons while turning a knob. All steps values will then be adjusted by the same amount.
To interpolate between two steps, select a waveform step by pressing and holding the cor­responding [TRIG] key and then press the [TEMPO] key. Interpolation between the value of the selected waveform step and the value of the next waveform step will now occur. To remove an interpolation, just repeat the button press combination. Interpolated steps are indicated by yellow <TRACK> LEDs on the step sequencer and sloped curves in the LFO waveform visualization.
An EDIT menu is available while the LFO DESIGNER menu is active. Press [FUNCTION] + [BANK] to access it. Two commands are available.
RANDOMIZE will create a random LFO waveform.
INVERT will invert the created LFO waveform.
[FUNCTION]+[LEFT]/[RIGHT] can be used to rotate the LFO designer sequence.
Copy/clear/paste operations are available in the LFO DESIGNER menu. This
makes it possible to copy LFO designer waveforms between tracks. When per­forming a clear operation, all waveform step s will be set to 0 and interpolation will be set to stepped.
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TRACKS

EFFECT 1 AND EFFECT 2

Each track features two assignable effects. The selectable effects differ between the two effect pages. For a complete listing of all the effects and their main and setup parameters, see “Appendix B: EFFECTS REFERENCE“.
EFFECT 1 offers: 12/24dB Multi Mode Filter
2-band Parametric EQ DJ-style Kill EQ 2-10 Stage Phaser Flanger 2-10 tap Chorus Spatializer Comb Filter Dynamix Compressor Lo-fi Collection
EFFECT 2 offers: 12/24dB Multi Mode Filter
2-band Parametric EQ DJ-style Kill EQ 2-10 Stage Phaser Flanger 2-10 tap Chorus Spatializer Comb Filter Dynamix Compressor Lo-fi Collection Echo Freeze Delay Gatebox Plate Reverb Spring Reverb Dark Reverb
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Assign an effect by either pressing [FUNCTION] + [EFFECT 1]/[EFFECT 2] or quickly double pressing [EFFECT 1]/[EFFECT 2] to open up the EFFECT 1/EFFECT 2 SETUP menu.
The effects available are liste d in the left si de column. Use the [ARROW] keys to select the effect you want to assign and then press [ENTER/YES] to assign it. The se tup parameters of the assigned effect are visible to the right.
TRACKS

DIRECT TRACK MUTING

To directly mute a track, press [FUNCTION] + the [TRACK] button of the track that should be muted. The <TRACK> LEDs indicate the mute status. A muted and currently active track is indicated by a yellow <TRACK> LED. A muted and currently not selected track is indicated by an unlit <TRACK> LED.
If track 8 has been turned into a master track it won’t be affecte d by mutes.
If Neighbor machines are used, muting the track or tracks preceding the last
Neighbor machine will not have any effect. To mute the chain, mute the last Neigh­bor machine.
Tracks can be also be muted in the MIXER menu. Read more in the section
“MIXER MENU” on page 44.

MAIN AND CUE OUTPUTS ROUTING

Tracks and audio input s can be route d to either the main ou tputs or the cue outputs. T ra cks and audio inputs are routed to the main outputs by default. Read more about different rout­ing scenarios in section “OCTATRACK SETUP EXAMPLES” on page 118.

MAIN OUTPUT ROUTING

This is the default setting. All tracks and inputs are routed to the main outputs.

CUE OUTPUT ROUTING

Pressing [CUE] + [TRACK] will route the selected track to the cue ou tp uts. A cued trac k will still be audible from the main outputs. When a track is cued the <TRACK> LED of the track will flash. By pressing [CUE] + the [AUDIO RECORD] buttons it is also possible to route the audio inputs to the cue output s. Cued input s are in dicated by alternating <AUDIO RECORD> LEDs.

