MKII

II The Octatrack Notebook : Reference & Guide

 Contents
1 Overview 1

2 Architecture 9

3 Sets & Projects 27

4 Track Basics 51

5 Track Machines 81

6 Track Recording 123

7 AMP 147

8 Parts and Scenes 157

9 Pattern Basics 177

10 Patterns Advanced 209

11 LFO’s 257

12 Audio 277

13 Effects 325

14 MIDI 361

15 Arrangements 421

16 System 449

17 Index 467

The Octatrack Notebook : Reference & Guide III

IV The Octatrack Notebook : Reference & Guide
 1
Overview
Elektron were born in Gothenburg, Sweden, a a dynamic performance sampler with 8 audio
in 1998. With over 20 years of experience in sample based tracks and 8 MIDI with a high
creating unique musical instruments and performance feature set for editing, manipulating
effects modules Octatrack was first released in and sequencing. Octatrack is not a Swiss army
2011 and updated to the MK2 model in 2017. knife for the music maker but focusses more on
There is no doubt that Octatrack is a powerful being a high performance sample sequencer. It
and feature rich device and contains much of does this extremely well. Octatrack is ideal for
the Elektron DNA including the sequencer, the centre piece or hub of any studio or live set
trigs, parameter locks and a lot of the features up. With extensive MIDI control for external
that have become synonymous with Elektron. devices, multiple sampling options, its ability to
However what comes alongside this power is real time edit and manipulate audio, Octatrack is
some complexity and a steeper learning curve a modern classic. This guide offers you a
to develop knowledge and get the best from reference and tips on getting the best from it.
this fantastic instrument. Building a workflow There are walkthroughs and instructions that will
and developing muscle memory will require an help both the newcomer and advanced user
investment of time. Hopefully this producer alike. The diagrams are for illustration and are
guide will help speed up your learning and get not official technical schematics. Designed-in
a clear understanding of Octatrack and its space allocated to adding your own notes and to
entire features allowing music making to be make it personal. The design is intended to bring
effective. If you’re currently confused or unclear a comprehensive information set and content
then stay with us, all will become clear. alongside your own notes in a PDF e-notebook
So what is Octatrack? It says on the tin that it’s format.

The Octatrack Notebook : Reference & Guide 1

1 Overview
1.1 How to Use This Notebook NOTES

This book combines a formal reference alongside your own notes and
comments, collectively bringing together a comprehensive guide to
Octatrack.
te n here Here
Can be writ
Your Notes
Sections are laid out to cover the full workflow with walkthroughs, step by
step guides and tips. Some pages carry a wide margin and some are
intentionally blank enabling you to make your own notes on the specific
topics covered.

Control conventions.

(CONTROL)

Rounded parentheses represent the context sensitive rotary controls. The

data entry controls labelled A-F or any other rotary which is indicated by its
name i.e. (LEVEL) - level rotary control.

{FADER}

The crossfader is described within the curly parentheses.

[FUNC]

Square parentheses contain functions that are selectable by a physically

dedicated button - either as a primary or secondary function.

[FUNC] + [YES]

Functions which require multiple button selections simultaneously are

shown with a + symbol between each required button.

Buttons are labelled with the primary functions and accessed by simply
pressing the button. The labels underneath indicate the function selectable
through multiple button selection, typically using [FUNC] + [BUTTON].

Step buttons 1-16 will be indicated purely by the respective trig number i.e.
[1], [2] … [16] and will normally be preceded by the current context i.e. Trig.
Tracks are identified as [T1], [T2] etc unless referring to all track buttons in
general in which case [Tx] is used.

There are some buttons that show symbols rather than text for the function.
This includes the transport and tempo buttons.
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2 The Octatrack Notebook : Reference & Guide

 Overview 1
1.2 Hardware Overview

5 Pin MIDI DIN

In, Out, Thru

63
mm

On / Off 12V DC Hi Speed Compact Flash ¼” Audio outs - cue & main (balanced).
Switch Power USB 2.0 Card Slot 4 x Audio in (balanced/unbalanced).
Input. Type B 1 x Stereo 55 ohm headphone out.

340mm

184
mm

The Octatrack Notebook : Reference & Guide 3

1 Overview
1 Audio Outputs 2 Audio Inputs AB & CD
Main and Cue outputs plus headphone out Connect ¼ Mono unbalanced or ¼ TRS balanced cables

3 MIDI 4 Headphone Vol

5 Pin DIN type MIDI In, Out and Thru Adjusts the headphone output level

5 TRACKS 1 - 4 6 Real Time Recording Functions

Track selection, [Tx], Press [FUNC] + [Tx] to mute. AB and CD audio input recording.
Also selects track recorder and cues a track. Secondary [FUNC] + [RECx] to open setup menu.

7 Real Time Recording Functions 8 MIDI Mode

Internal audio recording. Switches to MIDI Mode to access MIDI tracks.
Secondary [FUNC] + [REC3] to open edit menu. Secondary [FUNC] + [MIDI] to open MIDI Sync options.

9 Project Menu
Selects the project [PROJ] settings.
Secondary [FUNC] + [PROJ] saves current project. 1 2 3

10 Part Selection
Selects part 1-4. 4
Secondary [FUNC] + [PART] opens part editor. 6 7 5

11 Audio Editor
Selects audio editor options.
Secondary [FUNC] + [AED] opens the slice menu. 8

12 Mixer
Selects audio input / output and mute mixer. 9 10 11 12 13
Secondary [FUNC] + [MIX] sets metronome on/off.

13 Arranger
Opens the arranger editor. 14 15 16
18 17
Secondary [FUNC] + [ARR] arrangement mode.
22 21
14 SRC Track Parameter Page
Opens the Source Page or Note in MIDI Mode. 19 20 35
Parameters dependant on machine selected.
Secondary [FUNC] + [SRC] opens the page setup.

15 AMP Track Parameter Page

Opens the Amplitude page or Arp in MIDI Mode.
Secondary [FUNC] + [AMP] opens setup options.
23
16 LFO Track Parameter Page
Opens the Low Frequency Oscillator Page.
Secondary [FUNC] + [LFO] opens LFO setup.

17 CUE button 18 Function to access to secondary options.

Press [CUE] + [Tx] to cue the track ‘x’ outputs. Used in conjunction with secondary button to access
Press [FUNC] + [CUE] to reload to the current part. the alternate function using [FUNC]+[button].

19 Pattern. 20 Bank.
Pattern selection, Press [PTN] + Trig [1] - [16]. Bank selection, Press [BANK] + Trig [1] - [16].
[FUNC] + [PTN] to open pattern settings. [FUNC] + [BANK] to open track trig edit options.

21 Navigation buttons 22 Yes / No.

Navigates menus and options [UP], [DOWN], Acknowledges, selects or cancels a function.
[RIGHT], [LEFT] and also nudges BPM.

23 Trig Sequence.
Selects Sequence Steps, Press Trig [1] - [16].
Also select bank, pattern, scene or track / sample / MIDI

4 The Octatrack Notebook : Reference & Guide

 Overview 1
24 Compact Flash card slot 25 Card Status.
Insert high speed compact flash. Maximum 64Gb. Activity indicator for compact flash card. Do not
power off or remove card if brightly lit or flashing.

26 USB. 27 Power.
Type B High Speed 2.0 USB Port. Used for Power supply DC in connector and the main
connecting a PC for sample management or updates. power on/off switch.

28 TRACKS 5 - 8 29 OLED Display

Track selection, [Tx], Press [FUNC] + [TRACK] to mute. Context sensitive 128 x 64 resolution display will
Also selects track recorder and cues track. show the function selected.

30 LEVEL
Adjusts the overall track volume level. For
master level use [FUNC] + (LEVEL).
24 26 27
25 31 DATA ENTRY
Data entry rotaries that correspond to the 6
parameters for the function and page displayed.
28 Press and turn for larger parameter increments.
In the [AED] Audio Editor these perform
30 31
dedicated editing parameter adjustments.

32 Tempo
29
Opens the tempo menu. Hold [FUNC] + tap
32 [TEMPO] for setting a BPM. [Tx] + [TEMPO] to
sync pick up machine hosted track.

33 FX1 Track Parameter Page

33 34 Opens the first effect or MIDI Ctrl 1 main page.
Secondary [FUNC] + [FX1] opens setup pages.
36 37 36

35 34 FX2 Track Parameter Page

Opens second effect or MIDI Ctrl 2 main page.
Secondary [FUNC] + [FX1] opens setup pages.

38
35 Sequencer Transport Modes & Controls

23 [REC] Grid Recording Mode - On/Off

[REC] + [PLAY] Live Recording Mode
[REC] + tap [PLAY] + tap [PLAY] Live Quantize.
[REC] + [STOP] Step recording mode.
36 Scene A & B
Scene buttons used for setting and storing different [PLAY] Starts the sequencer running.
parameter states. [A] or [B] + Trig [1] - [16] will assign [STOP] Stops the sequencer playback.
one of the 16 scenes. To set a parameter to the current
scene hold [A] or [B] + turn (DATA ENTRY). To mute the [FUNC] + [REC] for Copy function
scene [FUNC] + [A] or [B] for the scene to mute.
[FUNC] + [STOP] Pastes the copied item
[FUNC] + [PLAY] for Clear function

37 Crossfader Page
The crossfader can morph dynamically and creatively 38
Selects the active pattern page.
between the two selected A and B Scenes. Lit LED indicates available pattern pages,
flashing LED indicates the current page that is
being played. Each LED represents 16 steps of
the 64 available i.e. 4 pages. To open the scale
menu press [FUNC] + [PAGE].

The Octatrack Notebook : Reference & Guide 5

1 Overview
1.3 Demo Mode NOTES

Octatrack has a demo mode that allows the functions to be tried out without
the need for a compact flash to be installed. This is normally used to allow
familiarisation and getting to know the basics rather than for the full use of
Octatrack features. Saving is not possible in demo mode.

▌ ACCESSING DEMO MODE

1. Power off Octatrack.

2. If installed, remove the compact flash card.

3. Press and hold [YES] + Power On the Octatrack.

4. Demo mode will be displayed and opened.

DEMO
MODE

▌ USING DEMO MODE - GETTING STARTED

1. Demo patterns are available in A01 - A16. Select one of the available
patterns using [PTN] + Trig [1] - [16].

2. Play a pattern by pressing [PLAY].

3. Mute a pattern by pressing [FUNC] + Track [T1] - [T8].

4. To adjust the track parameters, firstly select the track [T1] - [T8}, then
select the track page i.e. [SRC] then adjust the data entry control for the
designated parameter.

5. Press [FUNC] + [CUE] to reset parameter values to the saved default.

6. To record a sequence pattern, press [REC] to enter GRID RECORDING

mode. Select a track [T1] - [T8], then press trigs [1] - [16] to select or
deselect steps in the pattern.

7. Scenes and parameter locks can also be applied in demo mode.

6 The Octatrack Notebook : Reference & Guide

 Overview 1
1.4 Quick Start Workflow
While demo mode is good to get a quick understanding of the functions and sound of Octatrack
there is nothing like developing the first project. Everyone will develop there own workflow and
muscle memory will lock it in to a working pattern. As a kick off the workflow process is captured
here for generally sequencing a sample based pattern to help get started.

ALTERNATIVES S ACTION COMMENTS

If working on an existing project the previously 1 Create or Mount a Set A set must be mounted and project loaded in
mounted set and project will automatically open. order to work in Octatrack. The set audio pool
would need to contain samples for them to be
accessible to the machines. New sets may
2 Create or Load a Project require samples to be added to the audio pool.

3 Select & Set up a Track What do you want it to do?

Example: Track 1 = Bass-line.

Other machine options: thru machine to route 4 Select & Assign Machine to Track Whats the audio source? Flex and Static
external audio, neighbor machine for internal Example: Flex Machine to play samples Machines work with samples.
track audio, pickup machine for looping.

Audio can be recorded in using a track recorder 5 Configure Machine The machine assignment and setup occurs in a
into a flex track sample slot or a pickup machine. Example: Add samples from audio pool ‘part’, the default is 1. Variations can be setup in
into the flex machine slots parts 2, 3 or 4. There are four parts in each bank.

6 Set a Tempo The BPM tempo can be adjusted later and used
also for sample time adjustments

7 Select a Pattern Length There are 16 steps in each of four pages. The
length can be set up.

Select a bank and load am existing pattern. Parts 8 Sequence a Pattern Trigs can be set on the steps to trigger the
are also stored in banks. sample playback. Trig locks and trig conditions
can add variations and parameter changes.

9 Arrange Patterns Multiple patterns can be assembled to create a

sequence of patterns for a full song arrangement
using the arranger tool.

10 Set up scenes Parameter settings can be set to scene A and B

Example: Set filter cutoff at max and min allowing transitions between the two using the
for A and B to give a sweep option. crossfader.

11 Modulation with LFO Modulation of parameters can be applied with

Example: Modulate a flex sample start one or more of the low frequency oscillators.
position for a glitch effect Adds movement and interest to the sound.

12 Add an effect or two A variety of effects can be inserted into the two
Example: Delay and reverb are common available effect slots. Effects can also be used for
effects to be applied. external audio processing using the thru machine.

13 Tweak and adjust track parameters

SRC and AMP pages.

14 Mix Tracks Mixing all track is possible with the mixer. Also
track 8 can be set up as a main output track.

The Octatrack Notebook : Reference & Guide 7

 NOTES

8 The Octatrack Notebook : Reference & Guide

 2
Architecture
Make no mistake, Octatrack is a complex and laid out in this section. The hierarchical structure
comprehensive device. There are so many and organisation of data and functions such as
features and a wealth of options and choices. Sets and Projects are summarised collectively
The overall structure of Octatrack can seem at and how they work together with the more
first glance, confusing. However spending a creative elements such as Tracks, Parts and
little time to understand the overall architecture Machines. Octatrack users find the architecture
and its terminology will set a good starting and how the elements fit together one of the
foundation. For this reason there are no most confusing things when using the sampler. It
apologies for taking time to get intimate with the is therefore worth the investment of time and
architecture of the overall device and bringing focus in understanding the architecture
this summary upfront in this guide. Getting a hierarchy. Developing a fundamental workflow
solid understanding and awareness of the and efficient process will help get the most out of
Octatrack’s structure will help enormously in Octatracks features.
getting to grips later with the rest of the device.
There are no assumptions on compatibility with
the other Elektron devices and this section is
self contained to help get an understanding of
the core fundamentals and principles behind
the Octatrack. While more in depth details for
specific topics are covered in the following
sections of the guide book, the foundations are

The Octatrack Notebook : Reference & Guide 9

2 Architecture
2.1 Glossary of Terms
While you may think this should be hidden at the back of this book, understanding the terminology
applied in ‘Elektron World’ and especially the Octatrack will help unlock it’s power and performance.
It makes sense to become familiar early with the essential terms to help embed into your workflow

Amp: Shortened name for amplitude. Octatrack Flex Machine: An audio track machine that
provides a dedicated settings page to configure manages a sample as the audio source. The
levels and shape of audio. sample is located in one of the machines 128
sample slots and streamed from the RAM memory.
Arrangement: Structures the playback of
sequential patterns. Each project contains 8 FX: A number of assignable effects are provided
arrangements. with dedicated pages. These include EQ, reverbs,
filters and delays amongst others.
Arpeggiator: A feature available for MIDI tracks that
generates repeatable or random note patterns. LFO: Low frequency oscillator which is not
specifically used for sound generation but more so
Audio Editor: Utility to help edit and adjust audio. to modulate parameters for sound design and
For example trimming audio samples. movement. Octatrack has a 3 LFO’s with
selectable or customised waves.
Audio Pool: Octatrack’s main audio sample
location available to the project flex and static Looping: The process of replaying audio
machine slots and found on the compact card. continuously in a defined cycle e.g. start to end
Each Set has one audio pool. then start to end. Overdub recording can also be
performed to build multi layered loops.
Audio Track: Up to 8 Audio Tracks are available for
sequencing audio orientated patterns. Samples Lock Trig: Activates a defined parameter change
and audio routing is hosted and managed by the on a sequence step without triggering the note i.e.
use of Octatrack ‘machines’. Filter change.

Bank: Banks are used to structure the organisation Machine: Each track has one of five available
of patterns, ideal for full song compositions. Each machines assigned. Each machine provides
project contains 16 banks (A-P), each with 16 unique functionality to manage the audio source.
patterns (01-16) plus 4 parts. Think of a machine as an audio configuration app
for setting the tracks audio source and settings.
Compact Flash: A removable memory card which
stores sets and samples as well as for streaming MIDI Track: Octatrack has 8 MIDI tracks, available
audio samples to Octatrack static machines. for MIDI I/O Sequencing.

Conditional Locks: Applies specific rules on how Mute: Muting offers variations that can be created
and if a Trig will operate. Considered pre-requisite by silencing the play out of tracks and patterns for
criteria for the step to operate sound design and especially when playing live.

Elektron: The designer and manufacturer of Note Trig: Triggers a specific note sound or midi
Octatrack and many other great audio products. note on the selected track step. For example when
setting sequence patterns.
File Manager. A utility for managing folders and
files on the compact flash. Located in ‘card tools’ Octatrack: An 8 track dynamic performance
under the [PROJ] menu. sampler and MIDI sequencer.

10 The Octatrack Notebook : Reference & Guide

 Architecture 2

OS: Operating System is the core software that Sample Slots: When using samples in a track, they
makes Octatrack work. It handles how it operates can be hosted (copied from the audio pool) into
and periodic updates from Elektron bring new one of the two flex or static machines sample
features into use. slots. Each of these machines has 128 available
sample slots.
Overdub: The process of recording audio on top of
existing audio without erasing. The combination Sampling: The act (and art) of recording and
recorded audio layers forms the audio sample. capturing audio to be edited and creatively
assembled into a new musical composition.
Parameter: The individual value of a specific
function or control element. A parameter can be Set: The highest level in the organisational
adjusted to affect a sound or a functions operation. structure. A set contains all of it’s projects and also
an audio pool and is located on the compact flash
Parameter Lock: Is where a unique parameter card. Think of a set as a collection of songs used
setting is applied to one or more Trigs for example in a live gig or an album. Octatrack will always
a pitch setting for note trigs in order to develop a need to operate within one mounted set. The
melody sequence. factory set is named ‘PRESETS’.

Part: Each bank contains 4 parts. A part contains Scene: Two scenes can be assigned under the ‘A‘
the information for how each track is configured and ‘B’ Slots and controlled by the DJ style cross
with machines and their samples plus track fader. Each scene has a set of defined parameter
parameters, FX assignments and scene settings. settings and therefore offers a transition between
Think of a part as a track preset or patch that the two scenes.
allows an optional audio variation change in the
current pattern. Static Machine: An audio track machine that
manages a sample as the audio source. The
Pattern: This is the backbone and core of an sample is located in one of the machines 128
Octatrack sequence. Each pattern stores the sample slots and streamed from the compact flash
sequence of samples and trigs, parameter locks, card.
lengths and everything associated with each
pattern for the audio and MIDI tracks. Track: Octatrack contains 8 Audio tracks for
triggering samples and audio and 8 MIDI tracks for
Pickup Machine: One of the five available track controlling external devices.
machines specifically used to perform sample
recording and looping. Track Recorder: Function used to manually or
automatically perform sample recording from
Project: The overall pattern container which external or internal audio.
includes general settings, all banks and pattern
slots. If a set is the album or set list, think of a Trig: A term used to describe the trigger / activation
project as an individual song within it. A project of a notes or parameter change for a selected step
should always be loaded to work with Octatrack. or note in a sequence.

RAM Memory: While Octatrack operates mainly Thru Machine. A track machine used specifically
from the compact flash card, on board RAM for managing and routing incoming external audio.
memory is also used specifically for flex machine Ideal for using Octatrack as an effects unit for
audio and also track recorders. external audio.

Sample: The basic audio sample. Format for use in

static and flex machines is 16bit or 24bit, 44.1Hz,
wav or aiff, mono or stereo files.

The Octatrack Notebook : Reference & Guide 11

2 Architecture
2.2 Octatrack Audio Structure
Compact A set is mounted i.e. made accessible from the flash card to the Octatrack. A
Projects project is then loaded from the set to be the active project. The number of
Flash
Card Audio + projects in a set is only limited by the size of the compact flash card size.
One common audio pool per set is accessible to all of its projects.

