Octatrack spectrum meltdown moment ("OTSMM")

hi electron community.
mothering and coddling shamelessly requested :sob:
:sob: i cant make sense of anything and i feel like giving up. :sob:
im having an octatrack meltdown

or, another way of putting it, im a grown man who’s gone and dived into the hardest electronic instrument in the fucking world, with barely any know-how, and even though im way out of my depth, i still really think its the right tool for me and im actually determined to break through and master this fucking thing. im just having a moment of weakness.

mainly im struggling with missing some vital basic information for this to make sense. ive read merlins manual (really helpful), a bunch of the electron manual (not so helpful), watched loads of tutorial videos (hit and miss), read loads of threads on here (generally pretty awesome), and i still feel completely fucking lost! i feel like theres this really important missing piece to the puzzle, and once i have it, everything else will fall into place.

the thing is, i know i learn differently from other people. ive definitely got some letters to my name, but that is usually my strength too, and as a creative, intelligent, diligent person, i always find a way around my difficulties. its also what has caused me to feel that the octatrack is for me; because (as i understand it), it is modular in how its set up, and therefore more open to creative uses.

basically, i want to understand the octatrack’s logic, in its most basic form, as a set of modular components or elements; how each of those components/elements work, how to join them up, re-wire them and tell them what to do. most people happily miss this part of the process, just get on and do what they’re told, and look back at me struggling wondering why im making life so hard for myself. thats just the way i am and its also what makes me understand things deeply and master things on another level. not better, nessacerily. but usually more out of the box, and more reality bending than most people can be bothered with :slight_smile:

so if you’re still reading this quite long and poetic thread, youre probably a bit like me and also a bit out there or ‘on the spectrum’, and might even completely understand my very right-brained octatrack meltdown experience. you’ll probably recommend some homeopathic remedy to cure my plight. or maybe a good therapist. but mainly what im hoping for is actually a very nuts and bolts logical explanation. or even better, a right-brain friendly version of the manual with lots of diagrams!

if i could, i would like to really grasp the system of functionality, much like a schematics diagram of information and audio flow. if i could imagine it like a table, with loads of gadgets on it, all hooked up with wires. a pile of tapes (samples), and some walkmans (flex/static machines), all being fed into different effects pedals and mixers and eventually coming out of the audio outputs.

i don’t mean i need to understand the electronic circuitry, but like an electronic schematic, diagrams can be really useful. how the information is organised and how it gets used. how the structure of the flow of information goes from the samples/sample slots/machines to the sequencer, and on to the effects etc, and where the parts/paterns/scenes information comes in and how that gets used.

i know its not that simple. but i just want to understand how its set up, and what information goes where. does that make sense?

i used to own a computer program called MaxMSP. it was just like the set-up i described with walkmans etc. you would have widgets (and people would make their own), and you could join them up to make a chain that would do stuff. for example, you would have a widget to play the the audio file (i.e. the sample, sample slot list, and flex/static machine). you would have a data-in hook-up and data-out hook-up, and you would link each hook-up to another widget which would instruct it what to do, or do something with the data coming out. i.e you would have a play button to begin playing the file, and another widget to connect the play button to your external midi hardware device so you could hit play manually (like the physical knobs on the octatrack), then the data out of there would go to a speaker widget, which would connect to your audio out port and then onto your physical external speaker. these widgets would be all laid out visually on a page in the program, and it could get pretty complex, and it was a lot of work to do something quite basic, but the beauty was that you had control over how you pieced it all together, and the possibilities were pretty endless.

basically i want to think of the octatrack like this. i know i can watch a youtube video which tells me how to do basic stuff, or how to do a clever effect. but i dont want to learn that way! i want to know the building blocks of how it works so i can figure that out for myself!

i know that a lot of people wont understand my need for this. but thats how i learn. i want to understand my instrument deeply and then master creatively.

any advice?

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My two cents: the Octatrack was designed (from what I can tell, anyway) in a fairly pragmatic way. There is no clean concept or over-arching design that will unlock your understanding.

However, if you understand the circumstances around its creation, I think that helps illuminate the device. For example, if you understand how the device was originally pitched and sold, and then as time went on, updated and enhanced.

So I suggest, strangely, a “historical” approach! Check out the earliest launch videos and demos to understand what the creators saw as the problems being solved. And then check out any update info or videos in the order that they were released.

That will give you an understanding of the design constraints that were at play in the first place, which will help you see the decisions that were made and the overall goals more clearly.

Elektron has all (?) of their historical YouTube videos online still, that is a great place to start.

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Thats an awesome tip! thanks so much! I will do that right away.

i gotta say, i love these forums! its amazing that all these cool people just want to help each other, know what i mean?

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Just keep going.

That’s all you have to do.

It’ll start to make more sense, slowly. Banks, Patterns, Parts, Scenes, how they’re related, how it all fits together.

It’s like a jigsaw. Don’t grab 20 pieces at once and fumble them… put one piece in at a time, in the right place… the bigger picture will eventually emerge.

The Octatrack is logical, nonsensical, frustrating, fulfilling, often all at once. It’s organic, alive, it has a mind of it’s own.

All you need to do is spend time with it.

And be kind to yourself! (And to your Octatrack :grin: )

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I definitely understand that urge to see the overview!

But in my opinion the Ocky is so complex, does so much, it’s more helpful to master little things and just have fun as much as possible.

The overview will come, with time. There’ll be smiles and tears aplenty along the way!

Remember this helpful phrase:

“OH MY GOD WTF IS IT DOING THAT AGAIN?!!??”

And repeat it anytime you need to :crazy_face:

Octatrack is modular. There is not really a set architecture, you have to do that yourself.

3 layers. 8 tracks per layer. Each layer is totally independent. Every track on every layer is independant.