PARAMETERS AFFECTING MAIN AND CUE LEVELS

Different parameters affect the volume of the track or inputs depending on how they are being routed.
TRACK MAIN LEVEL is set by the LEVEL knob. It will affect the post effects signal of the track when it is being routed to the main outputs. It will not affect the cue level of a cued track.
TRACK CUE LEVEL is set by pressing and holding [CUE] while turning the LEVEL knob. It will affect the post effects signal of the track when it is being routed to the cue outputs. It will not affect the main level of a track.
VOL is found in the AMP MAIN menu of the track. It will affect the pre effects signal of a track, regardless of the track being routed to the main or cue outputs.
DIR is found in the MIXER menu. It affects the signal of incoming audio routed to the main outputs. It doesn’t affect the cue level when the audio inputs are cued. When cueing the audio inputs, the cue level will be an equivalent of a DIR setting of 100.
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TRACKS
By enabling the STUDIO mode, the default main and cue output routing behavior
can be changed. STUDIO mode is handy when wanting to use the cue outpu ts a s a pair of assignable outputs. Read more about this mode on page 36.
If a cued track is muted it will only be audible from the cue outputs .
When the CUE MUTES TRACK setting, found in the PERSONALIZE menu, is acti-
vated a track being cued will be muted at the same. Read more in the section “SYSTEM” on page 31.
The XL V, XVOL and XDIR parameters are available exclusively t o scenes. They are
useful for avoiding dips in volume when doing fades between tracks or inputs. Read more about these paramete rs in the section “SCENE VOLUME LOCKING” on page 61.
The MIX parameter in the MIXER men u set s how much of the main a nd cue signals
that should be sent to the headphones output. Read more about the parameter in the section “MIXER MENU” on page 44.
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PATTERNS

PATTERNS
The sequencer of the Octatrack shares a lot of similarities with the Machin e dr um an d Monomachine sequencers but have been considerably improved. It is incredibly powerful and plays an extremely important role in processing sounds and samples.
The sequencer stores information in patterns. Patterns consist of information about how the eight audio tracks and eight MIDI tracks should be played back. All adjustments made to patterns are automatically saved. If you wish to alter a pa ttern but keep the initia l sample trig placements you will have to copy the pattern to a new location and then use the copied pattern as the basis for the new pattern. A pattern contains:
Sample trigs for the eight audio tracks.
Note trigs for the eight MIDI tracks.
Track re corder trigs for the eight track recorders.
Trigless trigs for the eight audio tracks and the eight MIDI tracks.
Swing trigs for the eight audio tracks and the eight MIDI tracks.
Slide trigs for the eight audio tracks.
One shot trigs for the eight audio tracks.
Information about which pattern is linked to a part.
Parameter locks.
Sample locks.
Length and time signature of the tracks.

TRIG LED INDICATIONS

Depending on if the <REC> LED is lit or not the <TRIG> LEDs will display different informa­tion when the sequencer is playing.
If the <REC> LED is unlit the eight rightmost <TRIG> LEDs will indicate sample trigs being activated by the sequencer . <TRIG> LED 9 acts as an indicator for track 1, <TRIG> LED 10 acts as an indicator for track 2 and so on.
If the <REC> LED is lit the various trigs of the active track will be shown.

BASIC PATTERN OPERATIONS

The Octatrack can switch between patterns without any audible lag. This, plus the ability to chain patterns, are handy features when for example making live improvisations.

SELECTING A PATTERN

Each project hosts 16 banks each containing 16 p atterns. Banks and p atterns ar e selected using the [BANK] and [PATTERN] keys in combination with the 16 [TRIG] keys.
Patterns can be selected from the currently active bank or from one of the other banks. Press the [PATTERN] button in combination with one of the 16 [TRIG] keys to select a pat- tern located in the currently active bank. Patterns containing data are indicated by green <TRIG> LEDs. The currently active pattern is indicated by a red <TRIG> LED.
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PATTERNS
Select a pattern from another bank by first selecting the bank by using the [BANK] + [TRIG] keys. After the “CHOOSE PATTERN” prompt appears, press one of the [TRIG]
keys to select a pattern located in the chosen bank.

PATTERN CONTROL

Pressing [PLAY] will start the playback of a pattern. Pressing [STOP] will stop the playback of all tracks, except tracks containing Thru machines. The sound will be cut off, but effects like the Echo Freeze Delay will continue to be audible until the delay repeats have faded out. When the sequencer is stopped, quickly pressing [STOP] + [STOP] will stop playback of all tracks containing Thru machines, kill the Echo Freeze Delay and send out an all notes off MIDI command on all MIDI tracks. After a pattern has been stopped, pressing [PLAY] will make the pattern start playing from the beginning.
When a pattern is playing and [PLAY] is pressed the playback will be paused. Press
[PLAY] again to resume the playback.