Set

Project Project Audio Pool

Project Loaded Project

Project

BANKS Arranger
16 Banks, A - P 8 Arrangements, 1-8

A
Constructs sequences
of multiple patterns

PATTERN PART
16 slots per bank 01 - 16 4 Parts per bank, 1 - 4

01 01
A Part is like a preset The flex machine and the static
which assigns and sets machine each has 128 sample
8 Audio Tracks controlled the configuration for
by the active pattern slots to host audio samples.
tracks in a pattern.
Default is Part 1.
1 Track 1
5 Machines
Machine Flex Static
+ + Pickup
Sample Sample RAM Memory
Thru
8 Track Recorders

Track Trk Params Neighbour

Parameters

A Scene B 16 Scenes

FX
Parameters FX Params

FX1 Effect 10 FX Options

FX1 Effect 14 FX Options

LFO1 LFO2 LFO3

2 Track 2 1
3 Track 3 1
Sample per Trig
4 Track 4 1 While the general sample for
the pattern is set in the flex or
5 Track 5 1 static machine for the track, trig
locks can apply different
samples to individual trig steps.
6 Track 6 1
RAM Memory

7 Track 7 1
8 Track 8 1

12 The Octatrack Notebook : Reference & Guide

 Architecture 2
2.3 Octatrack MIDI Structure
Compact A set is mounted i.e. made accessible from the flash card to the Octatrack. A
Projects project is then loaded from the set to be the active project. The number of
Flash
Card Audio + projects in a set is only limited by the size of the compact flash card size.
One common audio pool per set is accessible to all of its projects.

Set

Project Project

Project Loaded Project

Project

BANKS Arranger
16 Banks, A - P 8 Arrangements, 1-8

A
Constructs sequences
of multiple patterns

PATTERN
16 slots per bank 01 - 16

01

8 MIDI Tracks controlled by

the active pattern

Track 9

Note 1
Note 2
Note 3
Note 4

Arpeggiator
MIDI Channel Output

CC1 CC6
CC2 CC7
CC3 CC8
CC4 CC9
CC5 CC10

LFO1 LFO2 LFO3

Track 10
Track 11
Track 12
Track 13
Track 14
Track 15
Track 16

The Octatrack Notebook : Reference & Guide 13

2 Architecture
2.4 Compact Flash Card & Memory NOTES

The Octatrack uses a removable high speed compact flash card to host
sets and audio samples. This is an integral part of Octatrack and although a
demo is built into the device the compact flash card needs to be installed to
use samples and manage sets and project.

Compact cards should be UDMA compatible, 133x (20Mb/Sec) read / write

speeds, formatted ideally to FAT32 (or FAT16), maximum 64GB size.
Instructions for using a new card are found in the sets and projects section.

866x PROFESSIONAL
CP CARD FOR OCTATRACK

OCTACARD 32 GB

Card Status.

Steady lit green dim - Card inserted but can be removed.

Flash green - card being read. Do not remove card.

Flash red - card being written to. Do not remove card.

Steady yellow dim - Prompt to press [STOP] to confirm write.

Some functions require this confirmation before proceeding

Never remove the card while it is being written to or being read

as indicated by the flashing card status LED.

To remove the card press the release button on the slot once to release the
button latch. When it protrudes press again to release the compact flash
card ready to be extracted.

14 The Octatrack Notebook : Reference & Guide

 Architecture 2
NOTES

* Sets and projects named as created. An audio folder is created

FLASH CARD
in each set. Sub folders can be created in the audio folder. Newly

COMPACT
created sets will initially create an empty audio pool.

32GB
Set
Set Name*

Sample1
ProjectA* ProjectB* Audio Sample2
Sample3

A set is mounted to be
used by the Octatrack

A project is loaded to the

Octatrack to be active for editing
and playback.

Samples stored in the flex and static machine

lists are available to all static and flex
machines in the project.

Static Machine.
Samples are loaded to the static
machine slots. Maximum 128.
Read from compact flash

Flex Machine.
Samples are loaded to the flex
machine slots. Maximum 128.
Read from RAM memory

~65MB available for Flex Sample

On board RAM memory available to a

project 85.5MB

~2.7MB available per track recorder

RAM

It is recommended to keep a back up of the compact flash card either to a PC /

Mac hard drive or on a spare backup compact flash card.

The Octatrack Notebook : Reference & Guide 15

2 Architecture
2.5 What does what? NOTES

Lets talk further about the key functions. Due to Octatrack’s complexity, it
makes sense to summarise a little more on the roles of specific functions
and how they interact with each other before getting deeper.

Function Structural Description What does it do?

Set Highest level of the octatrack hierarchy A package of multiple projects plus an audio
acting as a structural container located pool which is accessible from all of the active
on the compact flash card and mounted sets projects.
to Octatrack when being used.

Project Contains; 16 banks, 8 arrangements, 8 A project is considered as the collective

audio tracks plus recorder and buffers, elements which are used for creating and
8 MIDI tracks, parameters, BPM, flex & playing out a complete song arrangement. A
static machine sample slots project must loaded to Octatrack to access it.

Part Each bank has 4 available parts one of Think of a part as a preset configuration
which is assigned to a pattern which which allows pattern variations. Track and FX
determines its tracks configuration parameters, machine and its sample
settings and assignments. assignment, scenes and FX assignments are
defined by the part assigned to that pattern.
Bank Banks are used to structure and store Banks help to organise patterns in a project.
patterns and parts. 16 banks are This structure makes it easy to navigate
available per project named A - P. Each patterns and assemble arrangements.
bank contains 4 parts and 16 patterns.

Pattern Each bank has 16 pattern slots. A total Patterns contain a series of step by step
of 256 patterns are available across all triggers that are programmed in sequence to
banks in a set. Each patterns has a part create note / trig beats or melodies.
linked to it.

Track Octatrack has 8 audio tracks and 8 MIDI Audio tracks control and manage the
tracks which are managed by the active samples, external or internal audio sounds
pattern. using machines. MIDI tracks control external
MIDI gear.

Machine 5 machines are available and are A machine is assigned to a track. Flex and
assigned using a part. Each can be static machines manage sample audio. A thru
considered as a dedicated app that is machine manages external audio routing
designed to manage the audio source while neighbor machine channels the prior
for a track. track audio. Pickup machines handle looping.
Scene Scenes are a collection of stored Scenes are assigned to slot position ‘A” and
parameter setting values. A part will slot position ‘B’ then by adjusting the
hold 16 scenes which can be assigned crossfader the parameters transition from one
to the A & B Slots. to the other, therefore morphing the sound.

Arrangement Arrangements are located in a project. Arrangements are a series of patterns

Each project can hold 8 arrangements. organised to play sequentially. This is how
The arranger function is used to songs are built and pattern sections such as
manage arrangements. intro, chorus, verse can be assembled.

Audio Pool The audio pool is a collection of audio Sets can be mounted to the Octatrack and
samples. One audio pool folder is samples in the audio pool available to all set
hosted in each set on the compact flash projects. An audio pool sample can be moved
card. A factory library is provided but to one of the 128 flex or 128 static machine
samples can be created and added. sample slots for use in the track pattern.
MIDI Mode MIDI option switches the configuration Enables the tracks to operate with pattern
and parameters to MIDI orientated trigs which can control external MIDI gear
functions and feature set. from the MIDI output port. Octatrack can be
central to a system of MIDI gear.

16 The Octatrack Notebook : Reference & Guide

 Architecture 2
2.6 General Parameter Displays & Navigation
The Octatrack display is context sensitive meaning the pages change to match whatever function is
selected and its associated parameter set. There are however some style and layout conventions
that apply across the entire device. The screen saver is triggered if inactive for 5 minutes.

DATA ENTRY

Adjust the relative data entry rotary control to A B C

change the associated parameter eg Turn (F)

Press and hold the data entry control while turning to

adjust in larger increments, eg Press + Turn (F)

Press func and turn a data entry to ‘jump’ the value

increment in steps relevant to the specific function,
i.e. [FUNC] + Turn (F).
D E F
To reset, reload ALL parameters on specific track
parameter page hold the parameter page button and 6 Data entry rotaries represent and control the
press no, eg [SRC] + [NO] also for AMP, LFO, displayed parameters for the selected function.
FX1, FX2.
A clip symbol indicates related parameters
Hold any track parameter button (SRC, AMP, LFO,
FX1, FX2) to see the associated current parameter
setting values. Also the individual value appears
when rotating a data entry.

Playback position showing

downbeat per box

BPM Tempo
Play, Stop, Record, Pause
transport indicators

Track with selected machine tag

Selected Track e.g. Track 1
and status symbol, e.g. track 5

Active Part
Active Sample
Currently Selected BANK A-P
and Pattern Number 01-16 Assigned scenes A left & B right and
crossfader position (Shown left to A)

Volume level for the Active MIDI MAP for selected track
active track machine

Selected track parameter Active TRIG mode

page and selected machine.

The Octatrack Notebook : Reference & Guide 17

2 Architecture

FUNC Operates similar to a shift key. Holding [FUNC] while pressing another
F
button will select its secondary function, usually labelled underneath the button.
The primary button function is labelled on the button. The FUNC symbol will be
displayed to indicated this option is available in the current page.

Menu Navigation. Use the [UP], [DOWN], [LEFT] and [RIGHT] arrows to navigate in
some menu structures. The [YES] / [NO] buttons confirm or cancel. Pressing [NO]
on menus will backup and exit the menu. The Navigation key symbol is displayed in
some pages to indicate the function is available.
- Menus with lists can be scrolled page by page using [FUNC] + [UP] or [DOWN]

The (LEVEL) i.e. Level rotary also navigates and scrolls through some lists and
menu selections i.e. sample selection. The LEVEL symbol will be displayed on
some pages where this option can be applied.
- Pressing and turning level will adjust in greater increments
- Pressing [FUNC] + Turn (LEVEL) will adjust in jump steps

Trig keys [1] - [16] are also multifunctional. For example they can set sequence steps
but also are used for selecting patterns with [PTN] + Trig. The trig symbol may
appear on some pages when this function is available within the function selected.

When navigating menus and returning to the menu the previous location in the menu structure will be retained.
Instructions in this guide refers to the default entry point of the menus and not the last remembered position.

18 The Octatrack Notebook : Reference & Guide

 Architecture 2
NOTES 2.7 Machines
Each of Octatrack 8 Audio tracks has a machine assigned to it. This is a
unique way of configuring tracks in Octatrack.

• A machine is a background application that handles the audio

management or routing of audio for the track it is assigned to.

• There are 5 Available machines in Octatrack.

• Each machine is dedicated to a specific function so would need to be

selected based on the application of audio that is required.

• The SRC track parameter page, and where applicable the setup
secondary page will reflect the parameters available to the specific
machine assigned.

• Parts store assignments of the machine. Default part 1 may be all that is
needed but parts 2, 3 and 4 can also be used to introduce variations.

Machine Description User Cases - When to use?

Static This machine is used to process and play General sample playback and sequencing.
Machine audio samples (each up to 2GB in size). especially for large sample playback, time
Samples are streamed from the compact stretching and slicing. Used in less dynamic
flash card and the static machine has 128 applications and where fast modulation is less
slots to host samples.The SRC Main and important e.g. cannot modulate STRT
Setup pages configure sample playback parameter is an example as speed of
options. modulation due to streaming from card is
slower. Ideal for longer sample playback.
Samples are loaded from audio pool into static
machine slots.

Flex This machine is used to process and play General sample playback and sequencing
Machine audio samples. Samples are streamed from especially for dynamic, faster, highly modulated
the Octatrack RAM (onboard memory) and applications. Faster due to instant RAM access.
the flex machine has 128 slots to host Samples are loaded from audio pool into flex
samples. The SRC Main and Setup pages machine slots. Flex track slots are also used for
configure sample playback options. track recording audio.

Thru Thru machines are used to configure the External audio can be channelled and routed
Machine external input A,B,C,D audio. This helps to through the Octatrack which allows the external
organise the routing and levels from the audio to be affected with the internal effects
audio inputs. No secondary setup page such as the filter, delay, LFO’s etc. Tracks still
parameters exist. need to be triggered to play the audio.

Neighbor Neighbor machines connect from the Internal audio from the previous track can be
Machine previous audio track. This is available on all channelled through the Octatrack which allows
tracks except track 1 and 5. No the track audio to be routed with internal
configurable SRC Main or secondary Setup processing. Effects chains can be assembled
page parameters exist. for complex and creative sound design.

Pickup A pickup machine is used for handling Used for recording loops, overdubbing, layering
Machine looping functions of audio from the track audio and building up unique sounds. Can be a
recorder and the recording buffer. The SRC great tool for live performance and
Main and Setup pages configure the improvisation. Parameters cannot be locked on
looping options. pick up machine pages.

The Octatrack Notebook : Reference & Guide 19

2 Architecture
2.8 Audio Track Parameter Pages NOTES

Each track has 5 audio parameter pages directly accessible from its own
dedicated button. The setup options for each is accessible using [FUNC] +
[Page] or quick double tap [Page], where Page is one of the 5 page options.

SRC Page - Main. SRC Page - Setup.

SRC Page parameters will depend on the Machine loaded and is the main source of audio for the
selected track. Static machine is shown in example.

AMP Page - Main. AMP Page - Setup.

AMP Page parameters manage the amplitude envelopes, volume level and audio balance. These
are common to each track irrespective of machine selected.

LFO Page - Main. LFO Page - Setup.

LFO Page parameters for the low frequency oscillators (3 per track) speed and depth. Setup
assigns the 3 LFO’s wave-shape, multiplier, destination plus access to LFO designer.

FX1 Page - Main. FX1 Page - Setup.

FX1 Page parameters will depend on the effect loaded and offers up the parameters for the
selected effect i.e. filter. Setup page allows effect selection as well as the parameter settings.

FX2 Page - Main. FX2 Page - Setup.

FX2 Page parameters will depend on the effect loaded i.e. Chorus and offers up the parameters
for the selected effect. Setup page allows effect selection as well as the parameter settings.

20 The Octatrack Notebook : Reference & Guide

 Architecture 2
NOTES 2.9 MIDI Track Parameter Pages
Each track has 5 MIDI parameter pages directly accessible from its own
dedicated button. The setup options for each is accessible using [FUNC] +
[Page] or quick double tap [Page], where Page is one of the 5 page options.

Note Page - Main. Note Page - Setup.

SRC Page parameters for MIDI manage the MIDI Notes. In addition the communication channels
as well as program changes of external devices.

Arp Page - Main. Arp Page - Setup.

AMP Page for MIDI reverts to the Arpeggiator configuration and control. Arpeggiator is only a
MIDI function and does not apply to audio tracks.

LFO Page - Main. LFO Page - Setup.

LFO Page parameters for the low frequency oscillators (3 per track) speed and depth. Setup
assigns the 3 LFO’s wave-shape, multiplier, destination plus access to LFO designer.

Control 1 Page - Main. Control 1 Page - Setup.

FX1 controls Ctrl 1 parameters for MIDI. Ctrl 1 essentially enables control of four CC (Control
change) messages to change parameters of external gear.

Control 2 Page - Main. Control 2 Page - Setup.

FX2 controls Ctrl 2 parameters for MIDI. Ctrl 2 essentially enables control of the other six CC
(Control Change) messages to change parameters of external gear.

The Octatrack Notebook : Reference & Guide 21

2 Architecture
2.10 Randomization & Reset NOTES

Audio and MIDI Track parameters can be randomized and also reset to a
previously saved state. Randomization is applied to the main page
parameters and not the secondary setup pages.

▌ RANDOMIZING PARAMETERS

1. Press [Page] to select a track parameter page where [Page] is either

[SRC], [AMP], [LFO], [FX1] or [FX2].

2. Press [Page] + [YES] to randomize the parameters in the selected

page. The selected track parameters are randomized every press of this
button combination.

3. Press [Page] + [NO] for the desired track parameter page to reset.

▌ RESET / RESTORE PARAMETER PAGES

1. Press [Page] to select a track parameter page where [Page] is the track
parameter page.

2. Press [Page] + [NO] for the desired track parameter page part to reset.
This restores to the previously saved settings.

▌ VIEW PARAMETER VALUES

1. Press and hold [Page] to see the values assigned to the parameters
where [Page] is the track parameter page.

22 The Octatrack Notebook : Reference & Guide

 Architecture 2
NOTES 2.11 Copy, Clear & Paste
There are several functions that are common through the Octatrack feature
set which help to speed up when integrated into your workflow. This is
especially useful for repeat tasks. Copy, Clear and Paste are three such
features and these can be found as secondary options on the transport
buttons. They can be used in multiple scenarios some of which are
summarised here.

COPY CLEAR PASTE

Record Play Stop
[FUNC] is the default to access
secondary options but others are also
designated for specific functions.

+ [REC] [PLAY] [STOP]

Repeat the command i.e. [FUNC] + [PLAY] to clear, then

[FUNC] + [PLAY] to ‘undo’ the previous command.

While the [FUNC] key is the default to access the secondary options, some
functions may use an alternative button. For example copy, paste, clear in
the scene edit page uses the scene [A] + [B] + [REC] ie Copy etc instead of
the [FUNC] button.

Access to these options may also be dependant on the mode in use. As an

example, some operate in GRID RECORDING mode while others may only
work when not in GRID RECORDING mode. The use of copy, clear, paste
is therefore context dependent.

The Octatrack Notebook : Reference & Guide 23

2 Architecture
NOTES

Examples:-

• Track settings can be copied from within GRID RECORDING mode.

This will copy trigs, parameters, parameter locks, machines etc from
one track to another. In the track trig edit menu, only trigs are
affected.

• For track parameter pages use [Page] + [REC] etc to copy, paste,
clear where Page is [SRC], [AMP], [LFO], [FX1] or [FX2].

• LFO Designer page allows the copy, paste, clear functions so that
user designed LFO’s can be copied across other tracks.

• Single or multiple trigs can be copied, cleared, pasted in GRID

RECORDING mode along with its settings ie locks, e.g. Press Trig
[1] + [REC] and then Trig [2] + [STOP] to copy from trig step 1 to
step 2.

• Patterns and banks can be copied from one slot to another.

Particularly useful workflow practice when creating alternate pattern
variation edits which can be copied across pattern slots in the same
or another bank.

• Naming menu, the copy, paste, clear are available.

• To copy, paste, clear scenes, use the scene button (instead of the
func button) plus the option required, e.g. [A] + [REC] to copy and
[B] + [STOP] to paste.

• Parts can be copied, pasted and cleared between slots 1-4 from
within the parts edit menu.

• Arrangement edit menu, the copy, paste, clear are available.

• Arpeggiator setup menu for MIDI, the sequence data can be copied,
pasted, cleared.

24 The Octatrack Notebook : Reference & Guide

 Architecture 2
2.12 Naming Menu
Some functions have the option to name or rename, for example when saving a pattern. These
menus are selected automatically and appear when naming or renaming is required.

[LEFT] & [RIGHT]

navigate between the current characters

[UP] & [DOWN] or (LEVEL)

4 to select character or second character page

[FUNC] + [NO]
Erase Character

[CUE] + [NO]
Erase Character without pop-up menu.

Insert space using the space character

POP UP CHARACTER MENU

Hold [FUNC] for pop-up mode.

While holding, navigate to highlight the character

required with [UP], [DOWN], [RIGHT or [LEFT].
[UP] [DOWN]

Release [FUNC] to Insert character highlighted.

Number of characters available is different when naming parts and arrangements. The character count
is displayed in the bottom right of the display.

Press [YES} when complete to exit the naming menu.

The secondary option, copy, paste and clear functions are also available within the naming menu:
[FUNC] + [REC] for Copy, [FUNC] + [PLAY] for Clear and [FUNC] + [STOP] for Paste.

The Octatrack Notebook : Reference & Guide 25

 NOTES

26 The Octatrack Notebook : Reference & Guide

 3
Sets & Projects
A set is the main structural container for available to the user for editing and playback. A
everything in Octatrack. A set is the highest project contains the discrete components such
level in the device hierarchy. Sets are stored as tracks, parts etc. To use an analogy to help
on the compact flash card. Each set contains a ease of understanding think of a an album or a
collection of projects and a single audio pool. live gig / concert where a collection of songs are
The number of projects is only limited by the played under a single event. Using this as an
compact card memory size. Sets and projects example, think of the set as the album or gig and
are organised in folder structures and can be projects can be considered as the individual
managed using the project menu and the card songs on the album or played during the gig set
tools file manager. Samples in the audio pool list. This of course is one metaphor, but the use
are accessible to all of the projects within the of sets and projects to structure your workflow
same set. Many users may only need one set will be adopted to suit your own needs over time.
and can develop new projects within that set. A In summary sets and projects are structural
‘factory’ set called PRESETS is supplied on elements that help organise your work. These
the Elektron Octatrack compact flash card are the starting points when creating ‘from
along with a set of audio samples in the audio scratch’ and in developing musical tracks and
pool. For a set to be available for access, the songs. Establishing a good practise in using
compact flash card should be inserted and the these features will also speed up workflow and
a set should be mounted in the Octatrack. make project management an easy task.
Individual projects can then be accessed. A
project would also need to be loaded for it to be

The Octatrack Notebook : Reference & Guide 27

3 Sets & Projects
3.1 Whats in a Set and Project? NOTES

Sets are the highest element in the Octatrack hierarchy and contain a
series of projects and each set has an audio pool to host the sets samples.
The folders and files supporting these functions are located and created on
the compact flash card.

