New operating systems for Octatrack, Machinedrum and Monomachine

October 17, 2011 · Posted in Uncategorized · Comment 

Elektron has released three new operating systems.

Octatrack OS 1.03 brings full 24-bit sample compatibility to the Octatrack, meaning Static machines now can handle samples in this bit rate. The OS release also contains bug fixes.

Machinedrum OS 1.63 and Monomachine OS 1.32 adds among other things improved handling of program change messages. A few bugs have been remedied as well.

Downloads:

Monomachine and TR 909 patterns

October 16, 2011 · Posted in Uncategorized · Comment 

Background info: Borrowing a TR 909 for a bit. A few test patterns on the Elektron Monomachine and Roland TR 909. Here the Monomachine is synced to the TR 909. This TR 909 has an earlier version of the MIDI specification and does not always follow MIDI perfectly. Vice versa works fine. Switching patterns manually on both the 909 and the Mono.

The Elektron Tapes continues

October 1, 2011 · Posted in Uncategorized · Comment 

Elektron tapes (#3). Studies inspired by Aphex Twin & Venetian Snares productions — using Elektron Monomachine SFX60+ Elektron Octatrack w/ Pro X Fade coss-fader on Vestax PMC-05 Pro III. Also featuring Korg Kaoss Pad KP3 (x2) & Korg Kaoss quad. Performed by sound artist & noise designer Zviij © 2011.
* Booking : zviij AT zviij.com
N.B.— Zviij’s singles “Bug Machines III, IV, V” are available for download on iTunes http://itunes.apple.com/us/album/bug-machines-v-single/id432389810

Zviij — (born Franck Smith) is a French sound artist, noise designer and electronic musician, active as a soloist, living and working in Brussels.

http://www.zviij.com

The Elektron Tapes

September 18, 2011 · Posted in Uncategorized · Comment 

Elektron tapes (#1). Studies inspired by Aphex Twin & Venetian Snares productions — using Elektron Monomachine SFX60+ Elektron Octatrack w/ Pro X Fade coss-fader on Vestax PMC-05 Pro III. Also featuring Korg Kaoss Pad KP3 (x2) & Korg Kaoss quad. Performed by sound artist & noise designer Zviij © 2011.
* Booking : zviij AT zviij.com
N.B.— Zviij’s singles “Bug Machines III, IV, V” are available for download on iTunes http://itunes.apple.com/us/album/bug-machines-v-single/id432389810

Zviij — (born Franck Smith) is a French sound artist, noise designer and electronic musician, active as a soloist, living and working in Brussels.

http://www.zviij.com

Back to basics: Working OT

July 24, 2011 · Posted in Uncategorized · Comment 

Nice demo featuring the Octatrack:

Loaded up the Octatrack with some loops and hits. Everything but the main drum loop is from either the Buchla 200e or old recordings from when I had a eurocrack system. TResonator goes from subtle to downright nasty as I test my limiters. Check your ears and your levels on this one. Slider P-Locks the drum track delays for the pseudo Karplus-Strong sounds.

Technos Acxel gets sequenced by the Elektron Octatrack

July 10, 2011 · Posted in Uncategorized · Comment 

The Technos Acxel may look similar in operation to a sampler, although its workings were very different and the sound structure is accessible. Where samplers used an A/D converter to convert a continuously-variable analogue signal into digital data, the Axcel worked on the premise that any sound, no matter how harmonically complex, could be broken down into a finite number of sine waves, and that these sine waves could be individually altered to fundamentally change the sound, producing what Technos founder Nil Parent termed re-synthèse. The Acxel was invented by Pierre Guilmette, the operational design was Nil Parent realization, the system was developed at Technos, company own and directed by Pierre Guilmette, Nil Parent and other partners.

Utilising a FFT (Fast Fourier Transform) analysis, sounds inputted into the Acxel were broken down into a number of variable-amplitude and variable-frequency sine waves, up to a maximum of 1024. Once sounds had been processed by the Acxel, all the constituent waves could be pitched up or down by the same factor, which had the effect of increasing the pitch of the sound without affecting length, or introducing any of the digital artefacts that traditional samplers did (for example, pitching all waves up by a factor of 2 would raise the overall pitch of the sound by 1 octave, without affecting length. Using a traditional sampler, pitching a sound up by 1 octave would result in it being halved in length).

The Acxel also had the capability to synthesise sounds from scratch. The same 1024 sine oscillators, that in fact can be of various waveforms including of draw-able shape, which were used to resynthesize sounds could also be used for additive synthesis. You can either take Analyzed sounds and modify them. A large palette of parameters and controls is accessible, on the same manner if you start from scratch or from analysis, and in Real Time:

Features:

o Draw waveforms directly onto its LED matrix display with finger-tip (a feature once offered by the Fairlight CMI almost 10 years previously, albeit using a video monitor and light-pen).

o Draw dual Spectrum type shapes for Amplitudes, Frequencies (with separate: Integer / Decimal parts, and Envelope Variation), Phases – Corresponding to each parameter the base spectrum and the MIDI control spectrum.

o Draw dual Envelopes to each Oscillator Parameter: Amplitude, Frequency – Corresponding to base envelopes and MIDI control envelopes, independent on each oscillator.

o Draw dual Envelopes to each voice parameter: Volume, FM, Color, LFO1, LFO2 – Corresponding to base envelopes and MIDI control envelopes. Draw waveforms for LFOs.

o You can also apply a digital type of filtering named COLOR filter. With center frequency envelope. The frequency is expressed as harmonic number, then you apply the filtering on the same manner at 100 Hz or 2000 Hz or 5000 Hz. With possible selection of harmonic numbers to be filtered or not (example to keep fundamental). With drawn envelope and filter shape (Low pass, High pass, Band, User-drawn response curve – for example Comb type shape)

o FM (Frequency Modulation) envelopes is also accessible and applied on the created sound structure (or analyzed).

o Other controls and editing: Timbre interpolation, Time stretch / expansion, extended MIDI controls (programmable control curves), muting elements, chorus.