PATTERN CHAINING

You can use pattern chaining to loop a sequence of patterns. It is only possible to chain patterns located in the same bank, and a chain can not contain the same pattern twice. Chain patterns by pressing and holding the [PATTERN] button and then press and hold the [TRIG] keys in the same order as you want the chained patterns to play. Chaining is indi­cated by a double arrow between the current pattern and the pattern that will play ne xt. Several patterns can be chained.
Pressing [STOP] while a pattern chain is playing will stop playback and reset the pattern chain. Next time [PLAY] is pressed the pattern chain will start playing from the beginning. If
[STOP] has been pressed, pressing [STOP] again will unlink all patterns in the chain.

RECORDING MODES

The Octatrack offers two main modes of inputting trigs when creating a pattern, GRID RECORDING mode and LIVE RECORDING mode.

GRID RECORDING MODE

GRID RECORDING is a method of composing where trigs are added by using the 16 [TRIG] keys. In the default state, the 16 [TRIG] keys represent 1 bar of 16th notes. This is however dependent on the SCALE SETUP settings.
Enter GRID RECORDING mode by pressing the [REC] key . A lit red <REC> LED indicates GRID RECORDING mode is active. Select the track to which you want to add trigs by pressing the relevant [TRACK] button. Place for example sample trigs on the sequencer by pressing the [TRIG] keys. Sample trigs are indicated by red <TRIG> LEDs. Several trig variants exist and they are covered in section “TRIG TYPES” on page 78.
If the pattern contains more than 16 steps, switch to the pattern page you want to edit by pressing the [P ATTERN PAGE] key. The active p attern p age is being indicated by a fully lit <PATTERN PAGE> LED.
Press [PLAY] to listen to the sequence. You can input sample trigs when the sequencer is playing as well.
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PATTERNS
All trigs of a track can be shifted forwards or backwards on the sequencer. While
in GRID RECORDING mode, hold down [FUNCTION] while pressing the [LEFT] or [RIGHT] arrow keys to perform the trig shift.

LIVE RECORDING MODE

LIVE RECORDING mode is the second method of adding trigs to the tracks. In this record­ing mode, the [TRIG] keys can be played in real time to input trigs. It is also possible to enter parameter locks in real time. Trigs input in LIVE RECORDING mode will by default be quantised to full sequencer steps, hence not micro timed. This behavior can be ch anged in the PERSONALIZE menu. Read more on page 32.
Hold [RECORD] while pressing [PLAY] to enter LIVE RECORDING mode. The sequencer will start to play and the <RECORD> LED will start to flash. Y ou can now enter sample trigs in real time by pressing [TRIG] keys 9-16. Pressing [TRIG] key 9 will input a sample trig on track 1, pressing [TRIG] key 10 will input a sample trig on track 2 and so on. When in TRACKS mode or CHROMATIC mode, trigless trigs, instead of sample trigs, can be recorded if [FUNCTION] is held while pressing the [TRIG] keys. This is useful if you, for instance, want to use the CHROMATIC mode to live record pitch changes to a sample, but don’t want the sample to restart on every pitch change. Rea d more about the TRACKS and CHROMATIC trig modes in the section “TRIG MODES” on page 81.
Turning a knob while in LIVE RECORDING mode will input parameter locks to the active track. The parameter locks will be input as trigless locks when no sample trigs are present. Sample trigs will be parameter locked accordingly.
To erase trigs in real time, press and hold [EXIT/NO] + the [TRACK] key of the track you wish to erase trigs from. All trigs hit by the running LED of the sequencer will be erased from the active track. The trigs of more than o ne track can be removed by pr essing several [TRACK] keys simultaneously.
To remove only parameter locks in re al time, pres s and hol d [FUNCTION] + [EXIT/NO]. All trigs hit by the running LED of the sequencer will be erased from the active track. Sample locks will however not be erased.
Remove sample locks in real time by pressing [EXIT/NO] while pressing the LEVEL knob. Remove specific parameter locks in real time by pressing [EXIT/NO] while pressing the
DATA ENTRY knob corresponding to the parameter that should be removed.
To stop both the recording and the playback of the sequencer, press [STOP]. To
exit LIVE RECORDING mode and keep the sequencer playing the pattern, press [PLAY].