Set

SetA

Sample100
PackA Sample101
Audio Sample1 Sample102
Sample2

One Audio Pool per set is created. These are initially created when
creating a set but are empty and will require samples to be added.
Samples and sample sub folders can be added and created.

Arr01.strd
8 Arrangements (16 files)
ProjectA Arr01.work

Bank01.strd
16 Banks (16 files)
Bank01.work

Markers.strd
General project markers
Markers.work

Project.strd General project settings

Project.work

.strd files are the saved files using the project save function.
.work files are automatically stored from the currently active project.

All files in the project folder belong to that project. Some elements
such as banks can be copied to others but not all data ie samples,
associated are copied.

ProjectB

Multiple projects can be created in a set. The limitation is only based

on the available memory space on the compact flash card.

Sets and Projects are named as created or renamed later.

Folders are tagged in the file manager with a (D)

28 The Octatrack Notebook : Reference & Guide

 Sets & Projects 3
NOTES 3.2 Accessing Set and Project Folders.
There are a number of alternatives to access the compact flash card folders
and files. The most common requirement is to populate the audio pool
folder with samples. Also file and folder management may also be required
to help structure.

CARD TOOLS
The file manager and format card options are available for ‘in
the box’ file management as on board Octatrack tools.

This book section will mainly focus on these options.

OCTACARD 32 GB

CP CARD FOR OCTATRACK

866x PROFESSIONAL

USB DISK MODE EXTERNAL PC / MAC

Enables access to the installed compact flash and Access to the removed compact flash folders & files
its folders from a USB connected PC or Mac. via a PC / Mac connected compatible card reader.

This book section will briefly touch on this option. This book section will briefly touch on this option

The Octatrack Notebook : Reference & Guide 29

3 Sets & Projects
3.3 Mounting & Creating Sets NOTES

Sets are located on the compact flash card which needs to be mounted so
that the projects and the audio pool is available and accessible. Managing
sets is done within the project menu.

▌ MOUNTING A SET - FIRST TIME.

1. With Octatrack powered off, insert the compact flash card into the slot
at the rear of the Octatrack.

2. Power on the Octatrack. If a set has not been previously mounted a

message will indicate that a set needs to be mounted.

3. At the prompt window, press [YES] to open the set selection pop-up.

4. Highlight the set to open using [UP] or [DOWN] or turn (LEVEL). The
factory ‘PRESETS’ option will be available if the Elektron Octatrack
compact flash card is inserted.

5. When the desired set is highlighted press [YES] again to mount the set
to make it accessible and enable project loading.

6. The load project prompt pop-up window will open, requesting the
loading of a project from the mounted set.

7. Highlight the project to open using [UP] or [DOWN] or turn (LEVEL).

The factory ‘PRESETS’ project should be available if the PRESETS set
is mounted.

8. When the desired project is highlighted press [YES] again to load the
project for editing and playback.

30 The Octatrack Notebook : Reference & Guide

 Sets & Projects 3
NOTES

▌ MOUNTING THE PREVIOUS SET & PROJECT.

1. Power on the Octatrack. The compact flash card should be already

installed.

2. When powered up the previously mounted set and previously loaded

project will be automatically restored and available for continued use.

▌ MOUNTING A SET MANUALLY.

1. Power on the Octatrack. A compact flash card should be installed. A set

and project will typically be automatically mounted / loaded.

2. Press [PROJ] to open the project menu.

3. Highlight the PROJECT option by pressing [UP] or [DOWN].

4. Press [RIGHT] or [YES] to select and move the cursor to highlight the
options in the PROJECT section.

5. Scroll using [UP] or [DOWN] to highlight the CHANGE option located

under the SET section.

6. Press [YES] to select CHANGE. The set list will open and present the
available sets from the compact flash card.

Note: If the currently active project is not already saved in the set an
additional prompt message will be shown, ‘NOT WITHIN A PROJECT.
CHANGES MADE WILL BE DISCARDED. CONTINUE?. This will
indicate that the project data will be lost. Project would need to be
saved prior to avoid this. Press [YES] to continue to change the set.

7. Highlight the set to open using [UP] or [DOWN]. Current set is shown
inverted text.

8. When the desired set is highlighted press [YES] again to synchronise

and mount the set to make it accessible and enable project loading.
[NO] to cancel.

9. The load project prompt pop-up window will open, requesting the
loading of a project from the newly mounted set.

10. Highlight the project to open using [UP] or [DOWN] or turn (LEVEL).

11. When the desired project is highlighted press [YES] again to load the
project for editing and playback. [NO] to cancel.

The Octatrack Notebook : Reference & Guide 31

3 Sets & Projects
NOTES

▌ CREATING A NEW SET.

1. Press [PROJ] to open the project menu.

2. Highlight the PROJECT option by pressing [UP] or [DOWN] to scroll.

3. Press [RIGHT] or [YES] to select and move the cursor to highlight the
options in the PROJECT section.

4. Scroll using [UP] or [DOWN] to highlight the CHANGE option located

under the SET section.

5. Press [YES] to select CHANGE. The set list will open and present the
available sets from the compact flash card.

Note: If the currently active project is not already saved in the set an
additional prompt message will be shown, ‘NOT WITHIN A PROJECT.
CHANGES MADE WILL BE DISCARDED. CONTINUE?. This will
indicate that the project data will be lost. Project would need to be
saved to avoid this. Press [YES] to continue to change the set.

7. Highlight the <CREATE A NEW SET> option using [UP] or [DOWN].

8. When highlighted, press [YES] again to create the set to make it

accessible and enable project loading. [NO] to cancel.

9. The naming menu will open in order to assign a name for the newly
created set. Create a name of your choice. The default name will be in
the format ‘Set yearmonthday’ but this can be edited.

10. Press [YES] to accept the name and return to the set selection list.
Selecting the new set will also require a project to be created and
loaded.

32 The Octatrack Notebook : Reference & Guide

 Sets & Projects 3
NOTES

▌ USING A NEW COMPACT FLASH CARD.

1. With the Octatrack powered off, remove the compact flash card and
insert the new formatted blank card.

2. It is possible that the ‘WRONG COMPACT FLASH INSERTED,

CONTINUE?’ Message appears indicating that a previously loaded
project and set isn't available. Press [YES].

3. If the card isn't formatted the option to format is available in card tools.

• Press [PROJ] to open project menu options.

• Select SYSTEM, then select CARD TOOLS

• Select FORMAT CARD

• The naming menu will open to set a name for the card. Select a
name and then press [YES] to format.

4. The option to <CREATE NEW SET> is presented automatically. Press

[YES] to create a new set. For a newly formatted card this option my
need to be manually applied.

5. The naming menu allows a new set to be named. Press [YES] when
complete to confirm.

6. The option to <CREATE EMPTY PROJECT> is presented. Press [YES]

to create a new project within the selected set.

7. The naming menu allows a new project to be named. Press [YES] when
complete to confirm.

8. The folder structures are created for the set, projects and the set audio
pool. Note that the audio pool is simply created as an empty folder. For
this to be useful within the set and its projects, samples will need to be
loaded into the audio pool.

It is recommended to keep a back up of the compact flash card either to a PC /

Mac hard drive or on a spare backup compact flash card.

The Octatrack Notebook : Reference & Guide 33

3 Sets & Projects
3.4 Creating and Managing Projects. NOTES

Projects are located within sets. Opening a set will prompt to also open a
project. Projects can also be accessed and managed individually.

▌ CREATING A NEW PROJECT.

1. Press [PROJ] to open the project menu.

2. Press [UP] or [DOWN] to scroll and highlight PROJECT.

3. Press [YES] or [RIGHT] when PROJECT is highlighted to move to the

options selections.

4. Press [UP] or [DOWN] to scroll and highlight CHANGE option located

under the PROJECT options.

5. Press [YES] to select the highlighted CHANGE option and open the
project selection pop-up list.

6. Highlight <CREATE EMPTY PROJECT> using [UP] or [DOWN] or turn

(LEVEL) to scroll the selection bounding box. The currently open project
will show as inverted text in the list.

7. Press [YES] to create. The naming menu opens and the default or new
name can be created.

8. Press [YES] when complete to confirm the name and create the new
project within the set.

34 The Octatrack Notebook : Reference & Guide

 Sets & Projects 3
NOTES

▌ LOADING / CHANGING A PROJECT.

1. Press [PROJ] to open the project menu.

2. Press [UP] or [DOWN] to scroll and highlight PROJECT.

3. Press [YES] or [RIGHT] when PROJECT is highlighted to move to the

options selections.

4. Press [UP] or [DOWN] to scroll and highlight CHANGE option located

under the PROJECT options.

5. Press [YES] to select the highlighted CHANGE option and open the
project selection pop-up list.

6. Highlight the project to open using [UP] or [DOWN] or turn (LEVEL) to

scroll the selection bounding box on the new project to load. The
currently open project will show as inverted text in the list.

7. When the desired project is highlighted press [YES] to sync the existing
project and then load the new project for editing and playback.

8. The project is now active and changes will be applied into the loaded
project.

The Octatrack Notebook : Reference & Guide 35

3 Sets & Projects
NOTES

▌ DELETING A PROJECT.

1. Press [PROJ] to open the project menu.

2. Press [UP] or [DOWN] to scroll and highlight PROJECT.

3. Press [YES] or [RIGHT] when PROJECT is highlighted to move to the

options selections.

4. Press [UP] or [DOWN] to scroll and highlight CHANGE option located

under the PROJECT options.

5. Press [YES] to select the highlighted CHANGE option and open the
project selection pop-up list.

6. Highlight the project to delete using [UP] or [DOWN] or turn (LEVEL) to

scroll the selection bounding box on the project to delete. The currently
open project will show as inverted text in the list.

7. When the desired project is highlighted press [FUNC] + [BANK] to open

the delete / rename pop-up option menu.

8. Press [UP] or [DOWN] to highlight DELETE. The selected option is

shown as inverted in the pop-up menu.

9. Press [YES] to delete. A prompt may appear stating ‘THIS PROJECT IS

ACTIVE! UNLOAD AND DELETE IT?’ confirm deletion. Press [YES]
again to accept and delete.

Pressing [FUNC] + [BANK] in the project selection list page opens the RENAME
& DELETE pop-up options menu

36 The Octatrack Notebook : Reference & Guide

 Sets & Projects 3
NOTES

▌ RENAMING A PROJECT.

1. Press [PROJ] to open the project menu.

2. Press [UP] or [DOWN] to scroll and highlight PROJECT.

3. Press [YES] or [RIGHT] when PROJECT is highlighted to move to the

options selections.

4. Press [UP] or [DOWN] to scroll and highlight CHANGE option located

under the PROJECT options.

5. Press [YES] to select the highlighted CHANGE option and open the
project selection pop-up list.

6. Highlight the project to rename using [UP] or [DOWN] or turn (LEVEL)

to scroll the selection bounding box on the project to rename. The
currently open project will show as inverted text in the list. The currently
active project cannot be renamed, only unloaded projects in the list can
be renamed.

7. When the desired project is highlighted press [FUNC] + [BANK] to open

the delete / rename pop-up option menu.

8. Press [UP] or [DOWN] to highlight RENAME.

9. Press [YES] to rename. The naming pop-up function will appear with
the current name ready to edit.

10. Press [YES] when renaming is completed.

The Octatrack Notebook : Reference & Guide 37

3 Sets & Projects
3.5 Project Options in the Project Menu NOTES

The main menu for managing projects and sets is found by pressing
[PROJ] and opening the PROJECT options. Several functions exist here,
some of which are used for managing banks and samples as well as
projects and sets.

PROJECT Options Current Set and Project

Project options with the

PROJECT section

Indicates other options are

available by scrolling

Section Function What does it do?

PROJECT CHANGE Opens the project selection list of available projects in the
set. Allows changing from the current project to another one
in the set. Also the pop-up list has a <CREATE EMPTY
PROJECT> Option for creating a new, blank project. Projects
can be renamed or deleted within the CHANGE function, by
pressing [FUNC] + [BANK] when the project list is displayed.

PROJECT SAVE Saves the current project. This performs the same function
as [FUNC] + [PROJ]. If the project hasn’t been saved before,
a ‘save project as’ is initiated and the naming window opens
to assign a project name. Note: Projects are automatically
saved in a compact flash cache so will always be up to date
when Octatrack is switched off and the manual save function
is not always necessary.

PROJECT RELOAD Restores the current project from its previously saved state.
While a project state is always up to date in the compact
flash cache, this is Ideal to revert to the actual saved version
for example to step back from recent edits.

PROJECT SYNC TO CARD. Synchronizes the project data from the cache to the compact
flash card. This should be used before the compact flash
card is to be removed to ensure the project cache and saved
state information is retained and no data is lost.

PROJECT SAVE TO NEW Saves the current project as a new project and is assigned a
new name. The ‘save project as’ pop-up menu prompts a
new name to be assigned. The default name is ‘PROJECT
yearmonthday’. Useful for saving variations of projects as its
development evolves and changes.

PROJECT EXPORT TO SET Exports the current project to another set. This will export the
project including any flex and static machine samples,
project folder samples and audio pool samples. A new
destination set can be created during this process which also
ensures only relevant and used samples are copied to the
new audio pool.

38 The Octatrack Notebook : Reference & Guide

 Sets & Projects 3
NOTES 3.6 File Manager
Access to manage set and project folders and files can be handled in the
file manager found under ‘CARD TOOLS’ in the SYSTEM options under the
[PROJ] menu. This offers options such as delete, copy / paste, make
directory and rename of set and project folders and files.

FILE MANAGER or FORMAT CARD.

The file manager options are selected using the track parameter
buttons. Each selects the respective function when the file
manager page and options are displayed.

(D) represents a folder directory while samples and files will indicate the file size.

Section Function What does it do?

FILE MANAGER MK DIR Make directory. Creates a new directory on the compact flash
card in the selected location.
FILE MANAGER RENAME Changes the name of an existing folder or file

FILE MANAGER DELETE Deletes an existing folder or file from the compact flash card.

FILE MANAGER COPY Copies an existing folder or file located on the compact flash
card.
FILE MANAGER CUT Copies and removes a file (not directories) to allow it to pasted to
another location. This lifts and drops rather than creating a copy.
This option is available in the COPY slot when pressing [FUNC]
in the file manager
FILE MANAGER PASTE Pastes a copied folder or file to a selected location on the
compact flash card.
FILE MANAGER Workspace 1 Hold [T1] - [T4] to store the current folder location as a marker to
Location Marker ‘Workspace 1’ which can then be recalled Pressing [T1] - [T4]
FILE MANAGER Workspace 2 Hold [T5] - [T8] to store the current folder location as a marker to
Location Marker ‘Workspace 2’ which can then be recalled Pressing [T5] - [T8]

The Octatrack Notebook : Reference & Guide 39

3 Sets & Projects
NOTES

▌ DELETING AN EXISTING SET FOLDER.

1. Press [PROJ] to open the project menu.

2. Highlight the SYSTEM option by pressing [UP] or [DOWN] to scroll.

3. Press [RIGHT] or [YES] to select and move the cursor to highlight the
options in the right menu section.

4. Scroll using [UP] or [DOWN] to highlight the CARD TOOLS option.

5. Press [YES] to select CARD TOOLS. The options menu opens.

6. Scroll using [UP] or [DOWN] to highlight the FILE MANAGER option.

7. Press [YES] to select FILE MANAGER. The project will synchronise to

the compact flash card and the contents of the set presented.

• Press [LEFT] or [RIGHT] to navigate up and down through the

highlighted folder levels on the compact flash card structure.

• Press [UP] or [DOWN] to navigate between folders and files. The

selected item is shown highlighted as inverted text.

• The (D) tag indicates a directory folder in the items listed and for
files and samples the file size is indicated.

• The set folders are at the highest level in the folder hierarchy.

8. With the set folder to delete highlighted, press [LFO]. The track
parameter buttons represents the file manager options i.e. [LFO]
represents DELETE.

9. A prompt screen will indicate the number of directories to be deleted.

This includes the targeted root folder and any subfolders. Press [YES]
to confirm deletion of the directory of the set. Press [NO] to cancel.

40 The Octatrack Notebook : Reference & Guide

 Sets & Projects 3
NOTES

▌ RENAMING AN EXISTING SET FOLDER.

1. Press [PROJ] to open the project menu.

2. Highlight the SYSTEM option by pressing [UP] or [DOWN] to scroll.

3. Press [RIGHT] or [YES] to select and move the cursor to highlight the
options in the right menu section.

4. Scroll using [UP] or [DOWN] to highlight the CARD TOOLS option.

5. Press [YES] to select CARD TOOLS. The options menu opens.

6. Scroll using [UP] or [DOWN] to highlight the FILE MANAGER option.

7. Press [YES] to select FILE MANAGER. The project will synchronise to

the compact flash card and the contents of the set presented.

• Press [LEFT] or [RIGHT] to navigate up and down through the

highlighted folder levels on the compact flash card structure.

• Press [UP] or [DOWN] to navigate between folders and files. The

selected item is shown highlighted inverted text.

• The (D) tag indicates a directory folder in the items listed and for
files and samples the file size is indicated.

8. With the set folder to rename highlighted, press [AMP]. The track
parameter buttons represent the file manager options i.e. [AMP]
represents RENAME.

9. The naming pop-up function will open and allow the name to be edited.
Press [YES] to confirm the new set name. Press [NO] to cancel.

The Octatrack Notebook : Reference & Guide 41

3 Sets & Projects
NOTES

▌ DELETING AN EXISTING PROJECT FOLDER.

1. Press [PROJ] to open the project menu.

2. Highlight the SYSTEM option by pressing [UP] or [DOWN] to scroll.

3. Press [RIGHT] or [YES] to select and move the cursor to highlight the
options in the right menu section.

4. Scroll using [UP] or [DOWN] to highlight the CARD TOOLS option.

5. Press [YES] to select CARD TOOLS. The options menu opens.

6. Scroll using [UP] or [DOWN] to highlight the FILE MANAGER option.

7. Press [YES] to select FILE MANAGER. The project will synchronise to

the compact flash card and the contents of the set presented.

• Press [LEFT] or [RIGHT] to navigate up and down through the

highlighted folder levels on the compact flash card structure.

• Press [UP] or [DOWN] to navigate between folders and files. The

selected item is shown highlighted inverted text.

• The (D) tag indicates a directory folder in the items listed and for
files and samples the file size is indicated.

8. With the project folder to delete highlighted, press [LFO].The track

parameter buttons represent the file manager options i.e. [LFO]
represents DELETE.

9. A prompt screen will indicate the number of directories and files to be

deleted. This includes the targeted root folder, any subfolders and files.
Press [YES] to confirm deletion of the directory of the project. Press
[NO] to cancel.

42 The Octatrack Notebook : Reference & Guide

 Sets & Projects 3
NOTES

▌ RENAMING AN EXISTING PROJECT FOLDER.

1. Press [PROJ] to open the project menu.

2. Highlight the SYSTEM option by pressing [UP] or [DOWN] to scroll.

3. Press [RIGHT] or [YES] to select and move the cursor to highlight the
options in the right menu section.

4. Scroll using [UP] or [DOWN] to highlight the CARD TOOLS option.

5. Press [YES] to select CARD TOOLS. The options menu opens.

6. Scroll using [UP] or [DOWN] to highlight the FILE MANAGER option.

7. Press [YES] to select FILE MANAGER. The project will synchronise to

the compact flash card and the contents of the set presented.

• Press [LEFT] or [RIGHT] to navigate up and down through the

highlighted folder levels on the compact flash card structure.

• Press [UP] or [DOWN] to navigate between folders and files. The

selected item is shown highlighted inverted text.

• The (D) tag indicates a directory folder in the items listed and for
files and samples the file size is indicated.

8. With the project folder to rename highlighted, press [AMP]. The track
parameter buttons represent the file manager options i.e. [AMP]
represents RENAME.

9. The naming pop-up function will open and allow the name to be edited.
Press [YES] to confirm the new set name. Press [NO] to cancel.

The Octatrack Notebook : Reference & Guide 43

3 Sets & Projects
NOTES

▌ CREATE A NEW FOLDER ON THE COMPACT FLASH.

1. Press [PROJ] to open the project menu.

2. Highlight the SYSTEM option by pressing [UP] or [DOWN] to scroll.

3. Press [RIGHT] or [YES] to select and move the cursor to highlight the
options in the right menu section.

4. Scroll using [UP] or [DOWN] to highlight the CARD TOOLS option.

5. Press [YES] to select CARD TOOLS. The options menu opens.

6. Scroll using [UP] or [DOWN] to highlight the FILE MANAGER option.

7. Press [YES] to select FILE MANAGER. The project will synchronise to

the compact flash card and the contents of the set presented.