Sampling layer. 8 track recorders available at all times, regardless of what is happening on any other layer. To sample any source.

Audio layer. 8 audio tracks available at all times, regardless if what is happening on other layers. Audio tracks need to be loaded with a machine. Machines process audio in different ways. Static, flex, thru, pick up, and neighbour.

Midi layer. As above, 8 midi tracks, to send midi data to external gear.

You absolutley need a grip on PARTS.

Advice: start with just audio layer.

Note. In the case of saving, every piece of data above the transport controls, that stuff is saved in PART. Every thing below the transport controls, is saved as PATTERN.

PART and PATTERN can be linked, or they can be independant.

Again, its up to you. Also you dont have to use all of its functions. (I never use pick up machines, nor the arranger)

(Read my description and draw it as a simple diagram, it will click)

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Google “Cuckoo Octatrack tutorial “

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The two key things that slowed me down, when I was in your shoes:

-The separation between the eight recording tracks and the eight sequencer tracks. It’s not intuitive, because you’re using the same buttons to access them. But the audio that record track 1 grabs can be saved or routed anywhere, there’s no connection at all to audio track 1 specifically.

-Parts. Saving a pattern, the primary and obvious Save action, only saves sequencer information. When you have set up audio tracks, their fx and routing, that’s all a Part. So practice understanding and saving them. (This is a design failure on the OT, in my opinion - the importance of Parts is not obvious/accessible enough).

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@Aidan

I highly recommend Thavius Beck tutorials at Mac Pro Video

Octatrack Dynamic Sampling

Octatrack Advanced Sampling

Best investment I made , cleared up all the confusion and frustration I had with the OT

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Audio Path

Structure

Similar thread ?
Basic OT Architecture Questions

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This is the way.

Now let’s call these different aspects.

  • sample playing
  • sample recording
  • midi tracks

(I’ll put the pickup apart.)

Those are the 3 layers.
You can master them independently.

Start with sample playing.
Choose a track.
Load a sample in a static slot.
Place a trig (= step activation) where you want it to play.
Adjust FX settings.

You can already do a lot from this.
Do the same with other tracks.
You got yourself a first Pattern.

Now if you want to create a second Pattern with different settings on the same Bank of 16 Patterns, you’ll have to understand what Parts are.
Nothing fancy really, basically the set of sample slots you’ve chosen for each track, which FX you’ve chosen, plus their settings.

If this is not clear, read again the manual and Merlin’s guide. You need to know that there are 4 Parts for each Bank. And that a Part is where the settings for each track are memorized.

You have different ways to add change in a pattern.
First, with standard modulations such as LFOs.
Secondly, with parameter locks.
You also have the possibility to morph parameters between Scenes. This is fun, but you have to master everything above first.

Courage, take your time. It may take time but you’ll get there. It’s not rocket science but you need to understand the Elektron way and what their words mean before you can assemble all the different parts into a coherent workflow.

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Would you entertain a different approach to having an all encompassing overview? What if you were to point to a few things that are a struggle and see if others can make those concepts more clear. Basically, what if you were to break it down into digestible problems?

I think that would be a helpful approach, providing that the responses are as focused as the questions.

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I’m a fairly experienced Octatrack and Max/MSP user. Would describe myself as barely competent on either though.

Both are similar in the sense that you’re not going to properly understand either of them until you’ve spent a lot of time with them. I’m talking in years, not in weeks or months.

I’m now on my third Octatrack on as many years after rage selling my two previous octatracks because I could never get my head around recording with the bastard things. But all things will eventually reveal themselves, just takes time and patience and making a fucking huge amount of mistakes.

Just remember that when you come up against something that isn’t working, it is always user error, but this can be seen as a positive, a fun problem solving exercise for you to figure out.

Reading manuals and watching videos is only going to get you so far. Fucking shit up for extended periods of time is where the real learning happens.

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My number one peice of advice with OT is stay the fuck away from video tutorials.

Learn it on your own terms.

Never pay someone else to read the manual at you.

Sit down, OT, manual, merlins guide, notebook if helpful. beverage of choice. And just play with it. Rince and repeat until you get it. Which you will.

Its like anything, put the hours in, and it will click.

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One thing to learn on the OT is… patience. No rush. No golden rule. Just practice instead of researching about. Use the damn tool :wink:

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I agree with this. Watching every single fucking tutorial on Youtube is a recipe for information overload that leads to constipation (or paralysis).

The way that I learned it is by focusing on a task and to learn it around it. I think the first thing I did was to learn how use it for slicing a single sample, load it into a single track, and sequence that. Then if I remember correctly, I with that single sliced sample and single track, I went through all the sequencing options, etc.

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Octatrack structure diagram

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I remember the presentation in the former Elektron showroom Friedrichstraße in Berlin some 6 years or more ago… The starting point to explain the Octatracks was to show a Tracker application with 2, then 4, then 8 tracks, adding some fx to them, putting notes and controlling values in the sequences, filing audio snippets into the slot list. As the name of your new beauty suggests the Octatrack is indeed a tracker. Knowing this might help to catch up whats going on…

Even the color scheme of the knobs and their labels make sense. So just looking at the OT knobs and asking why they might be this color/bold labeled or not, does indeed help a lot. From there you will master your muscle memory, which of course takes some days…

Also often forgotten, the OT introduced something unique in matters of UI design: Buttons, in particular the step buttons can be pushed combined to others, even long pressed and short pressed, repeated pressed with different outcome… (means the UI has a hidden timer that figures out if you pressed longer or short)

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this might be worth a scan if you’ve not looked at it yet A polished version of Merlin's OT guide here

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I don’t blame you for your frustrations, but this entire piece could have been written without any reference to Autism.

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