TRIG TYPES

The Octatrack sequencer accomodates a number of different trig types. Trigs can be entered while being in GRID or LIVE RECORDING mode and are, depending on the type of trig, indicated by red, green or orange <TRIG> LEDs colors.
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PATTERNS

SAMPLE TRIGS

Sample trigs trig the machine of the track, making the sample assigned to the machine play. Enter by simply pressing a [TRIG] key. Sample trigs are indicated by red <TRIG> LEDs.

TRIGLESS LOCKS

Trigless locks do not trig machines, LFOs or FX envelopes. Enter them by pressing [FUNCTION] + [TRIG].
Trigless locks are indicated by half-bright green <TRIG> LEDs. Already existing sample trigs can be turned to trigless locks by pressing [TRIG] + [EXIT/NO] twice. To turn a trigless lock to a trigless trig, press [TRIG] + [ENTER/YES]. When pressing the [TRIG] key of a tri­gless lock, it will turn into a sample trig. Press the [TRIG] key again to remove the sample trig altogether.
When in LIVE RECORDING mode and changing lockable parameters, trigless locks con­taining the locked parameters will be entered on the sequencer by default.

TRIGLESS TRIGS

Trigless trigs function similarly to trigless locks, but trig LFOs and FX envelopes. They can only be applied by converting sample trigs or trigless locks.
Trigless trigs are indicated by green full-bright <TRIG> LEDs. An already existing sample trig can be turned to a trigless trig by pressing [TRIG] + [EXIT/NO]. T o turn a trigless lock to a trigless trig, press [TRIG] + [ENTER/YES]. When pressing the [TRIG] key of a trigless trig, it will turn into a sample trig. Press the [TRIG] key again to remove the sam ple trig alto­gether.

ONE SHOT TRIGS

One shot trigs trig a sample or a track recorder only once. They are especially useful when using the Octatrack as a backing track machine, as they for example ca n trig very long Static samples without retrigging them once the pattern loops. This trig type is also availa­ble to recorder trigs. One shot trigs are not available to MIDI tracks.
If a track contains several one shot trigs, all one shot trigs of that track will be disarmed once one of the one shot trigs has been activated by the sequencer. This extends to the tracks of other patterns as well. If a one shot trig has be en trigged on track 1 of p attern A01, any one shot trigs on the first track of patterns A02-P16 will also be disarmed.
One shot trigs are entered by pressing [FUNCTION] + the [TRIG] key of an existing sam­ple trig. The <TRIG> LED will change from red to yellow, indicating the trig now is now a one shot trig. One shot trigs that have been activated by the sequencer are indicated by alternating yellow and red <TRIG> LEDs. Quickly pressing [STOP] + [STOP] while the sequencer is stopped, power cycling the Octatrack or changing projects will re-arm all one shot trigs. The [STOP] + [STOP] behavior can be disabled in the PERSONALIZE menu. Read more on page 33.
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There exists several ways of arming and disarming one shot trigs. While in GRID RECORDING mode and either the RECORDING SETUP menus or the TRACK TRIG EDIT menu with REC TRIG chosen, is active, all one shot recorder trigs of the active track will be re-armed when pressing [ENTER/YES]. The text “ARM REC TRK” will be visible. The one shot recorder trigs will keep re-arming for as long as the key is held. Note that one shot sample trigs will not be affected. This way of arming and disarming can be disabled in the PERSONALIZE menu. Read more on page 32.
PATTERNS
Pressing [TRACK] + [ENTER/YES] will also re-arm all one shot recorder trigs of a track. The one shot recorder trigs will keep re-arming for as long as the key combination is held. Pressing [TRACK] + [EXIT/NO] will disarm all one shot recorder trigs of a track. These operations can be performed even if GRID RECORDING mode is not active. Nor do the RECORDING SETUP menus or the TRACK TRIG EDIT menu have to be open.
While in GRID RECORDING mode and no particular menu is open, all one shot sample trigs of the active track will be re-armed when pressing either [ENTER/YES] or [FUNC-
TION] + [ENTER/YES]. The text “ARM TRK” will be visible. Pressing either [EXIT/NO] or [FUNCTION] + [EXIT/NO] will disarm one shot sample trigs of the active track. The text
“DISARM TRK” will be visible. Note that one shot recorder trigs will not be affected. Arming and disarming by simply pressing [ENTER/YES] and [EXIT/NO] can be disabled in the PERSONALIZE menu. Read more on page 32.
If GRID RECORDING mode is not active, all one shot trigs, both recorder and sample vari­ants, of all tracks will be re-armed when pressing either [ENTER/YES] or [FUNCTION] + [ENTER/YES]. The text “ARM ALL” will be visible. Arming one shot trigs in this way can be done while the sequencer is running. Similarly, pressing either [EXIT/NO] or [FUNCTION] + [EXIT/NO] can be used to disarm all one shots trigs. Arming and disarming by simply pressing [ENTER/YES] and [EXIT/NO] can be disabled in the PERSONALIZE menu. Read more on page 32.
In the PROJECT menu you can disable the arm/disarm functionality when press-
ing [ENTER/YES] or [EXIT/NO]. Read more on page 32.