• Press [LEFT] or [RIGHT] to navigate up and down through the

highlighted folder levels on the compact flash card structure.

• Press [UP] or [DOWN] to navigate between folders and files. The

selected item is shown highlighted inverted text.

• The (D) tag indicates a directory folder in the items listed and for
files and samples the file size is indicated.

8. When at the desired folder level (i.e. set, project level or in the audio
folder) press [SRC]. The track parameter buttons represent the file
manager options i.e. [SRC] represents MK DIR - Make Directory.

9. The naming pop-up function will open and allow the name to be edited.
Press [YES] to confirm the new set name. Press [NO] to cancel.

▌ CREATING MARKERS FOR RECALL OF FILE LOCATIONS

1. Navigate to a location in the folder structure to be remembered for

future quick recall. Hold [T1] - [T4] to create a ‘Workspace 1’ marker.

2. Navigate to a location in the folder structure to be remembered for

future quick recall. Hold [T5] - [T8] to create a ‘Workspace 2’ marker.

3. Press [T1] - [T4] to jump directly to the ‘Workspace 1’ marked location.

4. Press [T5] - [T8] to jump directly to the ‘Workspace 2’ marked location

44 The Octatrack Notebook : Reference & Guide

 Sets & Projects 3
NOTES

▌ COPYING, CUTTING & PASTING ON THE COMPACT FLASH.

1. Press [PROJ] to open the project menu.

2. Highlight the SYSTEM option by pressing [UP] or [DOWN] to scroll.

3. Press [RIGHT] or [YES] to select and move the cursor to highlight the
options in the right menu section.

4. Scroll using [UP] or [DOWN] to highlight the CARD TOOLS option.

5. Press [YES] to select CARD TOOLS. The options menu opens.

6. Scroll using [UP] or [DOWN] to highlight the FILE MANAGER option.

7. Press [YES] to select FILE MANAGER. The project will synchronise to

the compact flash card and the contents of the set presented.

• Press [LEFT] or [RIGHT] to navigate up and down through the

highlighted folder levels on the compact flash card structure.

• Press [UP] or [DOWN] to navigate between folders and files. The

selected item is shown highlighted inverted text.

• The (D) tag indicates a directory folder in the items listed and for
files and samples the file size is indicated.

• The track parameter buttons represent the file manager options i.e.
[FX1] represents COPY, [FUNC] + [FX1] represents CUT, [FX2]
represents PASTE. The use of these functions will depend on what
is being copied and to where.

• Some locations cannot be copied and directories can’t be cut. For

example if a named folder already exists. This may require a 3-step
process to copy to another folder, rename, copy/paste back to
original folder. The hierarchy of sets / projects should be honoured.

• Banks wont copy samples and machine slots may not align.

8. Highlight the desired target source to copy or cut. Press [FX1] to copy
or [SHIFT] + [FX1] to cut.

9. Navigate to the destination location. Press [FX2] to paste the previously

copied / cut element.

Warning: When cutting and copying in the file manager, projects may be corrupted if the
incorrect parts are removed or relocated using the card tools options. Care must be taken.

The Octatrack Notebook : Reference & Guide 45

3 Sets & Projects
3.7 Introduction to the Audio Pool NOTES

Each set has an audio pool. While this is created at the same time as the
new set, it will initially be an empty folder. The factory supplied PRESETS
set does come with an audio pool populated with samples and can be used
to learn and develop an understanding of the audio pool. For new sets and
projects, samples firstly need to be placed into the audio pool for them to
be available for playback from a static or flex machine. The audio pool is
located on the compact flash card and any samples would typically be
transferred in from a PC / Mac either connected via USB mode to the
Octatrack's installed card or extracting the card and using it directly with a
PC / Mac and card reader.

SET AUDIO POOL USER SAMPLE LIBRARY

Sample1 Sample1
Audio Sample50 MySample5 Samples Sample50 MySample5
MyPack MySample75 MyPack MySample75
MySample200 MySample200

Maximum of 1024 files or sub-folders can

be located in the audio pool.

OCTACARD 32 GB

CP CARD FOR OCTATRACK

866x PROFESSIONAL

Compact Card extracted and used with a

PC/Mac with a card reader

USB Disk Mode

Presents the Octatrack to a USB
connected PC or Mac as a mounted disk
where the folders and files can be
accessed and managed

Notes on sample selection: Octatrack can use mono or stereo audio files in the format of Aiff or
Wav, 16bit or 24bit at 44.1kHz. There are two things to consider and in fact to balance when
selecting files. Files at 24bit, 44.1kHz will be higher sound quality but will take up more memory.
This isn't a major storage concern but it is a consideration when using flex machines and where
RAM memory is limited. 16 bit files will be smaller but audio quality is at a lower level than 24bit
equivalents. Stereo files will be approx twice as big as mono files. File conversion tools are
available than can prepare or convert samples to the format to best suit your needs.

Quality
Audio
Size
Sample

46 The Octatrack Notebook : Reference & Guide

 Sets & Projects 3
NOTES

▌ TRANSFERRING SAMPLES INTO THE AUDIO POOL (USB).

1. Connect a Mac or PC with the USB cable to Octatrack.

2. Press [PROJ] to open the project menu.

3. Highlight the SYSTEM option by pressing [UP] or [DOWN] to scroll.

4. Press [RIGHT] or [YES] to select and move the cursor to highlight the
options in the right menu section.

5. Scroll using [UP] or [DOWN] to highlight the USB DISK MODE option.

6. Press [YES] to select USB DISK MODE.

7. The PC / Mac should recognise the octatrack and compact flash card
as a removable disk. A message will indicate USB disk mode is active.

8. On the PC / Mac, locate the destination set folder and especially the
‘Audio’ folder within the set on the compact flash card. This is where the
audio pool is located. One audio pool for each set.

9. Use the PC / Mac file management functions to copy folders and/or files
from your own sample library into the audio folder on the compact flash
drive. The folder structures and sub folders will be recognised and
retained within the Octatrack hierarchy within the audio folder.

10. On the PC or Mac, eject the Octatrack compact flash drive. Notification
will be given to allow removal of the connected Octatrack and card.
Completion of the file transfer will be required first so ensure enough
time for the transfers to complete.

11. Disconnect the Octatrack USB from the PC / Mac.

12. The samples will now be available within the sets audio pool and can be
accessed by the static and flex machines for application and editing
within projects.

While technically samples can be stored in any location on the compact flash card, the
Octatrack convention is to locate all samples in the audio pool within the AUDIO folder. There
is no technical restrictions on file locations being set elsewhere but this guide will adhere to
this Octatrack convention to ensure consistency and clarity.

The Octatrack Notebook : Reference & Guide 47

3 Sets & Projects
NOTES

▌ TRANSFERRING SAMPLES TO THE AUDIO POOL (DIRECT).

1. Power off the Octatrack and remove the compact flash card by pressing
the card button to release and again to extract the card.

2. Insert the compact flash card into the Mac or PC card reader. Some PC
/ Mac devices have integral card readers built in while others may
require an external card reader plugged in.

3. The PC / Mac should recognise the compact flash card as a removable

disk.

4. Locate the destination set folder and especially the ‘Audio’ folder within
the set on the compact flash card. This is where the audio pool is
located. One audio pool for each set.

5. Use the PC / Mac file management functions to copy folder and/or files
from your own sample library into the audio folder on the compact flash
drive. The folder structures and sub folders will be recognised and
retained within the Octatrack hierarchy within the audio folder.

6. On the PC or Mac, eject the compact flash drive. Notification will be

given to allow removal of the card. Completion of the file transfer will be
required first so ensure enough time for the transfers to complete.

7. Remove the compact flash card and insert back into the Octatrack. It is
recommended to have the Octatrack powered off when installing and
removing the compact flash.

8. The samples will now be available within the sets audio pool and can be
accessed by the static and flex machines for application and editing
within projects.

While technically samples can be stored in any location on the compact flash card, the
Octatrack convention is to locate all samples in the audio pool within the AUDIO folder. There
is no technical restrictions on file locations being set elsewhere but this guide will adhere to
this Octatrack convention to ensure consistency and clarity.

48 The Octatrack Notebook : Reference & Guide

 Sets & Projects 3
NOTES 3.8 Introduction to Templates
Templates save a lot of time in the workflow. We mean A LOT of time.
Getting to know templates and in fact starting to build templates early in
your Octatrack journey will help speed up your workflow and allow each
creative session to be exactly that - to make music and develop sounds.

What is a template?

A template is a pre-configured project that once built, allows you to skip a

lot of the initial configuration and iterative set ups. It gives a starting point at
the stage when you want to start programming patterns, recording audio
and developing sounds. Its simply slow and inconvenient to have to create
projects and assign machines, then set parameters, load samples etc etc
every single time.

Why should I create templates?

Developing a library of templates is good practice and saves time and effort
and allows you to concentrate your mind on creativity rather than process.
For example, if you have a set genre and style then this can be pre-set into
sample selection and track configurations. Maybe have an alternative
template when working purely on sampling or looping and another for
drums and percussion.

How do I create templates?

The best way to create templates is to capture them as you develop your
workflow. Going through the set up process at least once is good practice
and then saving the project as a template will allow you to re-use it as a
starting point later. This can be done by ‘Save To New’ and naming as a
template. Alternatively sessions to only create templates is possible but can
be less focussed as the real needs of a project can be easily overlooked.

Projects
MyNewSong A Projects can be developed and saved
as normal. Also ‘Save As’ a template.
+ 0% 100%

New Project. Start from scratch

Templates
MyAmbientTP T Build a library of templates for starting
points to tracks, sampling etc

0% 100%

New Project. Start from template

The Octatrack Notebook : Reference & Guide 49

 NOTES

50 The Octatrack Notebook : Reference & Guide

 4
Track Basics
Octatrack has 8 Audio Tracks and 8 Midi turn will play back audio samples. The controls
Tracks. The track controls are the same for applied for tracks may differ from the behaviour
both, but MIDI Mode must be selected to when the sample is playing vs track playing. A
control the MIDI tracks. This section is the sample plays within a track machine while a
starting point for understanding the basics of track contains the machine plus a host of track
tracks and the environments in which they parameters contained within the main and setup
operate. Essentially the 8 tracks are generally pages. The general principles of tracks are
controlled by patterns built from within the covered here so most of the processes provided
sequencer. Before getting deep with the refers to Audio and MIDI tracks in general
pattern and sequencer functions the basics of although there will be feature differences
using tracks, terminology and general between the two.
principles are covered first. This will ensure a
solid understanding of the foundations that
tracks are built on and how they operate within
the Octatrack environment. Understanding
these principles is not only useful for the basic
structural clarity, it is also a foundation for
unlocking powerful live and improvisation
practices. For example the mute and solo
features and trig modes. As a point of
clarification tracks contain machines which in

The Octatrack Notebook : Reference & Guide 51

4 Track Basics
4.1 Introduction to Audio Tracks NOTES

Octatrack has 8 audio tracks which are controlled by the selected pattern.
The sound allocated and the track behaviour is dependant on the machine
assigned and hence parameters available will match this too. A sample
would need to be loaded / setup in the machine and triggered in the pattern
in order to play an audible sound. Alternatively external audio can be
routed through and into Octatrack.

Pattern Track Parameters

A sequenced pattern will control the Each track has a set of main track parameters and set up
8 tracks and triggered steps parameters. The selected machine defines the [SRC] parameters

A01

LFO LFO
T1 Audio Machine AMP LFO
FX1 FX2

LFO LFO
T2 Audio Machine AMP LFO
FX1 FX2

LFO LFO
T3 Audio Machine AMP LFO
FX1 FX2

LFO LFO
T4 Audio Machine AMP LFO
FX1 FX2

LFO LFO
T5 Audio Machine AMP LFO
FX1 FX2

LFO LFO
T6 Audio Machine AMP LFO
FX1 FX2

LFO LFO
T7 Audio Machine AMP LFO
FX1 FX2

LFO LFO
T8 Audio Machine AMP LFO DES
FX1 FX2

52 The Octatrack Notebook : Reference & Guide

 Track Basics 4
NOTES

Each track has 5 main and 5 setup pages. The parameter settings may
change for the core machine assigned and accessed in the [SRC] page.
The parameters and settings affect the behaviour of the track.

Track Selection Buttons

One track can be selected meaning only one button i.e. the selected track will show lit red or
yellow. Others will typically indicate green or muted unlit. Cued tracks are shown flashing
and these tracks route audio to the cue outputs.

Green: Active track, Flash: Cued track,

currently not selected. T1 T5 routed to cue output.

Red: Active track,

currently selected.
T2
Unlit: Muted track,
T7 currently not selected.

Yellow: Muted track,

T8 currently selected.

Selected Track

5 main track parameter functions.

Press [PARAM] e.g. [SRC]

Plus 5 set up pages.

+ Press [FUNC] + [PARAM]
or quick double press button

▌SELECTING A TRACK

1. Press a track button [T1] - [T8] to select it. The currently selected track
will be lit red (unmuted) or yellow (muted).

2. Selecting another track will switch from the existing selection to the new
track. Only one track can be selected at one time.

3. Active tracks that are not selected but which are audible are lit green.

4. Muted tracks will be unlit, but can still be selected for editing in which
case will be lit yellow. Multiple tracks can be muted.

5. The selected track allows editing of the parameters and settings.

The Octatrack Notebook : Reference & Guide 53

4 Track Basics
NOTES

Quick Start - Preparation for Track Tutorials

The intimate details of setting up tracks, trigs, patterns and machines will
be explained in the upcoming sections. However to help follow the tutorial
and walkthroughs from here on, its good to have a starting point. As such a
basic track set up is suggested. This can be changed and expanded as
more learning takes place.

▌QUICK SETUP OF TRACKS

1. The Set, audio pool must have some samples available. Using the
factory ‘PRESET’ Set at this stage is a goos starting point.

2. Press a track button [T1] - [T8] to select it. The currently selected track
will be lit red (unmuted) or yellow (muted). Each track as default should
have a static machine. This is OK as a starting point.

3. Double tap, [T1] for Track 1. The Machine or Sample window should
open. Do not change the machine at this stage. Use [LEFT] [RIGHT] if
needed to navigate to the static sample slot list.

4. If required load a set of samples into the Static Sample slots list from
the Audio Pool. Navigate using [UP] [DOWN] to an empty slot them
press [RIGHT]. The File Browser should open in the Compact Flash at
the Set Audio Pool.

5. Navigate through the folders to find a sample to load to a machine slot.

Use [UP] [DOWN] to scroll the samples and folders and [LEFT]
[RIGHT] to navigate down and up through folders.

6. When the sample to load is highlighted press, [YES]. At this point the
sample has been loaded into the static sample list. 128 samples can be
held here, available to all tracks.

7. Repeat steps 4-6 to build a small collection of samples in the static

sample list. It may be that the factory set / project will be ok for this.

8. Once the sample list is developed it is required to load the samples into
track machines. This allows playback and sequencing. Press [NO] from
the audio pool to return to the track machine browser.

54 The Octatrack Notebook : Reference & Guide

 Track Basics 4
NOTES

9. In the track machine sample browser list, scroll to the sample to load to
the track’s machine. For Track 1 as an example load a kick or
percussion sample.

10. The same process should be followed for Track 2. This is essentially
repeating steps 3-9. This can be also performed for Tracks 3, 4 etc.

11. For demonstration purposes samples in the first four tracks, static
machines is a good starting point. Of course this can cover all tracks if
needed.

12. The default track parameter settings will be ok for the time being.

Example

Static Machine
Sample List Audio Pool

Static Machine 1. Sample XYZ 1. Sample XYZ

(Default)
2. Sample 001 2. Sample 001
Static Machine
3. Sample Kick 3. Sample Kick
(Default)
4. Sample Snare 4. Sample Snare
Static Machine
(Default) 5. ………………. 5. ……………….

6. ………………. 6. ……………….
Static Machine
(Default) 7. ………………. 7. ……………….

The Octatrack Notebook : Reference & Guide 55

4 Track Basics
NOTES

▌QUICK MUTING TRACKS

1. Press [FUNC] + [T1] - [T8] to mute it. The track will be silenced and
show unlit or if selected lit yellow.

2. Press [FUNC] + [T1] - [T8] on a muted track to unmute it. The track will
be audible and show lit red or green.

▌CUE TRACK TO ROUTE TO CUE OUTPUT

1. Press [CUE] + [T1] - [T8] track button to select cue. The track button
will flash to indicate the track is routed to cue out.

2. Hold [CUE] + Turn (LEVEL) to adjust the cue level. The LEV indicator
will change to the cue level while [CUE] is held.

3. Press [CUE] + [T1] - [T8] track button on a cued track to deselect cue.
The track button will revert to a static colour.

▌SELECTING TRACK PARAMETER PAGES

1. Press a track button [T1] - [T8] to select it. The currently selected track
will be lit red (unmuted) or yellow (muted).

2. Press [SRC], [AMP], [LFO], FX1] or [FX2]. The 5 track parameter

buttons can now access the main parameter pages that are specifically
based on the selected track. The respective track parameter page
button is lit red when selected.

3. To access the track parameter setup page for each function, press
[FUNC] + [SRC], [AMP], [LFO], FX1] or [FX2] or quickly double press.
The 5 track parameter buttons can now access the setup parameter
pages that are specifically based on the selected track.

4. The 6 data entry rotary controls (A) - (F) will enable parameter
changes. Each rotary is assigned to the parameter relevant to the
position on the Octatrack display.

56 The Octatrack Notebook : Reference & Guide

 Track Basics 4
NOTES

▌QUICK ADJUSTMENT OF TRACK LEVELS

1. Press [T1] - [T8] to select the track to edit.

2. The display will show the LEV parameter when a track parameter main
page is on display. By default this will be the selected track output level.

• Turn (LEVEL) to adjust LEV, the track level, post effects on the
main audio outputs. Note, the AMP page VOL is pre effects.

• Press [FUNC] + Turn (LEVEL) to adjust the main global output

level. The display will show main output when [FUNC] is held. This
is the same as shown in the MIXER.

• Press [CUE] + Turn (LEVEL) to adjust the track cue output level.
Level is post effects. The display will show track cue output when
[CUE] is held.

Other Tracks
Track Main
AUDIO VOL LEV MAIN
Effects Output
Machine AMP Page Mixer &
Various Pages
Cue
CUE
Output
Various Pages Other Tracks
Track

(LEVEL) [CUE] + (LEVEL) [FUNC] + (LEVEL)

CUE MAIN

Note: Some volume level parameters have dedicated version which are used when
operating with Scenes. This includes XLV which is the track level used for scenes.

The Octatrack Notebook : Reference & Guide 57

4 Track Basics
4.2 Copy, Clear and Paste for Tracks NOTES

The ability to copy and paste between tracks is possible which is a great
feature that saves time. Developing a track sound or configuring recording
setups and then copying to another track saves time and effort. Tracks can
also be cleared and create a blank canvas to build from. These functions
are available within GRID RECORDING mode.

▌COPYING AND PASTING TRACKS AND SETTINGS

1. Press [REC] to select GRID RECORDING mode. REC button should

be lit red.

2. Press [Tx] to select the source track to copy from. Example, Press [T1].

3. Press [FUNC] + [REC] to copy the current track. This will select the
machine and sample configuration, trigs, parameter locks and FX
assignments.

4. The display will show ‘COPY TRACK’ as an indication that the

command has been performed.

5. Press [Tx] to select the destination track to paste into. Example, Press
[T2]. The copied track when pasted, will overwrite any existing track
settings of the destination track.

6. Press [FUNC] + [STOP] to paste into the current track destination. This
will overwrite the machine and sample configuration, trigs, parameter
locks and FX assignments with the copied track data.

7. The display will show ‘PASTE TRACK’ as an indication that the

command has been performed.

8. There is no prompt before overwriting so the paste command is

immediate. However pressing [FUNC] + [STOP] again, straight after
step 7 will ‘UNDO’ the past request.

Machine Machine

[FUNC] + [REC]
Sample Sample
Copy
TRACK 1 Trigs Trigs TRACK 2

Paste
FX Configuration FX Configuration
[FUNC] + [STOP]

Parameter Locks Parameter Locks

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NOTES

▌COPYING AND PASTING TRACK TRIGS ONLY

1. Press [REC] to select GRID RECORDING mode. REC button should

be lit red.

2. Press [Tx] to select the source track to copy from. Example, Press [T1].

3. Press [FUNC] + [BANK] to open the TRACK TRIG EDIT menu. Menu
must be open to only copy trigs, otherwise the entire track is copied.