In this video:

Technos Acxel gets sequenced by the Elektron Octatrack, lfos controls different arpeggiator settings. the sound from the Acxel gets routed back into the Octatrack for some effects mangling.

New hands-on demonstration of the Elektron Octatrack

May 12, 2011 · Posted in Uncategorized · Comment 

Very good overview and demo of the Octatrack in action. The Octatrack is an 8 track performance sampler. Recording of sounds is a breeze thanks to the intuitive user interface, but the fun really starts once the samples are inside the machine. All audio content can be heavily processed and radically transformed. Loops do not have to be restricted by tempo or tone and can always stay in sync no matter if they are pitch shifted or if the tempo of the sequencer is changed. The inflexible nature of samples is finally a thing of the past.

Flex machines offer the most extensive sound manipulation possibilities. A sample used within a Flex machine is loaded to the RAM memory of the Octatrack. From there it can be twisted, stretched, warbled and reassembled in multiple ways. Flex machines are unbeatable sound processors. Thru machines do not sample or play back sounds. Instead they let the Octatrack affect incoming audio with the dual FX blocks. They are very handy in live setups. Static machines are the perfect tool for handling extremely large samples. Samples assigned to Static machines are streamed from the Compact Flash card, thus their size can be in the order of gigabytes. Of course you can time stretch and pitch scale them as needed. Neighbour machines listen to the output of the preceding track. Multiple tracks with Neighbour machines can form extremely powerful effects chains. They can turn the Octatrack into a deluxe effects device.

In this video:

In this video Peter demonstrates some basic features of the Elektron Octatrack utilizing sounds from the Demo mode. More to come!

Specs:

  • 8 track internal sequencer
  • 8 track MIDI sequencer
  • 64 step variable length Tracks
  • Unlimited Projects & Sets
  • 8 instantly available Arrangements
  • 16 instantly available Banks
  • 16 instantly available Patterns & fader scenes per bank
  • 4 parameter sets per Bank
  • 2 effect blocks per track
  • 8 Recorders
  • 3 LFOs per track
  • 1 LFO designer per track
  • two 24 bit stereo Inputs
  • 24 bit stereo main, cue & headphones Outputs
  • >100 db signal to noise ratio
  • turbocharged miDI In, Out & THRU
  • Assignable infiniumR optical crossfader
  • Compact Flash card reader
  • 480 mbps USB 2.0 connectivity
  • sturdy steel chassis
  • rubbery no-slip knobs
  • 3 year Elektron warranty
  • 2 gB of high quality loops courtesy of Loopmasters come pre-installed on the bundled 4 gb Compact Flash card

Dataline Vs Koshi Mazaki – The Trinity Jam – Octatrack Monomachine Machinedrum

April 2, 2011 · Posted in Uncategorized · Comment 

Dataline and Koshi Mazaki – Jamming it out!

Octatrack – Monomachine – Machinedrum only!
MD and MNM are fed into Octatrack.

No presets or anything, straight action!

Elektron Octatrack Microtiming

March 20, 2011 · Posted in Uncategorized · Comment 

This is a real quick introduction to using microtiming on the Octatrack and an application of it. Sometimes a loop may be largely in mono and you might want to make the stereo width seem broader. Here we have a high-hat slice on two tracks. On the first track it is panned all the way to the left and on the second track it is panned all the way to the right. You can then move the second hat around with microtiming to get a broader width.

How the Octatrack actually works

February 22, 2011 · Posted in Uncategorized · Comment 

On CDM a couple of people mentioned that there were not enough videos just showing simply how the Octatrack works and breaking things down a bit. Heres a quick run through of the basics, and the scenes functions.

Via Genjutsushi

The Octatrack is an 8 track performance sampler. Recording of sounds is a breeze thanks to the intuitive user interface, but the fun really starts once the samples are inside the machine. All audio content can be heavily processed and radically transformed. Loops do not have to be restricted by tempo or tone and can always stay in sync no matter if they are pitch shifted or if the tempo of the sequencer is changed. The inflexible nature of samples is finally a thing of the past.

The Compact Flash card compability allows for huge amounts of samples to be constantly accessible. The USB port is ideal when transfering sample libraries between your computer and the Octatrack. The optical fader can be assigned to any of the parameters, adding a wealth of live control possibilities.

The producer will be able to treat samples in radical ways. The extensive audio mangling capabilities paired with the user friendly interface make the Octatrack an outstanding studio tool.

The DJ can sample in real-time, add effects and blend in pre-recorded loops to really add a twist to a set. The Octatrack can be regarded as an extremely flexible turntable.

The performer needing gigabyte large backing tracks during a live gig will appreciate the sample streaming functionality of the Octatrack. Streamed samples can still be subject to time stretch and effects processing.

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