SWING TRIGS

Swing trigs affect the timing of the sample trigs. They are indicated by green <TRIG> LEDs. Swing trigs are entered in the TRACK TRIG EDIT menu, which is covered in section “TRACK TRIG EDIT MENU” on page 87.

SLIDE TRIGS

Slide trigs can make the parameter values of a sample trig slid e to the p ar ameter values of the subsequent sample trig. They are indicated by green <TRIG> LEDs. Slide trigs are entered in the TRACK TRIG EDIT menu, which is covered in section “TRACK TRIG EDIT MENU” on page 87. Slide trigs are not available to the MIDI tra ck s.

RECORDER TRIGS

Recorder trigs are used to initiate track recorde r samp lin g. The y ar e ind ica te d by re d <TRIG> LEDs. Read more about track recorder trigs in section “TRACK RECORDERS AND PICKUP MACHINES” on page 47.

PARAMETER LOCKS

Parameter locks is a powerful feature that allows every trig to have its own unique parame­ter values. All sample trigs of a track could for example have different pitch or volume set­tings. Parameter locks can be applied to sample trigs, trigless trigs, trigless locks and one shot trigs. All parameter locks of a trig can either be removed by performing a CLEAR TRIG LOCKS command, covered on page 87, or by simply removing the trig and entering it again.
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PATTERNS
To apply parameter locks, GRID RECORDING mode should be active. Add locks to a trig by pressing and holding the [TRIG] key of the trig. Adjust the parameters you want to lock using the DATA ENTRY knobs. The graphics in LCD will become inverted for the locked parameter and the locked parameter value will be displayed. The <TRIG> LED of the locked trig will begin to flash rapidly, indicating the trig now contains a parameter lock. Remove a single parameter lock by holding [TRIG] + pressing the DATA ENTRY knob of the locked parameter.

SAMPLE LOCKS

Each sample trig of a track can play a different sample. To do this, open the SAMPLE LOCK menu by holding down a [TRIG] key and either pressing the [UP]/[DOWN] keys or turning the LEVEL knob.
The sample slot list of the machine assigned to the track will appear. The sample already assigned to the machine is called TRK DEFAULT. While holding the [TRIG] key of the sam­ple trig pressed, use the [UP]/[DOWN] arrow keys or the LEVEL knob to navigate in the list. Select the sample that should be locked to the sample trig and press [ENTER/YES] to lock it. Sample locks are indicated by a rapidly flashing red <TRI G> LED.

TRIG MODES

The various TRIG modes affect how the 16 [TRIG] keys are used when no RECORDING mode is active. Select which TRIG mode that should be active by pressing [FUNCTION] + [UP] or [DOWN].
The currently active TRIG mode is indicated in the lower right part of the LCD screen, to the left of the scene assigment graphics. Each TRIG mode has its own unique graphical rep­resentation.

TRACK

This is the default TRIG mode. When not in any RECORDING mode, [TRIG] keys 1-8 trig any disconnected audio tracks and [TRIG] 9-16 trig the machines of the eight tracks. Machines can also be trigged by pressing [TRACK] + [PLAY]. Stop playback of the machines by pressing [TRACK] + [STOP]. When in MIDI mode the last eight [TRIG] keys are instead used to trig disconnected MIDI tracks. Read more about how to disconnect tracks in the section “PATTERN SETTINGS MENU” on page 89. Trigless trigs can also be trigged manually by pressing [FUNCTION] + [TRIG 9..16] when not in any RECORDING
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PATTERNS
mode. The track corresponding to the [TRIG] key pressed will be affected. This is good when wanting to for example trig the filter or the LFO but not the sample.
While in LIVE RECORDING mode it is possible to real-time record [TRIG] key presses to place sample trigs on the sequencer. Trigless trigs, instead of sample trigs, can be recorded if [FUNCTION] is held while pressing the [TRIG] keys.