4. Scroll to highlight the track trigs using [UP] [DOWN].

5. Press [FUNC] + [REC] to copy the current track trigs.

6. The display will show ‘COPY TRACK TRIGS’ as an indication of the

command has been performed.

7. Press [Tx] to select the destination track to paste into. Example, Press
[T2]. The copied track when pasted, will overwrite any existing track
trigs of the destination track.

8. Press [FUNC] + [STOP] to paste into the current track destination. This
will the existing trigs data.

9. The display will show ‘PASTE TRACK TRIGS’ as an indication that the
command has been performed.

10. There is no prompt before overwriting so the past command is

immediate. However pressing [FUNC] + [STOP] again, straight after
step 9 will ‘UNDO’ the past request.

11. Press [NO] to exit the TRACK TRIG EDIT.

▌CLEARING A TRACKS TRIGS

1. Press [REC] to select GRID RECORDING mode. REC button should

be lit red.

2. Press [Tx] to select the track to clear. Example, Press [T1].

3. Press [FUNC] + [PLAY] to clear the current track trigs.

4. The display will show ‘CLEAR TRACK TRIGS’ as an indication of the

command has been performed.

5. To undo, press [FUNC] + [PLAY] again and ‘UNDO TRACK TRIGS’ will
be displayed.

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4.3 Copy, Clear and Paste for Track Parameters NOTES

The ability to copy and paste the parameter pages between tracks is
possible. Both the main and setup pages are copied / pasted at the same
time during this process.

▌COPYING AND PASTING TRACK PARAMETER PAGE

1. Press [Tx] to select the source track to copy from. Example, Press [T1].

2. Press the track parameter page, [PARAM] + [REC] to copy. Example,

[AMP] + [REC] to copy the AMP page. This will select the main and
setup page.

3. The display will show ‘COPY PAGE’ as an indication that the command
has been performed.

4. Press [Tx] to select the destination track to paste into. Example, Press
[T2].

5. Press the track parameter page, [PARAM] + [STOP] to paste to.

Example, [AMP] + [STOP] to paste the previously copied AMP page.
This will paste and overwrite the main and setup page.

6. The display will show ‘PASTE PAGE’ as an indication that the

command has been performed.

▌CLEARING A TRACK PARAMETERS - RESET DEFAULTS

1. Press [PARAM] + [PLAY] to clear and initialise the selected parameter

page. Example, press [AMP] + [PLAY].

2. The display will show ‘CLEAR PAGE’ as an indication of the command

has been performed. The parameters will be reset to their default state.

3. To undo, press [PARAM] + [PLAY] again and ‘UNDO PASTE’ will be

displayed.

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NOTES 4.4 Track 8 as the Master Output Track
While tracks normally have a machine assigned, track 8 can, if desired, be
configured as the master track. This means that tracks 1 - 7 audio is
routed through and managed by the master track 8. Master track 8 is not
affected by mute and cannot be routed to the cue output and has a limited
range of available track parameters.

Master Track

Muting or routing to CUE of Track 8 is not possible when set to Master.

The track parameter page availability is limited on the master track. Only the Amp Setup, LFO Main &
Setup, FX1/FX2 Main & Setup are the parameters sets available to the master track.

T1 T2 T3 T4 T5 T6 T7

All effects and settings on the master track will Track 8 will show an ‘M’ symbol when setup as
be applied to all track audio before outputting T8 M a master track. Other tracks will show the
the combined audio. symbol for the assigned machine to the track.

▌SETTING UP TRACK 8 AS THE MASTER OR AS A NORMAL TRACK

1. Press [PROJ] to open the project menu.

2. Scroll to highlight CONTROL option in the left side main menu.

Navigate the menu using the [UP] [DOWN] buttons.

3. Press [YES] or [RIGHT] to select the highlighted CONTROL sub menu.

4. Scroll to highlight AUDIO option in the right side sub menu. Navigate
the menu using the [UP] [DOWN] buttons.

5. Press [YES] to select the highlighted AUDIO option.

6. Navigate in the ‘TRACK 8’ in the pop-up menu to highlight the MASTER

option. Navigate the menu using the [UP] [DOWN] [RIGHT] [LEFT]
buttons.

7. Press [YES] to toggle the MASTER on - shown as checked, meaning

track 8 is assigned as master. The NORMAL check box will revert to
empty as the option toggles track 8 between normal (same as all other
tracks) and master states.

8. Exit the menu and backup by pressing [NO].

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4.5 Routing Tracks to Outputs NOTES

Octatrack has 2 main and 2 cue audio outputs and each track can be
selected to play out audio to each or both of these outputs. The default is to
route all tracks (and inputs) to the main outputs. Cue outputs are useful as
an alternate mix out for example for audio recording into a DAW.

Cued track buttons will flash

T1 T2 T3 T4 T5 T6 T7 T8

Main Out Cue Out

Main output audio is Tracks are selected to Audio inputs can be
default for all tracks. route to the cue output. routed to the cue output.

All by Default [CUE] + [TRACK] [CUE] + [REC1/2/3]

L L

R R

Main Out Cue Out Headphones

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NOTES 4.6 Trig Modes and Trig Functions
Trig modes provide different operating environments, when not in a
recording mode, for the Trig button controls and respective display. These
make it more suited to specific workflows and simplify the user interface for
defined activities. The 16 Trig buttons are the centre piece of sequencing
patterns but may also provide other functionality depending on the context.
The default trig mode is ‘Tracks’. Note that trig modes also determines MIDI
control behaviour.

Trig Modes

Trig Mode Page Symbol Playback Focus Description

Trig 1-8 plays disconnected tracks 1-8.
Tracks * Track playback
Trig 9-16 play the machines on tracks 1-8.

Playback of samples chromatically. Trig

Chromatic * Chromatic Keyboard
keys operate as a keyboard

Trig keys play samples that exist in the

Slots * Sample list
static and flex sample lists.

Plays the individual slices of the sample (if

Slices * Sliced Audio
they exist). Up to 64 slices are available.

Trig 1-8 Mutes / Unmutes audio tracks 1-8.

Quick Mute X Muting Audio / MIDI
Trig 1-8 Mutes / Unmutes MIDI tracks 1-8.

Trig 9-16 selects the track with an echo

Delay Control Echo freeze delay
freeze effect. Trig 1-8 selects the delay time.

* Can record in real time in LIVE RECORDING Mode.

▌SELECTING A TRIG MODE

1. Press [FUNC] + [UP] or [DOWN].

2. The Trig Mode pop up menu will appear. The default is Tracks.

3. Scroll to highlight and select option by using the [UP] [DOWN] buttons.

4. Release the buttons to confirm selection. To use this feature ensure

mode is not in GRID RECORDING mode.

5. The display page will show the symbol for the current mode on the main
page, located bottom right of the display, to the left of scenes.

Symbol indicates Trig Mode

selected. Display may also
have other features unique
for each mode.

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NOTES

Trig Mode: Tracks (Default).

Normal Audio Operation.

Not in GRID RECORDING Mode: [REC] Button unlit.

Audio: Trigger Disconnected Tracks 1- 8 Audio: Trigger Track 1- 8 Machines

MIDI Mode: Trigger Notes for Tracks 1- 8 MIDI Mode: Trigger Disconnected Tracks 1- 8

Disconnected Tracks Audio Tracks Sample & Trigless Trigs Audio Tracks
Trig [1] - [8] controls any ‘disconnected’ tracks Trig [9] - [16] represents the samples that are
1-8. Ideal for manual playback. Disconnected triggered within the machines assigned to tracks
means these tracks are not controlled by the 1-8. Also Track [Tx] + [PLAY] and [Tx] + [STOP]
sequencer and play free. Option to play free is plays and stops track machines. If the
found in the Pattern Settings menu. sequencer is running these will indicate activity
for the relevant track. Trigless Trigs can also be
played, [FUNC] + Trig [9] - [16]

Note Trigs MIDI Tracks Disconnected Trigs MIDI Tracks

Trig [1] - [8] represents the MIDI assigned to Trig [9] - [16] represents the ‘disconnected’ MIDI
tracks 1-8. If the sequencer is running these will tracks 1-8, ideal for manual playback.
indicate activity for the relevant track. Disconnected means these MIDI tracks are not
controlled by the sequencer and play free. Option
to play free is found in the Pattern Settings menu.

Trigs [1] - [8] initiate C1 to G1 MIDI Notes Out * Trigs [9] - [16] initiate C2 to G2 MIDI Notes Out *

Recording Operation.
In LIVE RECORDING Mode: [REC] Button flashing.

Any of the manual trig operations including sample / note trigs and trigless trigs can be real time recorded in
LIVE RECORDING Mode. This offers the opportunity to improvise and play live to capture performances.

* Assumes Octatrack configuration is set for MIDI Out

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NOTES

About disconnected tracks.

Disconnected tracks are not connected to the sequencer meaning they are
only manually playable. To play disconnected tracks, MIDI tracks use Trigs
9-16 and Audio use Trigs 1-8. This gives the ability to manually trigger and
play without control from the sequencer. Disconnected tracks do not play
from the [PLAY] control and are only triggered manually alongside playback
of other ‘connected’ sequenced tracks.

To be ‘disconnected’ a track has to be set to ‘PLAYS FREE’ in the

PATTERN SETTINGS menu, under each track T1-T8. Having both
sequenced tracks and live playable tracks, on the same device is ideal for
improvisation. This option is set on a track by track basis.

▌DISCONNECTING A TRACK FROM THE SEQUENCER

1. Press [FUNC] + [PTN] to open the PROJECT SETTINGS menu.

2. Press [UP] or [DOWN] to highlight the track required, i.e. T1-T8.

3. Press [YES] or turn (LEVEL) to select.

4. Press [UP] or [DOWN] to highlight the ‘PLAYS FREE’ option.

5. Press [YES] to toggle the PLAYS FREE option On or Off. Set to On for
each track that should be disconnected from the sequencer.

6. Repeat step 2 - 5 for all tracks to disconnect.

7. Press [NO] to exit the menu.

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NOTES

Disconnected tracks have three interesting track (not sample) playback

features that are available. These are only available if ‘PLAYS FREE’ is
selected for the track. Quantize sets the start and end playback
quantization based on the sequencer (must be playing). Oneshot will play
only a single cycle for the track once triggered, otherwise will loop. Trig
mode sets the track playback behaviour.

▌QUANTIZE, TRIG MODE, ONE SHOTS FOR DISCONNECTED TRACKS

1. Press [FUNC] + [PTN] to open the PATTERN SETTINGS menu.

2. Press [UP] or [DOWN] to highlight the track required, i.e. T1-T8.

3. Press [YES] or turn (LEVEL) to select.

4. Ensure ‘PLAYS FREE’ option is selected for the track.

5. Press [UP] or [DOWN] to highlight ‘ONESHOT TRK’.

6. Press [YES] or turn (LEVEL) to set On or Off. When on the track will
only play through once then stop when activated.

7. Press [UP] or [DOWN] to highlight ‘TRIG MODE’.

8. Press [YES] or turn (LEVEL) to set the mode.

• ONE - Plays back when triggered and restart when pressed again.
Press [STOP] to stop playback.

• ONE2 - Plays back when triggered and will stop when pressed
again. Press [STOP] to also stop playback which also stops the seq.

• HOLD - Plays for as along as the trig is held and stops on release.

9. Press [UP] or [DOWN] to highlight ‘TRIG QUANT’.

10. Press [YES] or turn (LEVEL) to set to:-

• DIRECT: Initiate playback as soon as a Trig key is pressed.

• TR LEN: Quantize start and stop based on length of track.

• 1/16 (Step Length): Value to quantize start / stop based on the step
length relative to whichever NORMAL or PER TRACK scale applies.
Flashing digits indicate length exceeds master or pattern length.

10. Press [NO] to exit the menu.

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NOTES

Trig Mode: Chromatic.

Normal Audio Operation.

Not in GRID RECORDING Mode: [REC] Button unlit.

PTCH in semitones over 2

Octave range, tracked to keys.

Change Octave range. Trig keys act as a

[FUNC] + [LEFT] [RIGHT] chromatic keyboard.

Root
Unlit Unlit Unlit Unlit Unlit Unlit
D# F# G# A# ‘C#’ D#

Yellow Red Red Red Red Red Red Yellow Red

‘C’ D E F G A B ‘C’ D

Red Trigs = White Keys Unlit Trigs = Black Keys Yellow Trigs = ‘C’ Keys

Sample & Trigless Trigs Audio Tracks

Trig [1] - [16] represents keyboard notes which, when played trigger the track sample. Trigless Trigs can
also be played by pressing [FUNC] + Trig [1] - [16]. The trig colours represent black (unlit) or white (red)
keys and yellow indicates a ‘C’ Note.
The keyboard octave range can be changed with [FUNC] + [LEFT] or [RIGHT] as indicated on the display.

Note Trigs MIDI Tracks

Trig [1] - [16] represents keyboard notes which, when played outputs the respective MIDI note on the
active MIDI track channel*. The trig colours represent black (unlit) or white (red) keys and yellow indicates
the ‘C’ Note.
The keyboard octave range can be changed with [FUNC] + [LEFT] or [RIGHT] as indicated on the display.

Recording Operation.
In LIVE RECORDING Mode: [REC] Button flashing.

Any of the manual trig operations including sample / note trigs and trigless trigs can be real time recorded in
LIVE RECORDING Mode. This offers the opportunity to improvise and play live to capture performances.

* Assumes Octatrack configuration is set for MIDI Out

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NOTES

▌USING CHROMATIC MODE

1. Press [FUNC] + [UP] or [DOWN] to access Trig Mode pop up menu.

2. Press [UP] or [DOWN] to highlight and select CHROMATIC mode.

3. Press Trig [1] - [16] to play the track sample chromatically over a 2
Octave range. The display animates the notes played and a dot
signifies the keyboard ‘C’ note. MIDI tracks have a different range.

4. Press [FUNC] + [LEFT] or [RIGHT] to transpose the octave range of the

trig keyboard 1 Octave. Display indicates current status.

5. Use LIVE RECORDING to record in sample trigs [1] - [16] and also
trigless trigs using [FUNC] + [1] - [16].

More about chromatic operation.

• An external keyboard can be used to control the sample pitch

chromatically. Best practice is to align the MIDI channel with the AUTO
CHANNEL of Octatrack found in the PROJECT > MIDI > CHANNELS
settings.

• MIDI Mapping should be set correctly for the function required when
working in Chromatic mode. MIDI mapping is a MIDI mode feature
selected by [MIDI] + [UP] or [DOWN] to assign maps per track.

• Trigless Trigs are particularly useful in chromatic mode as they can

control the pitch changes without re-triggering the sample.
Use [FUNC] + Trig [1] - [16] to record in LIVE RECORDING Mode.

• Audio tracks have a 2 octave range. MIDI tracks have the full 128 note
range available.

• The trig keyboard is not velocity sensitive, but of course this is perfectly
OK given that this is triggering machine samples and not traditional
synthesiser envelopes.

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NOTES

Trig Mode: Slots.

Normal Audio Operation.

Not in GRID RECORDING Mode: [REC] Button unlit.

Greyed / Unfilled boxes:

Empty sample slot

Filled boxes: Selected row of 16

sample is present in sample slots.
a machine slot
Sample playback
position.

Green Trigs where samples exist Unlit Trigs where samples slots are empty

Sample Order
1 2 3 4 13 14 15 16

Press [PAGE] to scroll the slot rows

Applies to static or flex sample Unlit Trigs = Empty Sample Slots Green Trigs = Samples
list depending on track machine.

Sample Trigs Audio Tracks

Trigs represent the playback of samples from the static machine or flex machine sample lists. The
available samples will be based on the machine loaded into the track. Samples are shown in a 4 x 16
matrix. Each row represent up to 16 samples, played with Trig [1] - [16] for sample 1 to 16, 17 to 32 etc.
Black squares indicate available samples and empty slots are shown ‘shaded’. Rows are navigated by
pressing [PAGE], which also scrolls to extend beyond the 64 visible slots if more samples are available.

Note Trigs MIDI Tracks

No MIDI data is output when a Trig is pressed in this mode.

Recording Operation.
In LIVE RECORDING Mode: [REC] Button flashing.

Trigs can be real time recorded in LIVE RECORDING Mode. This offers the opportunity to capture live
performances. Trigs are recorded as sample locks as each may trigger a different sample.

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NOTES

▌USING SLOTS MODE

1. Select a track with a static or flex machine.

2. Press [FUNC] + [UP] or [DOWN] to access Trig Mode pop up menu.

3. Press [UP] or [DOWN] to highlight and select SLOTS mode.

4. Press Trig [1] - [16] to play the samples located in the sample list. Green
trig buttons indicate the location of samples as opposed to unlit where
no sample exists.

5. The display will show the sample playback duration and position on the
‘playhead’ bar located at the bottom of the page, between the sample
slots and scenes.

6. Press [PAGE] to cycle through the sample list rows. Four rows i.e. 64
sample slots are shown on the display and each slot is represented by
Trigs 1-16, Left to right of each row.

7. If more than 64 samples exist, Press [PAGE] to scroll to additional rows.

8. Use LIVE RECORDING to record sample locks by playing Trig [1] - [16].

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NOTES

Trig Mode: Slices.

Normal Audio Operation.

Not in GRID RECORDING Mode: [REC] Button unlit.

If SLIC is OFF the start STRT SRC Setup Page.

will be affected by Trig SLIC must be is ON to trigger
individual slices

Filled Box Selected row of 16 slices.

represents each Press [PAGE] to scroll rows.
available slice.

Playback position of
slice within sample.

Slices: SLIC ON

Slices: SLIC OFF

0 2 4 6 8 10 12 14 16 18 20 22 24 26 28 30
STRT
Unlit Trigs = Empty Slice Slots Green Trigs = Slices

Trigs Audio Tracks

Trigs represent the playback of slices, if they exist of a sample from the static machine or flex machine.
The SLIC parameter must be set to ON within the SRC Setup page in order to allow individual slices to be
triggered. If SLIC is OFF the STRT position will affected by the trigs from different start positions. The
STRT position value will start at Trig 1 = 0 and then increment by 2 for subsequent trigs. Black squares
indicate available slices and empty slots are shown ‘shaded’. Rows are navigated by pressing [PAGE].

Note Trigs MIDI Tracks

No MIDI data is output when a Trig is pressed in this mode.

Recording Operation.
In LIVE RECORDING Mode: [REC] Button flashing.

Trigs can be real time recorded in LIVE RECORDING Mode by parameter locking the STRT parameter.
This offers the opportunity to capture live performances of reordered slices.

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NOTES

▌PLAYING IN SLICES IN SLICE MODE

1. Select a track with a static or flex machine. Ensure that the sample has
slices set i.e. use the audio editor to slice the sample.

2. Press [SRC] Page twice or Track [Tx] + [SRC] to select the SRC setup.

3. Turn (B) Data Entry to set SLIC to ON. This will enable individual slices
to be triggered.

4. Press [FUNC] + [UP] or [DOWN] to access Trig Mode pop up menu.

5. Press [UP] or [DOWN] to highlight and select SLICES mode.

6. Press Trig [1] - [16] to play the slices which are represented by the trigs
in the selected slice row. Trigs with a slice are green and shown with a
filled box on the display.

7. The display will show the slice playback duration and position on the
‘playhead’ bar graph located at the bottom of the page, between the
slice slots and scenes.

8. Press [PAGE] to cycle through the slice rows. Four rows i.e. 64 slices
are shown on the display and each slice is represented by Trigs 1-16,
Left to right of each row.

9. Use LIVE RECORDING to record parameter locks of the STRT by

playing Trigs [1] - [16].

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NOTES

▌PLAYING A SAMPLE FROM VARIABLE START IN SLICE MODE

1. Select a track with a static or flex machine. Ensure that the sample has
slices set i.e. use the audio editor to slice the sample.

2. Press [SRC] Page twice or Track [Tx] + [SRC] to select the SRC setup.

3. Turn (B) Data Entry to set SLIC to OFF. This will enable sample
playback from a defined start point per trig.

4. Press [FUNC] + [UP] or [DOWN] to access Trig Mode pop up menu.

5. Press [UP] or [DOWN] to highlight and select SLICES mode.

6. Press Trig [1] - [16] to play the sample where Trig 1 represents the start
position STRT = 0 and subsequent Trigs will represent the STRT start
position in increments of 2. Example, playing slice trig 5 would be like
setting STRT to 8 and pressing play.

7. The display will show the sample playback duration and position on the
‘playhead’ bar graph located at the bottom of the page, between the
slice slots and scenes.

8. Use LIVE RECORDING to record parameter locks of the STRT by

playing Trigs [1] - [16].

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NOTES

Trig Mode: Delay Control.

Normal Audio Operation.

Not in GRID RECORDING Mode: [REC] Button unlit.

Scale Selected.
No delay available
for track. Delay effect
available on track.

Delay Time for Selected Track Track Select

Yellow Trig indicates available delay times based Green Trig indicates tracks 1-8 that contains
on the scale selected by pressing [PAGE]. an Echo Freeze Delay effect.

1 2 4 8 16 32 64 128

1:2 Scale - Time [PAGE] 1:3 Scale - Time Hold to track select [9] - [16] , then press [1] - [8] to
select the time associated with the effect. The time
options are only visible on the trigs when the track
1 3 6 12 24 48 96 128
trigs [9] - [16] keys are being held.

TIME Divide Ratio TIME Divide Ratio

128 1 12 1/16.
96 1/2. 8 1/16
64 1/2 6 1/32.
48 1/4. 4 1/32
32 1/4 3 1/64.
24 1/8. 2 1/64
16 1/8 1 1/128 Echo Freeze Delay

Delay Trigs Audio Tracks

The Trigs manually control a tracks Echo Freeze Delay loaded as an effect. The right side Trigs [9] - [16]
represent the tracks 1-8 and will be lit green if an Echo Freeze effect is loaded to that track. Any tracks
without a delay loaded will be unlit and show the fader icon greyed out on the display. To control a delay in
this mode, an Echo Freeze Delay must be loaded to at least one track. The left Trigs [1] - [8] control the
effect TIME parameter. To manually adjust the time Hold Trig [9] - [16] for the desired track + Press Trig [1]
- [8] to set the timing. Values will return to default when released. The value will be dependant on whether
its in 1:2 or 1:3 scale. Press [PAGE] to toggle between scales which will be displayed on the page when in
Delay Control Trig Mode.

MIDI Trig Mutes MIDI Tracks

No MIDI data is output when a Trig is pressed in this mode.

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NOTES

▌ADJUSTING ECHO FREEZE TIME IN DELAY CONTROL MODE

1. Press [FUNC] + [UP] or [DOWN] to access Trig Mode pop up menu.

2. Press [UP] or [DOWN] to highlight and select DELAY CTRL mode.

3. Trigs [9] - [16] will illuminate green if an Echo Freeze Delay is available
on the track.

4. Press [PAGE] to toggle between the two available scale timing modes
1:2 or 1:3. The selected scale is shown in the Trig Mode display.

5. Hold Trig [9] - [16] + Trig [1] - [8]. This will select a track with a delay
effect and then set the TIME parameter for the tracks Echo Freeze
Delay while being held. This is based on the scale and Trig selected.

More about delay control operation.

• This trig mode is a great feature when playing live and improvisation
sessions. Delays can be adjusted and manipulated on the fly. Try
experimenting, happy accidents are often a good source of inspiration.

• Multiple delays can be adjusted at the same time by selecting multiple

trigs in the trig mode.

• Delay controls will revert to default when the track and time trigs are
released.

• The Echo Freeze Delay Set Up has a LOCK parameter which also
affects the trig mode behaviour. If LOCK is set 1 / ON / Enabled, it will
set the main page SEND to 0. If LOCK is 0 / OFF / Disabled the VOL
will be set to 127.

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NOTES

Trig Mode: Quick Mute.

Normal Audio Operation.

Not in GRID RECORDING Mode: [REC] Button unlit.

A dash represents a muted track.

Boxes show tracks that are unmuted / audible.
Filled boxes represent Trig 1, 5, 9 & 13.

Audio Tracks. MIDI Tracks.

Audio Trig Mutes Audio Tracks

The left side red Trigs [1] - [8] represent the muting and unmuting of audio tracks. Indicated as the upper
‘A’ row on the display. Operates the same as the mixer page but parameters remain on display.

MIDI Trig Mutes MIDI Tracks

The right side yellow set of Trigs [9] - [16] represent muting and unmuting MIDI tracks. Indicated by the
lower ‘M’ row on the display. No MIDI data is output when a Trig is pressed in this mode.

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NOTES

Mute Control.
The Quick Mute page controls are the same as for the [MIXER] page.

The below table shows Audio Tracks - Red Trigs. For MIDI Tracks the Trigs are shown Yellow when unmuted.

Trig State Page Symbol Mute State Command

2 Press Trig [1] - [16] to toggle mute / unmute.

Audible / Unmuted
Box is filled on 1,5,9,13 Trigs.
Red

2
Silent / Muted Press Trig [1] - [16] to toggle mute / unmute.
Unlit

2 2 Press [FUNC] + Trig [1] - [16]

Mute to Unmute Mute will be held and then unmuted when
Unlit > Red FUNC is released.

2 2 Press [FUNC] + Trig [1] - [16]

Unmute to Mute Unmute will be held and then muted when
Red > Unlit FUNC is released.

2
S Solo Press [CUE] + Trig [1] - [16] to toggle Solo
Green

Press [CUE] + Trig [1] - [16] to toggle Solo

2
Solo Indicates tracks that will be audible i.e.
Red Dimmed unmuted when solo is released.

2
Press [CUE] + Trig [1] - [16] to toggle Solo
Solo Indicates tracks that will be silent i.e. muted
Unlit when solo is released.

▌USING MUTE QUICK MODE

1. Press [FUNC] + [UP] or [DOWN] to access Trig Mode pop up menu.

2. Press [UP] or [DOWN] to highlight and select QUICK MUTE mode.

3. Trigs [1] - [8] will represent the audio tracks, lit red when unmuted and
[9] - [16] MIDI tracks lit yellow when unmuted.

4. Press a Trig to toggle the state. The same process and indicators as per
the Mixer mute option are available. Press:

• Trig to toggle Mute / Unmute. Muted tracks are unlit and display a
dash / line.

• [CUE] + Trig to Solo a track on/off. The Trig will be green and the
display will show an ‘S’. Other trigs will be dimmed.

• Master track cannot be muted and is audible when tracks are

solo’ed if set as audio track 8.

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4 Track Basics
4.7 Summary of Trig Functions. NOTES

Trigs are multi functional and provide control based on the context in which
they operate. Generally used for sequencing, they also perform function
selections and quick mode settings. A summary of the main functions is
provided here.

Function Trigs Indicators Description

Audio Tracks Tracks 1-8, manually controlled, Default audio trig mode. Trig buttons represent the
1-8
Play Free not attached to the sequencer. tracks triggered for manual operation and playback.
Audio Track Samples 1-8, represented by trig Default audio trig mode. Trig buttons represent the
9-16
Play buttons flash red when triggered. track sample and indicates sequencer activity.

MIDI Tracks Notes, represented by trig buttons Default MIDI trig mode. Trig buttons represent the
1-8
Notes flash red when triggered. note and indicates sequencer activity.

MIDI Track Tracks 9-16, manually controlled, Default MIDI trig mode. Trig buttons represent the
9-16
Play Free not attached to the sequencer. note triggered for manual operation and playback.

Red are white keys, unlit are Set as a trig mode. Trigs represent a chromatic
Chromatic 1-16
black keys and yellow indicate ‘C’ keyboard.

Green trigs are where samples Set as a trig mode. Trigs represent each sample
Slots 1-16
from flex or static lists exist. from the tracks static or flex machine,

Green trigs represent a sample Set as a trig mode. Trigs represent each slice for the
Slices 1-16
slice if it exists and SLIC is on. sample of the track

Mute Audio Red is active audio tracks. Unlit Set as a trig mode. Trigs toggle mute on or off. Also
1-8
Tracks are muted and green solo’ed. [CUE] + Trig for Solo.

Mute MIDI Yellow is active MIDI tracks. Unlit Set as a trig mode. Trigs toggle mute on or off. Also
9-16
Tracks are muted and green solo’ed. [CUE] + Trig for Solo.

Green shows tracks with an Echo Hold to select the track which contains the delay that
Delay Track 9-16
Freeze Delay available will have the time parameter available to set

Yellow will represent the available When the track [9] - [16] is held, press Trig [1] - [8] to
Delay Time 1-8
time option in the ‘scale’ selected. set the TIME parameter for the delay.

Available banks lit red when Bank Selection. Press [BANK] + Trig [1] - [16] to
Banks 1-16
[BANK] is held select bank A-P
Pattern selection. Press [PTN] + Trig [1] - [16] to
Available patterns lit red with
Patterns 1-16 select a pattern. Pattern selection automatically after
[BANK] or [PTN]
bank select. Also used for pattern chaining.
The scene assigned shows red Scene slot selection. Selects the scene slot
Scenes 1-16 when [A] or [B] is held and the assigned to A or B. Press [A] or [B] + Trig [1] - [16] to
other lit green. assign the scene slot to A or B.
[REC] On/Lit red. Trigs are lit Selects trigs that are assigned on or off to steps in
Grid
1-16 when a sample or MIDI trig is set the selected pattern page. Trig colour depends on
Recording
on the step. type of trig(s) set on the step.
[REC] Flashes red. Trigs are lit Play trigs representing track 1-6 i.e. trig 9-16 real
Live
9-16 when a sample or MIDI trig is time to record the performance as the sequencer
Recording
triggered. plays. Tracks will be lit when triggered. .

78 The Octatrack Notebook : Reference & Guide

 Track Basics 4
NOTES 4.8 Brief Introduction to Trigs and Patterns
Each of the 8 audio tracks will be driven from a pattern which contains up
to 64 steps (16 steps across 4 pages) and activates events called Trigs. A
trig is a step that initiates an activity such as triggering a sample or playing
a MIDI note. There are various types of Trig in Octatrack which perform
different functions. Tracks can optionally be disconnected from the
sequencer and therefore only available to be played live manually.

While Octatrack can record / sample audio using the track recorders or
pickup machines, patterns are recorded by the sequencer to capture trigs
and their step locations. The Record [REC], Play [PLAY] and Stop [STOP]
transport buttons play the key role in controlling the sequencer.

Pattern Track Parameters

A sequenced pattern will control the Each track has a set of main track parameters and set up
8 tracks and triggered steps for each. parameters. The selected machine defines the [SRC] parameters.

A01

LFO LFO
T1 Audio Machine AMP LFO
FX1 FX2

Trigs set as steps in the pattern within grid

recording or live recording mode. Steps illuminate
when placed by pressing Trig [1] - [16].

Trig Types:

Sample Trigs:
Triggers a sample assigned into a track static or flex machine. Also a trig is needed to initiate the audio of a
thru machine to be heard. Used on audio tracks.

Note Trig:
A trigger applied to a step that is assigned to drive a MIDI note out. Used on MIDI tracks.

Lock Trig:
A step that triggers an event but not a sample or MIDI note. These trigger a parameter setting to create
variations and movement through the sequence of parameter changes.

Trigless Trig:
A step that triggers an event but not a sample or MIDI note. These trigger an LFO or FX envelope.

One Shot Trig:

This is a trig used only for track recording. These are sample recording events triggered by the sequence
step as opposed to initiating manual sampling and which are applied only once in the pattern.

The Octatrack Notebook : Reference & Guide 79

 NOTES

80 The Octatrack Notebook : Reference & Guide

 5
Track Machines
So far the first few book sections have Octatrack native language. Think of a machine
introduced the more structural and as a selectable application designed to manage
organisational aspects of Octatrack. While this the audio source for the assigned track.
is more about architecture than creativity it Octatrack has 5 machines and each performs a
does lay the foundation for a solid different audio function. Assignment of
understanding before moving on. Now that a machines therefore will depend on what the
set is mounted and a project loaded, this required track function will be. It is good to
section steps nearer to the creative aspects of introduce the concept of parts at this point, the
Octatrack and how to start making music. details of which will come later. If tracks,
Tracks, machines, patterns and parts are the machines and patterns are the bricks in an
building blocks to creating a musical track and Octatrack production, then parts is the mortar
its potential variations. This section covers the that glue these together. For now be aware that
core elements of track machines and how to parts contain Octatrack configurations.
use them. More advanced elements in Switching between parts can therefore apply
patterns and detailed features will come later. variations to settings in the same pattern. All will
Octatrack has 8 individual audio tracks which become clear later but for now this section sets
use machines. Also 8 MIDI tracks are available out some basics in demystifying the machine
but audio is the focus in this section. The functions and covers how they are used.
function of an audio track is determined by the
machine assigned to it. A machine is a term
defined by Elektron and used exclusively in the

The Octatrack Notebook : Reference & Guide 81

5 Track Machines
5.1 Selecting Machines NOTES

Every Octatrack track has an assigned machine. A machine is an

application that helps to configure and manage the audio source for the
defined track. The parameters available to the track and its function are
determined by the specific machine selected.

Track Machines

The standard track parameters on display will indicate the machine

assigned to the selected track along with the status of the track

T1 T5

Selected Track Unselected Track

i.e. Track 1 i.e. Tracks 2-8

Machine Assigned
i.e. Static (default) Track Status
i.e. Stop, Play etc

T4 T8

Currently selected track parameter

page and machine assigned

S - Static Machine (default) - Used to stream compact flash samples.

F - Flex Machine - Used to play samples from the on board memory.

n - Neighbor Machine - Used to route the prior track audio into this track.

T - Thru Machine - Used to route the external audio inputs into the track.

P - Pickup Machine - Used for audio sampling and looping.

M - Master track (Not a machine assignment)

Track Status

Static or Flex Machine sample is playing

Static or Flex Machine sample is stopped

+ Track recorder or pickup machine (more symbols exist) is recording.

For MIDI tracks the channel for the track to send data is shown for each
track. Machines are not assigned in MIDI tracks. If the channel is not set,
an ‘x’ symbol will be shown.

82 The Octatrack Notebook : Reference & Guide

 Track Machines 5
NOTES

Machine Options

Sample Playback

Static Machines Flex Machines

The audio samples are hosted on the compact The audio samples are hosted in the on board
flash card and streamed in the track. RAM memory and played in the track.

OCTACARD 32 GB

RAM
CP CARD FOR OCTATRACK 866x

PROFESSIONAL

S F

LFO LFO
T1 Audio Machine AMP LFO DES
FX1 FX2

LFO LFO
T2 Audio Machine AMP LFO DES
FX1 FX2

T P

Thru Machines Pickup Machines

The audio is routed from the external audio inputs The audio is routed into the track based on the
to the track. recording setup. Ideal for looping.

External Routing

The example illustrates track one with an assigned static machine and track 2
assigned with a neighbor machine meaning track 1 audio is routed to track 2.

The Octatrack Notebook : Reference & Guide 83

5 Track Machines
NOTES

▌QUICKLY ASSIGNING A MACHINE TO A TRACK

1. Quickly double press [T1] … [T8] of the track to assign a machine.

2. The quick assign menu appears and displays either the machine list or
the list of samples and sample slots for the static or flex machine.

3. If the sample list is displayed, press [LEFT] to show the machine list.
Press [RIGHT] to access the sample slots.

4. Press [UP] or [DOWN] to navigate to highlight the machine to assign

into the track. The currently assigned machine will show inverse on the
display.

5. With the machine to assign highlighted, press [YES] to assign it to the

track or press [NO] to cancel.

6. The machine will be assigned to the selected track.

• The track will show the machine letter i.e. S for Static Machine.

• The SRC track parameter pages will now reflect the available
machine parameters.

• Each track will always have a machine assigned and an

unassigned track isn't possible. The default assignment is Static
Machine.

• The actual configuration setting is stored in the background in the

selected PART, the default of which is Part 1. More on this later.

• A sample would need to be assigned to the machine to play out in a

pattern.

8. Press [NO] to exit the quick assignment menu.

Machine List [LEFT] [RIGHT] Sample Slot List

84 The Octatrack Notebook : Reference & Guide

 Track Machines 5
NOTES

▌ASSIGNING A MACHINE TO A TRACK (ALTERNATE METHOD)

1. Press [T1] - [T8] to select the track to assign a machine. Neighbor

machines cannot be assigned to track 1 or 5.

2. Press [FUNC] + [SRC].. This will open the track parameter setup page.
This may reflect the currently assigned machine.

3. The available machines will be listed on the left and available for
selection. If the machine list is not in view but the sample list is shown,
press [LEFT] to navigate to the machine selection page.

4. Navigate to highlight the desired machine using [UP] or [DOWN].

5. With the machine to assign highlighted, press [YES] to assign it to the

track or press [NO] to cancel.

6. The machine will be assigned to the selected track.

• The track will show the machine letter i.e. S for Static Machine.

• The SRC track parameter pages will now reflect the available
machine parameters.

• Each track will always have a machine assigned and an

unassigned track isn't possible. The default assignment is Static
Machine.

• The actual configuration setting is stored in the background in the

selected PART, the default of which is Part 1. More on this later.

7. The track parameters are now set up depending on the machine

assigned. For example samples would need to be loaded to an empty
static machine.

[LEFT] [RIGHT]

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5 Track Machines
5.2 Static Machines in Depth NOTES

A static machine is used for playback of audio samples, streamed from the
compact flash card and triggered in the track controlled by the selected
pattern. Audio samples are transferred from the sets audio pool into the
static machine sample list (maximum 128 samples). All of the 128 samples
in the list will be available to all static machine tracks. An audio samples
will need to be loaded to hear playback from the sequencer.

General Principles of a Static Machine

OCTACARD 32 GB
Samples from the compact flash are
S T1 streamed through the assigned track by
the static machine.
CP CARD FOR OCTATRACK 866x

PROFESSIONAL

Each set has an audio pool. The samples in

the static machines are loaded from the audio
pool into the static machine list.
BasSline1
Bassline1
PercA1
PackA PercA2
BackingT3
Audio Sample1 BackingT4
Sample2 Drone8

Mono or stereo, Aiff or Wav files, 16 or 24bit, Static sample list, maximum
44.1kHz Format. 128. Accessible to all static
machines in the project

Samples up to 2GB i.e. multiple minutes long are streamed from the compact flash card. Static
machines work best for longer file lengths with low levels of modulation. It is generally
accepted wav file size convention limits are 2GB.

Seconds Minutes Hours

As a general rough guide, a 2GB, 24bit, 44.1kHz uncompressed (i.e. wav) mono file will play
for approximately 4 hours. Stereo estimated at about 2hrs. 16bit potentially 50% longer.

86 The Octatrack Notebook : Reference & Guide

 Track Machines 5
NOTES
Static Machines: Advantages & Use Cases

The main advantage of a static machine is that it can stream large audio
files (meaning longer playback) as these are stored on the compact flash
card. This is ideal for backing tracks or long drones. For example a bass-
line can be streamed for the entire track duration. The downside is that
card streaming is slower. Audio manipulation, slicing, mangling and
modulation of the sample i.e. sample start will be slower and in some
cases not practical due to reduced performance.

Using Static Machine Samples

▌LOADING SAMPLES FROM THE AUDIO POOL TO A STATIC MACHINE.

1. Samples would need to be available in the audio pool for the selected
set. The factory PRESETS set already contains a populated audio pool.

2. Press [T1] … [T8] to select the track with the assigned static machine.

3. Press [FUNC] + [SRC] or quickly double tap the [SRC] track button.
This will open the track parameter setup page. This may display the
machine list or show the sample list.

4. Press [RIGHT] to navigate and display the static machine sample list
page if not already in view. Press [LEFT] to return to the machine list if
required.

5. With the static sample list open and in view, navigate by pressing [UP]
or [DOWN] to a sample slot in which to load the sample.

6. Load a sample.

• On the highlighted, empty sample slot, press [YES] to open the

audio pool file browser ready to load and assign to the machine.

• On an existing sample in a slot, Press [RIGHT] to open the audio

pool file browser ready to load and replace without directly
assigning to the machine.

7. Highlight the sample to load from the audio pool. Navigate [RIGHT],
[LEFT] through the folders, indicated by a (D) tag. Navigate [UP] and
[DOWN] through files.

8. With the sample to load highlighted, press [YES] to add or replace the
sample in the static machine sample list.

9. Repeat steps 5-8 to add more samples into the static machine list.

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5 Track Machines
NOTES

▌QUICKLY ASSIGN A SAMPLE TO THE STATIC MACHINE.

1. Quickly double press [T1] … [T8] of the track to assign a sample.

2. The quick assign menu appears and displays the list of samples and
sample slots for the static machine.

3. Press [UP] or [DOWN] to navigate to highlight and select the sample

which will be assigned into the machine.

4. Press [YES] to assign the sample.

Machine type
assigned

Loaded Sample 1 > KICKHard O.12

Sample size in MB

Selected Sample
Empty Slot

A blinking star indicates an edited but

Sample BPM
unsaved file. More often seen in flex tracks

88 The Octatrack Notebook : Reference & Guide

 Track Machines 5
NOTES

▌OTHER FEATURES AVAILABLE IN THE QUICK ASSIGNMENT MENU

• Samples can also be added to the static slots from the audio pool.
Press [YES] on an empty slot to add a sample or press [RIGHT] on
an existing sample to replace it. The quick access audio pool
browser will open and enable file selection.