CHROMATIC

This mode enables chromatic playback of samples. When not in any RECORDING mode the [TRIG] keys, plus th e [PATTERN PAGE] key function as a little mini-keyboard. [FUNC- TION] + [TRIG] will manually trig trigless trigs instead of sample trigs. While in LIVE RECORDING mode it is possible to real-time record [TRIG] key presses to create melodic sequences. Trigless trigs, instead of sample trigs, can be recorded if [FUNCTION] is held while pressing the [TRIG] keys.
When a sample is trigged in this mode, the PTCH parameter of the PLAYBACK MAIN page will be temporarily adjusted to a semitone in a 2-octave range. The 2-octave range is only valid for audio tracks; on MIDI tracks notes can be played over a much wider octave range. Change the octave range of the [TRIG] keys by pressing [FUNCTION] + [LEFT]/[RIGHT]. The current octave is indicated to the left of the graphical keyboard representation.
The <TRIG> LEDs keys indicate the black and white keys. C notes are represented by yel­low LEDs, white keys are indicated by red LEDs and black keys are indicated by unlit LEDs. The root note of the sample is found on octave 0 and located on [TRIG] key 13.
When in MIDI mode the [TRIG] keys send note on/off commands on the active MIDI track channel.

SLOTS

This mode gives quick access to the samples of the Flex and Static sample slot lists. Depending on the machine assigned to the active track, pressing a [TRIG] key when no RECORDING mode is active will trig a specific sample in either the Flex or Static sample slot list. While in LIVE RECORDING mode it is possible to real-time record the [TRIG] key
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PATTERNS
presses to make different samples play back on the same track. Trigged samples will then be entered as sample locks on the active track.
The sample slots are divided in 4 rows and each row represents 16 sample slots. Sample slots containing samples are indicated by small white squares. Sample slots not containing any samples are greyed out. Press the [PATTERN PAGE] to move between the rows. If samples are loaded to slot 65 or higher, an additional page containing four new rows will be accessed once the [PATTERN PAGE] key has been pressed a sufficient amount of times.

SLICES

If a sample contains slices, this mode can be used to trigger the individual slices. While in LIVE RECORDING mode it is possible to real-time record [TRIG] key presses to re­arrange sliced loops. The STRT parameter will then be locked accordingly.
The slices are divided in 4 pages, each page containing 16 slices. Available slices are indi­cated by white squares. Toggle between the pages by pressing the [P ATTERN PAGE] key.
Note that the SLIC parameter of the PLAYBACK SETUP page need to be set to ON for individual slices to be trigged. If SLIC is set to OFF, no slices will be trigged. Instead the sample of the active track will be trigged and the [TRIG] keys will affect the STRT value of the sample. Each [TRIG] key will start the sample from a different position. When pressing the first [TRIG] key of the first page the sample will be trigged as if STRT was set to 0. The
STRT value then increases in increments of 2 for the consecutive [TRIG] keys.

QUICK MUTE

This mode works like the mute settings in the MIXER menu. The difference is that the vari­ous track parameters are still visible while in this mode.
The eight leftmost [TRIG] keys mute the audio tracks, the eight rightmost [TRIG] keys mute the MIDI tracks. For detailed mute and solo functionality, see “MIXER MENU” on page 44.
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PATTERNS