Quick edit in audio pool shows currently

highlighted file format details

• To preview a samples audio, Press [FUNC] + [YES], or [CUE] +

[YES] to preview to the cue outputs.

• Copy - [FUNC] + [REC] will copy the sample and all of its set
attributes in the quick assign menu.

• Paste - [FUNC] + [STOP] will paste a copied sample. To undo, press

[FUNC] + [STOP] a second time.

• Clear - [FUNC] + [PLAY] will delete the slot. A prompt will appear,
press [YES] to confirm deletion or [NO] to cancel.

• To assign the previous or next sample to the machine, press [FUNC]

+ [RIGHT] or [FUNC] + [LEFT] respectively. Samples are loaded
relative to the original sample location in the audio pool.

• To edit in the audio editor, press [FUNC] + [BANK]. Unsaved

samples edited using EDIT in the audio editor will be indicated by a
flashing star. This is mainly seen with flex machines.

• Select or change the machine. Press [LEFT] to access the machine

list. Scroll, highlight and select with [YES] to change the track to the
selected machine.

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5 Track Machines
NOTES

▌ASSIGN A SAMPLE TO THE MACHINE (ALTERNATE METHOD)

1. Press [T1] … [T8] to select the track with the assigned static machine.

2. Press [FUNC] + [SRC] or quickly double tap the [SRC] track button.
This will open the track parameter setup page. This may display the
machine list or show the sample list.

3. Press [RIGHT] to navigate and display the static machine sample list
page if not already in view. Press [LEFT] to return to the machine list if
required.

4. With the static sample list open and in view, navigate by pressing [UP]
or [DOWN] to highlight the desired sample in the list.

5. Press [YES] to select the sample and assign it to the machine.

▌PREVIEWING A SAMPLE IN THE BROWSER.

1. When in the static machine sample list or in the audio pool with the file
browser, samples can be auditioned.

2. With the selected sample highlighted, press [FUNC] + [YES] to hear the
sample playback from the main outputs.

3. With the selected sample highlighted, press [CUE] + [YES] to hear the
sample playback from the cue outputs.

4. The sample will playback once each time the key combination is
pressed.

90 The Octatrack Notebook : Reference & Guide

 Track Machines 5
NOTES
Static Machine Main Parameters & Set Up

Main Menu [SRC]

(A) (B) (C)

(D) (E) (F)

(A) PTCH (B) STRT (C) LEN

Data Entry Data Entry Data Entry

Pitch of sample Start position of sample Length of sample

Changes the sample pitch in Controls the linear start point of the The sample or slice length is
semitones (integer values) to a sample. How it behaves with slices controlled by LEN. Also the static
maximum of +1 and -1 Octave. is controlled in the static set up setup page LEN parameter
page. controls the behaviour.

-12 to +12, Default 0 0 to 127, Default 0 1 to 128, Default 1

(D) RATE (E) RTRG (F) RTIM

Data Entry Data Entry Data Entry

Rate - Speed of playback Retrig number Retrigger Time

Speed of playback where 0 Number of re-triggers that will Time between each trigger and
represents no playback and occur when a trigger is activated the units are relative to the steps
negative values set playback in in the sequencer.
reverse.

-64 to +63, Default +63 1 to 127, Inf, Default 1 0.005 to 8, Default ½

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5 Track Machines
NOTES

Static Machine Set Up Menu [FUNC] + [SRC]

(A) (B) (C)

(D) (E) (F)

[LEFT] [RIGHT]

Machine selection and

access to it’s sample list.

(A) LOOP (B) SLIC (C) LEN

Data Entry Data Entry Data Entry

Master Loop Slice - availability Length - options

Track master loop setting. AUTO Sets whether the sample slices are Works in conjunction with SLIC
will enable the sliced edited available to the start parameter - and main page LEN. When off,
sample loop settings to apply. OFF STRT is found on the static main LEN on the static main page is
no looping, ON playback loops menu. inactive. See the LEN setup
around loop points. PIPO Ping combination table options for
pong looping forward then reverse. more information.

OFF, AUTO (Default), ON, PIPO OFF (Default), ON OFF (Default), ON

(D) RATE (E) TSTR (F) TSNS

Data Entry Data Entry Data Entry

Rate - options Master Time Stretch Transient Detection

Selects whether time stretch or Sets the track time stretch option. Sets the transient detection
pitch control is applied from the Set to AUTO will enable the algorithm to be selected when the
rate parameter - RATE is found on individual slice time stretch settings TSTR mode is set to BEAT.
the static main page. from the audio editor to be used Higher settings will apply a more
allowing each sample to have its transient sensitive algorithm.
own settings.
OFF, AUTO (Default),
PTCH (Default) or TSTR 0 to 127, default 64
NORM, BEAT

92 The Octatrack Notebook : Reference & Guide

 Track Machines 5
NOTES 5.3 Flex Machines in Depth
A flex machine is used for playback of audio samples, streamed from the
on board RAM (Random Access Memory) and triggered in the track
controlled by the selected pattern. Audio samples are transferred from the
audio pool (set level) into the flex machine sample list (maximum 128
samples). All of the 128 samples in the list will be available to all flex
machine tracks. An audio sample will need to be loaded to hear playback.

General Principles of a Flex Machine

Octatrack On
Board
Samples from the onboard memory are
F RAM T2 streamed through the assigned track by
the flex machine.
85.5 MB

R1 Recording Buffer
Each set has an audio pool. The samples in
the flex machines are loaded from the audio R2 Recording Buffer
pool into the flex machine list. R3 Recording Buffer
R4 Recording Buffer
R5 Recording Buffer
PackA
R6 Recording Buffer
Audio Sample1
R7 Recording Buffer
Sample2
R8 Recording Buffer

Mono or stereo, Aiff or Wav files, 16 or 24bit, Flex sample list, maximum 128.
44.1kHz Format. Accessible to all flex machines in
the project. Track recorders share
the flex track memory

Samples are typically short i.e. seconds / minutes long and are streamed from the Octatrack
on board RAM memory. RAM is limited to 85.5MB and is shared with the track recorders
therefore file size is important. Streaming from RAM is faster than the compact flash.

Seconds Minutes

As a general rough guide 85.5MB is approx 8 minutes of 16bit, 44.1kHz uncompressed (i.e.
wav) stereo audio. 24bit around 5 mins. Note the memory is also used for the track recorders.

The Octatrack Notebook : Reference & Guide 93

5 Track Machines
NOTES
Flex Machines: Advantages & Use Cases

The main advantage of a flex machine is that it can stream audio files
faster. Streaming from RAM is faster than the compact flash card. This is
ideal for shorter files that will be mangled, manipulated and modulated as
the speed will be a significant factor. Flex machines also have more audio
editing options. The downside is that the available RAM is limited and
especially as its shared with track recorders. So audio manipulation,
slicing, mangling and modulation of the sample works well in a flex
machine, the available space for samples is the limitation.

Using Flex Machine Samples

▌LOADING SAMPLES FROM THE AUDIO POOL TO A FLEX MACHINE.

1. Samples would need to be available in the audio pool for the selected
set. The factory PRESETS set already contains a populated audio pool.

2. Press [T1] … [T8] to select the track with the assigned flex machine.

3. Press [FUNC] + [SRC] or quickly double tap the [SRC] track button.
This will open the track parameter setup page. This may display the
machine list or show the sample list.

4. Press [RIGHT] to navigate and display the flex machine sample list
page if not already in view. Press [LEFT] to return to the machine list.

5. With the flex sample list open and in view, navigate by pressing [UP] or
[DOWN] to a sample slot in which to load the sample.

6. Load a sample.

• If the flex machine slot is empty, press [YES] to open the audio pool
file browser ready to load.

• If the flex machine slot is already occupied, press [RIGHT] to open

the audio pool file browser ready to load and replace.

7. Highlight the sample to load from the audio pool. Navigate [RIGHT],
[LEFT] through the folders, indicated by a (D) tag. Navigate [UP] and
[DOWN] through files.

8. With the sample to load highlighted, press [YES] to add or replace the
sample in the flex machine sample list.

9. Repeat steps 5-8 to add more samples into the flex machine list.

94 The Octatrack Notebook : Reference & Guide

 Track Machines 5
NOTES

▌QUICKLY ASSIGN A SAMPLE TO THE FLEX MACHINE.

1. Quickly double press [T1] … [T8] of the track to assign a sample.

2. The quick assign menu appears and displays the list of samples and
sample slots for the flex machine.

3. Press [UP] or [DOWN] to navigate to highlight the sample to assign into

the machine.

4. Press [YES] to assign the sample.

5. The page also indicates the available RAM memory based on the track
recorder audio and samples assigned in the list.

Amount of free Machine type

RAM assigned

Track Recorders
Sample size in MB

Sample

A blinking star indicates the Beats Per Minute of

sample in the audio editor > EDIT Sample
tool is modified but unsaved.

▌ASSIGN A SAMPLE TO THE MACHINE (ALTERNATE METHOD)

1. Press [T1] … [T8] to select the track with the assigned flex machine.

2. Press [FUNC] + [SRC] or quickly double tap the [SRC] track button.
This will open the track parameter setup page. This may display the
machine list or show the sample list.

3. Press [RIGHT] to navigate and display the flex machine sample list
page if not already in view. Press [LEFT] to return to the machine list if
required.

4. With the flex sample list open and in view, navigate by pressing [UP] or
[DOWN] to highlight the desired sample in the list.

5. Press [YES] to select the sample and assign it to the machine.

The Octatrack Notebook : Reference & Guide 95

5 Track Machines
NOTES

▌OTHER FEATURES AVAILABLE IN THE QUICK ASSIGNMENT MENU

• Samples can also be added to the flex slots from the audio pool.
Press [YES] on an empty slot to add a sample or press [RIGHT] on
an existing sample to replace it. The quick access audio pool
browser will open and enable file selection.

Quick edit in audio pool shows currently

highlighted file format details and available RAM

• To preview a samples audio, Press [FUNC] + [YES], or [CUE] +

[YES] to preview to the cue outputs.

• Copy - [FUNC] + [REC] will copy the sample and all of its set
attributes in the quick assign menu.

• Paste - [FUNC] + [STOP] will paste a copied sample. To undo, press

[FUNC] + [STOP] a second time.

• Clear - [FUNC] + [PLAY] will delete the slot. A prompt will appear,
press [YES] to confirm deletion or [NO] to cancel.

• To assign the previous or next sample to the machine, press [FUNC]

+ [RIGHT] or [FUNC] + [LEFT] respectively. Samples are loaded
relative to the original sample location in the audio pool.

• To edit in the audio editor, press [FUNC] + [BANK]. Unsaved

samples edited using EDIT in the audio editor will be indicated by a
flashing star.

• Select or change the machine. Press [LEFT] to access the machine

list. Scroll, highlight and select with [YES] to change the track to the
selected machine.

96 The Octatrack Notebook : Reference & Guide

 Track Machines 5
NOTES
Flex Machine Main Parameters & Set Up

Main Menu [SRC]

(A) (B) (C)

(D) (E) (F)

(A) PTCH (B) STRT (C) LEN

Data Entry Data Entry Data Entry

Pitch of sample Start position of sample Length of sample

Changes the sample pitch in Controls the linear start point of the The sample or slice length is
semitones (integer values) to a sample. How it behaves with slices controlled by LEN. Also the flex
maximum of +1 and -1 Octave. is controlled in the flex set up setup page LEN parameter
page. controls the behaviour.

-12 to +12, Default 0 0 to 127, Default 0 1 to 128, Default 1

(D) RATE (E) RTRG (F) RTIM

Data Entry Data Entry Data Entry

Rate - Speed of playback Retrig number Retrigger Time

Speed of playback where 0 Number of re-triggers that will Time between each trigger and
represents no playback and occur when a trigger is activated the units are relative to the steps
negative values set playback in in the sequencer.
reverse.

-64 to +63, Default +63 1 to 127, Inf, Default 1 0.005 to 8, Default ½

The Octatrack Notebook : Reference & Guide 97

5 Track Machines
NOTES

Flex Machine Set Up Menu [FUNC] + [SRC]

(A) (B) (C)

(D) (E) (F)

[LEFT] [RIGHT]

Machine selection and

access to it’s sample list.

(A) LOOP (B) SLIC (C) LEN

Data Entry Data Entry Data Entry

Master Loop Slice - availability Length - options

Track master loop setting. AUTO Sets whether the sample slices are Works in conjunction with SLIC
will enable the sliced edited sample available to the start parameter - and main page LEN. When off,
loop settings to apply. OFF no STRT is found on the flex main LEN on the flex main page is
looping, ON playback loops around menu. inactive. See the LEN setup
loop points. PIPO Ping pong combination table options for more
looping forward then reverse. information.

OFF, AUTO (Default), ON, PIPO OFF (Default), ON OFF (Default), ON

(D) RATE (E) TSTR (F) TSNS

Data Entry Data Entry Data Entry

Rate - options Master Time Stretch Transient Detection

Selects whether time stretch or Sets the track time stretch option. Sets the transient detection
pitch control is applied from the Set to AUTO will enable the algorithm to be selected when the
rate parameter - RATE is found on individual slice time stretch settings TSTR mode is set to BEAT. Higher
the flex main page. from the audio editor to be used settings will apply a more transient
allowing each sample to have its sensitive algorithm.
own settings.
OFF, AUTO (Default),
PTCH (Default) or TSTR 0 to 127, default 64
NORM, BEAT

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 Track Machines 5
5.4 Static and Flex Machine Parameter Relationships STANDARD FONT
Main Page Parameter
ITALIC GREY FONT
RATE Set Up Page Option
Time Stretch or Pitch

RATE
Playback Speed
X = Play in Forward 0 = No Playback -X = Play in Reverse

STRT LEN
Start Length (1)

+1 Octave

PTCH
Sample Pitch
Semitones

LOOP
OFF -1 Octave

RTRG
Number of Retrigs
ON Allows individual sample time
stretching in a track

RTIM
Steps between Retrigs AUTO
PIPO

SLIC LEN TSTR

Fwd / Rev STRT selects Slices Options (1) Master time stretch from audio
(2) edited sample settings.

AUTO

NORM OFF
Normal Material No Time Stretching
Per Sample
BEAT
Rhythmic Material

Audio Editor
Sliced Sample

TSNS
Transient detection sensitivity.

LEN Combination Table Set Up Page Static Machine Notes:

Main Page LEN SLIC (2) • The parameters for static and flex machines are
the same but the results in use may differ.
LEN sets how many slides will play. The
SLIC
first slice set by STRT. • STRT Cannot be modulated by LFO’s when
ON
using a static machine.
LEN sets the length for a specific slice. TIME
LEN • STRT can be modulated by the crossfader in a
(1)
LEN Inactive OFF static machine, but speed may be an issue.
OFF • Parameter locking STRT is recommended for
LEN controls linear length of sample
TIME static machines.
starting at STRT

The Octatrack Notebook : Reference & Guide 99

5 Track Machines
5.5 Thru Machines in Depth NOTES

A thru machine is used for routing external audio from the physical audio
inputs into Octatrack. The audio routing is dependant on the track
sequence and a trig would need to be set to activate the audio input.

General Principles of a Thru Machine

Audio is fed into the track from the

T T3 external audio inputs.

A trig should be set to ‘activate’ the audio and therefore to be

heard in the track. Typically Trig [1] would be set to play the
incoming audio at the start of a pattern

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NOTES
Thru Machines: Advantages & Use Cases

The key role of a thru machine is to route the selected input into a track.
The advantage that this brings is to allow an Octatrack track to be set up
as an effects processor using the onboard effects such as delay, reverb etc
to be applied. Also mixing applications for external synths or DJ sound
sources. The machine configuration is very simple but the options with
sequencing the external audio and using the sequence, cross fader, wide
ranging modulation and effects brings in another creative dimension.

Using Thru Machines

▌SETTING UP A THRU MACHINE FOR EXTERNAL AUDIO.

1. Connect the external device audio out to the Octatrack audio input
using one of the 4 available 1/4inc / 6.3mm connectors.

2. The thru machine would need to be assigned to the defined track i.e.
Track [T3] and the track selected.

3. Press [SRC] to access the parameters. This will open the track
parameter main page.

4. Four configurable parameters are available for the thru machine. These
are accessible with the A,B,C and D data entry rotary controls.

5. Depending on the physical audio connection used the parameters

should be set to access the incoming audio. Example input A.

• Turn (A) to select the audio input for connections A and/or B. In this
example a single mono audio input connected to A would mean the
parameter is set to ‘A’. Dual mono inputs could use AB and
summed on A+B.

• Turn (B) to adjust the audio volume level for the input. The
maximum level (rotating clockwise) gives +12db while the input is
muted at 0 level (fully counter clockwise)

6. Press [REC] for grid recording mode. Press [1] to set a trig on step 1 of
the sequencer. Press [PLAY] to play the track. While the track
parameter routing is set in steps 1-5, audio is not passed through the
track until the track has a trigger event. The pattern section explains
more on sequencing patterns.

7. The incoming sound should now be audible on the main outputs.

Further volume adjustment and parameter modulation is now possible.

The Octatrack Notebook : Reference & Guide 101

5 Track Machines
NOTES
Thru Machine Main Parameters & Set Up

Main Menu [SRC]

(A) (B) (C)

(D) (E) (F)

(A) INAB (B) VOL (C)

Data Entry Data Entry Data Entry

Inputs AB Volume Level AB Not Assigned

Sets configuration of the audible Sets the input volume level from 0
inputs from the physical inputs AB. to +12db for the inputs configured
in the INAB setting.

A, B, AB, A+B - None (default). 0 to +12db

(D) INCD (E) VOL (F)

Data Entry Data Entry Data Entry

Inputs CD Volume Level CD Not Assigned

Sets configuration of the audible Sets the input volume level from 0
inputs from the physical inputs CD. to +12db for the inputs configured
in the INCD setting.

C, D, CD, C+D - None (default). 0 to +12db

Thru Machine Set Up Menu [FUNC] + [SRC]

The thru machine setup page can be selected but currently

has no adjustable parameters. As with other set up pages,
the machine can be changed in this menu.

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 Track Machines 5
NOTES
Thru Machine Input Options

A B C D

A B C D Individual Mono channels.

Dual Mono channels to channel

A B C D stereo audio inputs.

A+B C+D Summed inputs.

The audio is triggered by the sequence pattern for the thru machine track. Audio can be routed
through the effects and modulated for example with LFO’s in the track.

Delay compensation is also available in the PROJECT > CONTROL menu under the AUDIO
option. This will synchronise any audio latency especially between the DIR input and a THRU
machine.

When using a thru machine in a track pressing [STOP] will stop the pattern play back. The
effects may continue to play any audio tails I.e reverb or delay. Pressing [STOP] then [STOP]
will immediately stop the audio.

The Octatrack Notebook : Reference & Guide 103

5 Track Machines
5.6 Neighbor Machines in Depth NOTES

A neighbor machine is used for routing internal audio from one track to
another. The track hosting a neighbor machine will receive the audio from
the prior track. For example track 2 with a neighbor machine will receive
track 1 audio. Neighbor machines cannot be placed on tracks 1 or 5.

General Principles of a Neighbor Machine

F T1 Audio is played within the track.

Audio output after effects applied

*
N T2 Audio routed in from prior track

Audio output after further effects applied

*
N T3

Multiple tracks can be chained to add

more effect and modulation options.

*
N T4

Neighbor machines can be added to

F T5
any track except to tracks 1 or 5.

*
N T6 N T7 N T8

* Where multiple tracks are chained with neighbor machines, only the last neighbor machine
track in the chain will control muting of the chain audio.

104 The Octatrack Notebook : Reference & Guide

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NOTES
Neighbor Machines: Advantages & Use Cases

The key role of a neighbor machine is to route the previous track audio into
its own track. This allows chaining of tracks and building deep and complex
effect racks. This is especially useful when multiple effects are needed as
individual tracks are limited to the two effects per track. The machine is
almost self configured with no adjustable parameters or settings but opens
up powerful chaining and multiple modulation options.

Using Neighbor Machines

▌SETTING UP A NEIGHBOR MACHINE FOR INTERNAL AUDIO.

1. The neighbor machine would need to be assigned to the defined track

after the track where audio should be routed i.e. Track [T3] with a
neighbor machine will connect in the output audio from Track 2.

2. Build additional chains of effects and modulation into the neighbor

machine track. This will then provide effect processing and sound
manipulation in addition to the original audio source track. This
essentially doubles the processing options.

Notes on Neighbor Machines

• Neighbor tracks cannot be assigned to track 1 or 5. A ‘NOT

AVAILABLE HERE’ error message will be displayed if it is attempted
to add a neighbor machine on track 1 or 5.