DELAY CONTROL

When in this mode the TIME parameters of any Echo Freeze Delay effects can quickly be set.
Green lit <TRIG> LEDs above the [TRIG] keys 9-16 indicate which tracks that contain the Echo Freeze Delay effect. Select one or more of these tracks by pressing and holding the corresponding [TRIG] keys. When doing so the eight [TRIG] keys to the left will adjust the
TIME parameter of the selected delays. The lower the [TRIG] key number, the lower the TIME value.
Which values the eight leftmost [TRIG] keys will select depends on the chosen parameter scale. Two scales exist. 1:2, which is the default scale, and 1:3. The active scale is selected by pressing the [PA T TERN PAGE] key. When 1:2 is selected [TRIG] keys 1-8 will select TIME values 1, 2, 4, 8, 16, 32 ,64 and 128. When 1:3 is selected [TRIG] keys 1-8 will select TIME values 1, 3, 6, 12, 24, 48, 96 and 128.
In addition to setting TIME, a second parameter will be set depending on the current LOCK setting, which is found in the Echo Freeze Delay SETUP page. If LOCK is enabled the SEND parameter will be set to 0. If LOCK is disabled VOL will be set to 127. This is useful when the delays are functioning as repeaters.

SEQUENCER COPY, PASTE AND CLEAR OPERATIONS

To make it easier and quicker to compose using the Octatrack, a number of different copy, paste and clear operations are available. To avoid accidentally overwriting or deleting data, paste and clear operations can be undone.

PATTERN COPY

A pattern can be copied either to a location in the bank it belongs to or to a location in another bank. Before performing a pattern copy o peration, make sure you are not in GRID RECORDING mode. If this mode is activated, press [REC] to deactivate it.
Select the pattern you want to copy, then press and hold [FUNCTION] while pressing [REC]. A message “COPY PATTERN” will be shown in the display. The pattern data being copied consists of trigs and paramete r locks. Select the destination you wish to paste your pattern data to by using the [BANK], [PATTERN] and [TRIG] keys as needed. Paste the data by pressing the [FUNCTION] + [STOP] keys. The message “PASTE PATTERN” will be shown in the display. Pasting a pattern overwrites any previous trigs and parameter locks.
The pattern paste operation can be undone by pressing [FUNCTION] + [STOP] immedi- ately after it has been performed. A message saying “UNDO PATTERN” will be shown in the display.
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PATTERNS
The part assigned to the pattern won’t be copied when performing a pattern copy
command. Should you paste the copied pattern to another bank and want the same part assigned, the part needs to be copied and pasted separately.

PATTERN CLEAR

Clearing a pattern will remove all trigs from all tracks. Before performing a pattern clear operation, make sure you are not in GRID RECORDING mode. If this mode is activated, press [REC] to deactivate it.
Select the pattern you want to clear. Press and hold [FUNCTION]. Then press [PLAY] to clear the pattern. A message “CLEAR PATTERN” will be shown in the display.
The clear pattern operation can be undone by pressing [FUNCTION] + [PLAY] directly after it has been performed. A message saying “UNDO PATTERN“ will be shown in the dis­play.

TRACK COPY

When copying a track, the copied information will consist of trigs, parameter locks, machine and FX assignments. Before performing a track copy operation, make sure you are in GRID RECORDING mode. If not, press [REC].
Select the track you want to copy by pressing the appropriate [TRACK] key. Press [FUNC- TION] + [REC] to perform the copy operation. The message “COPY TRACK” will be shown in the display. Select the destination track to which you want to paste the copied content. Paste the data by pressing [FUNCTION] + [STOP]. A message saying “PASTE TRACK” will be shown in the display . Pasting a track overwrites any previous trigs, p arameter locks, machine and FX assignments.
The paste track operation can be undone by pressing [FUNCTION] + [STOP] immediately after it has been performed. A message saying “UNDO TRACK” will be shown in the dis­play.
If the track copy operation is performed when the TRACK TRIG EDIT menu is
open, only trigs will be copied. Read more about this menu in section “TRACK TRIG EDIT MENU” on page 87.

TRACK CLEAR

Clearing a track will remove all trigs from the active track. Before performing a track clear operation, make sure you are in GRID RECORDING mode. If not, press [REC].
When you have selected the track you wish to clear, press [FUNCTION] + [PLAY] to clear the track. The message “CLEAR TRACK” will appear.
The clear track operation can be undone by pr essing [FUNCTION] + [PLAY] directly after it has been performed. The message “UNDO TRACK” will be shown in the display.
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TRACK PAGE COPY

A track page is one of the up to four pages of sequencer steps a pattern can contain. Cop­ying a track page includes all trigs and parameter lock settings of the track page. Before
PATTERNS
performing a track page copy operation, make sure you are in GRID RECORDING mode. If not, press [REC].
Select the track containing the data you want to copy, then select the track page you want to copy by pressing the [PATTERN P AGE] ke y. Hol d th e [PATTERN PAGE] key and press [REC] to copy the track page. A message saying “COPY PAGE” page will appear. Select the track page you want to paste the copied page to by pressing the [PATTERN PAGE] key. Paste the data by holding [PATTERN PAGE] while pressing the [STOP] key. A mes- sage saying “PASTE PAGE” will be shown in the display. Pasting a track page overwrites any previous trigs, parameter locks, machine and effects assignments.
The paste track page operation can be undone by pressing [PATTERN PAGE] + [STOP]. The message “UNDO PAGE” will be shown in the display.
The copied data can be pasted to another track. After having performed the track
page copy command, select the new track and, if needed, the track page. Then paste.

TRACK PAGE CLEAR

It is possible to clear all trigs from a track page. Before performing a track page clear oper­ation, make sure you are in GRID RECORDING mode. If not, press [REC].
Select the track page you want to clear by pressing the [PATTERN PAGE] key. Clear the track by pressing [P ATTERN PAGE] + [PLAY]. The message “CLEAR PAGE” will appear.
The clear track page operation can be undone by pressing [PATTERN PAGE] + [PLAY]. The message “UNDO PAGE” will be shown in the display.

TRACK PARAMETER PAGE COPY

The settings of the TRACK P ARAMETER p ages can be copied and p asted. The content of both the MAIN and SETUP pages will be copied when performing this operation.
Select the TRACK PARAMETER page you wish to copy and press [TRACK PARAME- TER] + [REC]. A message saying “COPY PAGE” will appear. Paste the copied content by pressing [TRACK PARAMETER] + [STOP].
The TRACK PARAMETER page paste operation can be undone by pressing [TRACK
PARAMETER] + [STOP]. The message “UNDO PAGE” will be shown in the display.

TRACK PARAMETER PAGE CLEAR

A TRACK PARAMETER page can be initialized to its default settings. Select the TRACK PARAMETER page you wish to clear and press [TRACK PARAME-
TER] + [PLAY]. A message saying “CLEAR PAGE” will appear. Undo the operation by pressing [TRACK PARAMETER] + [PLAY] one more time.

TRIG COPY

It is possible to copy a trig of any type, complete with all parameter lock settings, and paste it to a another sequencer step. First make sure you are in GRID RECORDING mode. If not, press [REC].
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PATTERNS
Press and hold the trig you want to copy and press the [REC] key. A window saying “COPY TRIG” will appear. Hold the [TRIG] key corresponding to the location you want to paste the trig to and press the [STOP] key to complete the paste operation. A window showing “PASTE TRIG” will be shown.

TRIG LOCK CLEAR

Instead of removing parameter locks one by on e from a trig you can use the clea r trig locks command. First make sure you are in GRID RECORDING mode. If not, press [REC].
Hold and press the [TRIG] key of the trig whose content you want to clear. Then press [PLAY] to clear the trig. The message “CLEAR TRIG LOCKS” will appear.
The trig lock clear operation can be undone by performing the operation one more time. The message “UNDO TRIG” will be shown in the display.

TRACK TRIG EDIT MENU

This menu is opened by pressing [FUNCTION] + [BANK] when the GRID RECORDING mode is active. The TRACK TRIG EDIT menu offers both an overview of all the trigs belonging to the selected track and the possibility to place a wide variety of trigs on the sequencer. The visible trigs belong to the currently selected pattern page. Toggle between the pages by pressing the [PATTERN P AGE] key. If the track page consist s of less than 16 steps, that will be reflected in the graphics of the menu.
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It is possible to perform copy, paste and clear commands while the TRACK TRIG
EDIT menu is opened. Only trigs will be copied, no other settings.
The menu is available while in MIDI mode as well. When accessed from there the
trigs reflect trigs placed on the selected MIDI track. Slide and recorder trigs are not available to MIDI tracks.

TRIGS

Shows the sample trigs, trigless locks, trigless trigs and one shot trigs of the active track page and their location on the step sequencer. When this alternative is selected and the [TRIG] keys or [FUNCTION] + [TRIG] keys are pressed, sample trigs, trigless locks, trig­less trigs and one shot trigs can be placed on the sequencer. Trigless locks and trigless trigs are indicated by shorter trig symbols.
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