• Pressing [SRC] or [FUNC] + [SRC] will access the track parameter

and setup pages. Currently there are no configurable parameters
available for the neighbor machines so these pages are blank.

• Muting the preceding tracks to a neighbor machine (ones in the

chain) will have no effect to the audio although the track button will
indicate the mute state. The last neighbor machine track controls
the mute audio status when tracks are chained. Mute the last
neighbor machine track to mute the audio of the chain.

• The last track in a neighbour track chain will control the volume
(LEVEL) for the chained track audio.

The Octatrack Notebook : Reference & Guide 105

5 Track Machines
5.7 Pickup Machines in Depth NOTES

A pickup machine provides an alternate and enhanced set of features for

sampling and recording audio. This includes the ability to overdub and loop
audio. Pickup machines can build complex layers and loops and are very
much dependant on the track recording applications and buffers. Therefore
the recording setup functions are essential and are integrated with pickup
machines providing the unique control operation. Knowledge of Octatrack’s
recording functions and processes is required to also understand fully the
operation of pickup machines.

General Principles of a Pickup Machine

Multiple sample source options are available.

Primary Secondary
lead Follower
First pickup track is the primary
lead. Other pick up tracks act as
secondary followers of the lead.
P T3 P T4

Record
Pickup machines are automatically linked to
REC1 P the track recorder. Records first loop.
+
+

Overdub
Control of the sampling with pickup
P machines operates with [REC1], [REC2].
+
The functions vary depending on trig mode.

Replace
The main SRC page displays symbols and
+P information that is relevant to sampling
status.

Track Recorder
R1 Recording Buffer
R2 Recording Buffer
R3 Recording Buffer The existing recording functions operate
Control functions are based using pickup machine control with audio
R4 Recording Buffer
on the trig mode set and captured in the recorder buffers.
use [REC1] and [REC2]. R5 Recording Buffer The pickup machine track automatically
uses the associated recording buffer.
R6 Recording Buffer
R7 Recording Buffer
R8 Recording Buffer

Play
REC2
Samples created are played back
directly in the pickup machine.

If saved, can be used in static or flex machines.

106 The Octatrack Notebook : Reference & Guide

 Track Machines 5
NOTES
Pickup Machines: Advantages & Use Cases

The main application of a pickup machine is to provide the functions that

enable capturing of audio to create multi layered audio samples. This
includes the functions to create and perform with loops. Recording
overdubs and loops plus manipulation of the audio, for example BPM or
audio parameters on the fly can create complex and evolving sound layers.
This is ideal for live improvisation and creating organic evolving
soundscapes. The pickup machine provides unique control functionality for
overdub recording and looping. External MIDI can be applied to looping
control to make the process easier. Pickup machine tracks cannot be
sound locked or sequenced due to their functional nature.

When working with pickup machines the first loop recorded in a pickup
track will be the primary lead and set the length reference for subsequent
pickup tracks and loops. The subsequent pickup tracks will follow this lead
and are called secondary followers. This terminology differs from that used
in the official Elektron manual

Pickup Machines Symbols

Stop. Replace.
P The pickup machine track is in a P The pickup machine track is currently
stopped state. recording by replacing existing audio.
+

Play. Primary Lead*.

P The pickup machine track is currently P The pickup machine track is the
playing. primary lead and first recorder.

Record. Secondary Follower*.

P The pickup machine track is currently P The pickup machine track is a
+ recording audio. secondary follower of the lead track.

Overdub.
P The pickup machine track is currently
* The terminology used here for primary lead and secondary
+ overdub recording audio.
follower differs from that used in the official manual.

The SRC Main page will display will show different information on the pickup machine
page. Normally this displays the sample name in a flex or static machine.

TRIG Setting
(Found in page REC 1 Setup 1)

One
Sets how the recording
trigger event is initiated and
One2
behaves from the [REC1]
and [REC2] controls.
Playback position in Loop length in Hold
sequencer steps sequencer steps

The Octatrack Notebook : Reference & Guide 107

5 Track Machines
NOTES
Pickup Machine Main Parameters & Set Up

Main Menu [SRC]

(A) (B) (C)

(D) (E) (F)

(A) PTCH (B) DIR (C) LEN

Data Entry Data Entry Data Entry

Pitch of Sample Direction of Playback Length of secondary loop

Sets the sample pitch up one Sets the audio playback forwards, Sets the length of the secondary
octave (fully clockwise) or down backwards or ping-pong forward follower loop with respect to the
one octave (fully counter- then reverse. original primary lead loop. This
clockwise). Integers are semitones. parameter is not used for primary
Set to 0 to overdub or replacing. lead loops.

-12, +12, 0 (default). FWD (default), REV, PIPO Off, x1 (default), x2, x4, x8

(D) (E) GAIN (F) OP

Data Entry Data Entry Data Entry

Not Assigned Gain level of recording Recording behaviour

Increases or attenuates recording / DUB will allow overdub recording
overdub gain in dB. This will then using gain setting to fade out the
over time, gradually fade out older level of recordings. GAIN setting
dubs / recordings. Operates in will not record overdubs and the
conjunction with OP setting. gain parameter will be applied
only to existing recordings.

-Inf, 0 (default), +11.90dB Dub (default), Gain

108 The Octatrack Notebook : Reference & Guide

 Track Machines 5
NOTES

Pickup Machine Set Up Menu [FUNC] + [SRC]

(A) (B) (C)

(D) (E) (F)

(A) (B) (C)

Data Entry Data Entry Data Entry

Not Assigned Not Assigned Not Assigned

(D) (E) TSTR (F) TSNS

Data Entry Data Entry Data Entry

Not Assigned Master Time Stretch Transient Detection

Sets the track time stretch option. Sets the transient detection
Set to AUTO will enable the algorithm to be selected when the
individual slice time stretch settings TSTR mode is set to BEAT.
from the audio editor to be used Higher settings will apply a more
allowing each sample to have its transient sensitive algorithm.
own settings. Off cannot be applied
for pickup machines.
OFF, AUTO (Default), NORM,
0 to 127, default 64
BEAT

The Octatrack Notebook : Reference & Guide 109

5 Track Machines
NOTES
Pickup Machine Control

The pickup machine uses the underlying track recorder but adds new
functionality and control that is unique for pickup applications such as
overdubbing and looping. The REC1 and REC2 buttons are used with
pickup machines for recording and playback control instead of being used
for input selection as per track recording. The specific functionality is
dependant on the trig setting selected in recording setup page 1.

Trig setting is selected using rotary data entry (D). Three

+ REC1 options are available to select for assigning how the pickup
control is handled. These are One, One2 and Hold.

ONE ONE2 HOLD

Loop Length from RLEN REC1 & REC2 can set loop length Loop length from hold duration
Loop length is governed by RLEN. Loop length is governed by Loop length is governed by the
When RLEN is reached the pressing REC1 (start overdubbing) duration of holding REC1 button.
recording will automatically switch while recording or REC2 (start When button is released the loop
to overdub recording of the loop. playback) while recording. RLEN is will start to play.
used if reached before a button is
pressed.

When the track is stopped, When the track is stopped, Press and hold REC1 again while
recording will begin. If the track is recording will begin. If the track is the loop is playing to start
recording then the recording will recording then the recording will overdubbing.
erase and restart. erase and restart.
Replacing recording function is not
During overdubbing REC1 toggles During overdubbing REC1 toggles
possible in hold mode. There are
between replacing the recorded between replacing the recorded
work arounds with the SRC Main
audio and overdubbing. Also audio and overdubbing. Also
page GAIN = -INF, OP = DUB.
overdubbing is triggered while loop overdubbing is triggered while loop
is playing by pressing REC1. is playing by pressing REC1.

If REC2 is pressed during recording If REC2 is pressed during recording

it will switch to playing the loop and it will switch to playing the loop and
will not overdub. will not overdub.

Pressing REC2 when overdubbing Pressing REC2 when overdubbing

or replacing will stop recording but or replacing will stop recording but
playback will continue. To revert playback will continue. To revert
back to overdub while playing press back to overdub while playing press
REC1. REC1.

REC2 will toggle between stop and REC2 will toggle between stop and
play of the loop. play of the loop.

110 The Octatrack Notebook : Reference & Guide

 Track Machines 5
NOTES

ONE - Trig Setting (Individual Function View)

REC1 & REC2 Button control operations for recording, overdubbing, replacing and playing.

Status (start) Symbol Trigger Event Actions Performed Status (end) Symbol

STOPPED P REC2 Play PLAYING P

PLAYING P REC2 Stop STOPPED P

STOPPED P REC1 Erase Record RECORDING P

+

RECORDING P REC1 Erase Record RECORDING P

+ +

RECORDING P REC2 RLEN Reached Play PLAYING P

+

RECORDING P RLEN Reached Record OVERDUBBING P

+ +

OVERDUBBING P REC1 Record REPLACING P

+

+
REPLACING P REC1 Record OVERDUBBING P
+
+

OVERDUBBING P REC2 Play PLAYING P

+

PLAYING P REC1 Record OVERDUBBING P

+

REPLACING P REC2 Play PLAYING P

+

The Octatrack Notebook : Reference & Guide 111

5 Track Machines
NOTES

ONE - Trig Setting (Interrelationship View)

REC1 & REC2 Button control operations for recording, overdubbing, replacing and playing.

STOPPED

Stop

REC2 Press REC1 Press

Erase

Record

RECORDING

REC1 Press

RLEN Reached

Play Play

PLAYING Play Press REC2 REPLACING

Record

REC1 Press REC1 Press

RLEN Reached

Record Record

OVERDUBBING

112 The Octatrack Notebook : Reference & Guide

 Track Machines 5
NOTES

ONE2 - Trig Setting (Individual Function View)

REC1 & REC2 Button control operations for recording, overdubbing, replacing and playing.

Status (start) Symbol Trigger Event Actions Performed Status (end) Symbol

STOPPED P REC2 Play PLAYING P

PLAYING P REC2 Stop STOPPED P

STOPPED P REC1 Erase Record RECORDING P

+

RECORDING P REC1 OR RLEN Reached Record OVERDUBBING P

+ +

OVERDUBBING P REC1 Record REPLACING P

+

+
REPLACING P REC1 Record OVERDUBBING P
+
+

OVERDUBBING P REC2 Play PLAYING P

+

PLAYING P REC1 Record OVERDUBBING P

+

RECORDING P REC2 Play PLAYING P

+

REPLACING P REC2 Play PLAYING P

+

The Octatrack Notebook : Reference & Guide 113

5 Track Machines
NOTES

ONE2 - Trig Setting (Interrelationship View)

REC1 & REC2 Button control operations for recording, overdubbing, replacing and playing.

STOPPED

Stop

REC2 Press REC1 Press

Erase

Record

RECORDING

REC1 Press RLEN Reached

RLEN Reached

Play Play

PLAYING Play Press REC2 REPLACING

Record

REC1 Press REC1 Press

Record Record

OVERDUBBING

114 The Octatrack Notebook : Reference & Guide

 Track Machines 5
NOTES

HOLD - Trig Setting (Individual Function View)

REC1 & REC2 Button control operations for recording, overdubbing and playing.

Status (start) Symbol Trigger Event Actions Performed Status (end) Symbol

Hold

STOPPED P REC1 Erase Record RECORDING P

+
Release

RECORDING P REC1 OR RLEN Reached Record PLAYING P

+ +
Hold

PLAYING P REC1 Record OVERDUBBING P

+
Release

OVERDUBBING P REC1 Play PLAYING P

+

PLAYING P REC2 Stop STOPPED P

STOPPED P REC2 Play PLAYING P

The Octatrack Notebook : Reference & Guide 115

5 Track Machines
NOTES

HOLD - Trig Setting (Interrelationship View)

REC1 & REC2 Button control operations for recording, overdubbing and playing.

STOPPED

Stop

REC2 Press REC1 Hold

Erase

Record

RECORDING

RLEN Reached REC1 Release

Play Play

PLAYING Play

REC1 Hold REC1 Release

Record

OVERDUBBING

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 Track Machines 5
Set Up Parameters and Pickup Machines STANDARD FONT
Main Page Parameter
ITALIC GREY FONT
Set Up Page 1 or 2 Option

Multiple external and internal source options are available for selection individually or used all
together for sample recording.

Monitoring level of sampled External Internal External Monitoring level of sampled

inputs. Used only in pickup inputs. Used only in pickup
machines. INAB SRC3 INCD machines.
None, AB, A, B, A+B T1, T2, T3, T4, T5, T6, T8, None, CD, C, D, C+D
AB Main, Cue, None CD

FIN FOUT
Primary Lead Fade In to avoid loop clicks. Fade Out to avoid loop clicks.
Track 0-64 0-64
First loop recorded
0.063 0.063 +1 Octave
P
PTCH
Sampling Pitch
Semitones

-1 Octave
Record Record
Overdub Recording length max
+ RLEN
Replace Recording length set by default is ~16sec
relative to sequence BPM. Can be adjusted in
Play
1-64, Max memory settings

TRIG QREC
Trigger Setting. Recording quantize based
on trig sequence pattern

ONE ONE2 HOLD Overdub

OP
DUB setting will allow overdubs to
fade at the GAIN rate. Set to
GAIN will not overdub and fade on
existing audio recordings only.

GAIN
Replace Attenuation level of overdub
recordings to fade out.

TSTR & TSNS

Time stretch and transient
Play
detection parameters also exist for
QPL pickup tracks. Time stretch cannot
Playback quantize based be turned off for pickup machines.
on the trig sequence pattern

LOOP
Playback Looping On or Off

Secondary Follower DIR

Track Playback Direction

P
LEN First track recorded is primary
Length only used for Secondary track. Sets length of lead. The secondary followers will
Sampling + match the length if LEN is X1 and
track as a multiplier to the primary lead track.
can be adjusted longer.

The Octatrack Notebook : Reference & Guide 117

5 Track Machines
NOTES
Quick Start Workflow Using Pickup Machines

Pickup machines and track recording are the two main ways to perform
sampling in the Octatrack. Pickup machines offer the additional functions
and control that support live improvisation, overdubbing and looping.

▌SETTING UP PICKUP MACHINES.

1. Connect the external device to record into an audio input on the

Octatrack one of the 4 available 1/4inc / 6.3mm connectors. For this
example - input A.

2. Select a track [Tx] and assign a pickup machine.

3. Open the first recording setup page. Press [FUNC] + [REC1] which will
open ‘Setup 1’ page.

4. Select the audio source to sample. Multiple inputs are possible.

I. Turn rotary (A) for INAB, to select the external input A or B

combinations. In this example set to ‘A’ to sample from the
connected device.

II. Turn rotary (B) for INCD, to select the external input C or D
combinations. In this example set to ‘-’ to ensure no input is selected
for audio sampling.

III. Turn rotary (E) for SRC3, to select the internal track 1 - 8 or the
output audio - Main / Cue. In this example set to ‘-’ to ensure no
internal audio is selected for sampling.

5. Set the sample length, RLEN. Turn rotary (C) to select the length to 32
i.e. 2 Bars for this example. This length is based on sequence steps
relative to BPM. Max would be the maximum file size, by default this
records approx 16 seconds but can be changed in the project menu:
[PROJ] > CONTROL > MEMORY > Parameter RESERVE LENGTH.

6. Select the playback loop option on or off by turning rotary (F), LOOP.
For this example, set to ON. Audio will loop playback immediately after
recording, if triggered to play when ON, as opposed to playing on a
single cycle when triggered if OFF.

118 The Octatrack Notebook : Reference & Guide

 Track Machines 5
NOTES
continued

7. Select the control behaviour of [REC1] and [REC2] with the TRIG
setting. This sets how these buttons control recording. Select ONE2 for
this example.

• ONE: Buttons provide control, RLEN governs recording length.

• ONE2: Buttons primarily control record, overdub and replace.

• HOLD: Buttons need to be pressed and held to record and overdub.

8. Open the second recording setup page. Press [FUNC] + [REC2] which
will open ‘Setup 2’ page.

9. Set a fade in and fade out on the recorded audio. This overcomes any
audio clicks and glitches when playing across loop end and start. Adjust
these two settings in harmony but start small to avoid impinging on rest
of audio. Iteratively increase if needed to remove recording clicks on
playback looping.

I. Turn rotary (A) for FIN adjustment. For this example set to 0.063,
the smallest iteration to start.

II. Turn rotary (A) for FOUT adjustment. For this example set to 0.063,
the smallest iteration to start.

10. Set the quantize setting. Quantize is the audio recording and playback
setting aligned to the sequence steps. For manual recording they can
be set to off. If recording from the sequencer then these can be set in
step iterations i.e. 16 for 1 bar.

I. Turn rotary (D) for QREC, to select audio quantized recording, in

this example set to off.

II. Turn rotary (E) for QPL, to select audio quantized playback, in this
example set to off.

11. Set the direct monitoring to listen to the audio input that will be sampled.
The mixer also has an option for direct monitoring but these functions
are specific and unique for pickup machines and will apply when the
pickup machine is active. For input A direct monitoring turn (C) to adjust,
ideally set to 127. This will also apply to input B. For inputs CD use
rotary (F).

12. The pickup machine is now set up and ready for recording and looping.

The Octatrack Notebook : Reference & Guide 119

5 Track Machines
NOTES

▌MANUAL OPERATION OF A PICKUP MACHINE.

1. Select a track [Tx] and assign a pickup machine.

2. Ensure the Setup 1 and Setup 2 pages have been reviewed and set to
match the session to undertake. Note that the TRIG settings in Setup 1
will determine how the recording and looping controls operate.

3. Select [SRC] to check recording session track parameters.

I. Turn rotary (A) for PTCH, to adjust the pitch in semitones up to +1 or

-1 octave. Keep at default 0 to start this example.

II. Turn rotary (B) for DIR, to select the playback direction of the loop.
Forward, Reverse or Ping Pong - Fwd - Rev. Keep at default FWD
to start this example.

III. Turn rotary (C) for LEN, to select the secondary follow track length
with respect to the primary lead pickup track. In this example set to
off as this example is a single pickup track, LEN does not apply.

IV. Turn rotary (F) OP, to set the operating mode on how the overdub
record will operate. For this example set to DUB which will allow
overdub recordings with each older loop to fade out at the level set
by (E) - GAIN. If OP is set to GAIN, it will not overdub but still fade
existing recordings.

V. Turn rotary (E) GAIN, to set the fade out attenuation or boost level
of older track audio recordings during overdub. Set to 0 for this
example and all overdubs will be retained at the same level.

4. The process for initiating manual recording will be dependent on the

TRIG setting which sets the behaviour of [REC1] - generally record, and
[REC2] generally play and stop buttons. For this example ONE2 Trig
setting is described.

I. Press [REC1] to erase and initiate audio recording.

II. Press [REC1] again to set length and switch to overdub which will
loop record. If no button is pressed then RLEN will initiate the
transition to overdub.

III. Press [REC2] to switch to loop playback. Overdub recording can be

re-initiated while playing with [REC1]. If [REC1] is pressed during
overdub the audio is replaced with the new recording.

IV. While playing [REC2] will stop playback.

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 Track Machines 5
NOTES
When working with individual pickup machines the track will act as a
primary lead and set its own time length of the loop. When multiple pickup
machine tracks exist they form a relationship where they operate as
secondary followers meaning they follow the length of the primary track.
Whichever track is recording first or records a new loop when stopped will
be the primary lead.

▌MANUAL OPERATION OF MULTIPLE PICKUP MACHINES.

1. Select 2 or more tracks [Tx] and assign pickup machines.

2. Ensure the Setup 1, Setup 2 and SRC pages have been reviewed and
set to match the session to undertake. Assume for this example Track
[T1] is primary lead and track [T2] secondary follower.

3. The track, e.g. [T2] which is aimed to be secondary followers should

have the LEN parameter set in relation to the primary lead. In the SRC
page, Turn rotary (C) for LEN, to select the secondary follow track
length with respect to the primary lead pickup track. In this example set
to X2 which means [T2] as the secondary follower will record twice as
long as the primary lead [T1]. Setting to X1 would mean same lengths.

4. Use the [REC1] and [REC2] to record, overdub and playback loops. The
track indicators will display symbols according to the activity of the track
in use. Meaning the record state as well as the currently applied primary
lead / secondary follower role.

Pickup machines do not require tracks to be armed to record.

P Primary lead. First recording which sets length reference.

Secondary follower aligned to the primary lead with

P respect to track LEN track parameter.

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 NOTES

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 6
Track Recording
Track recorders and pickup machines are the a track and also manually saved. Track
two recording functions available in Octatrack. recorders use dedicated RAM to capture the
Pickup machines are more specialised and audio which is, by default, around 16 seconds.
focus on bringing additional control for looping, The option to use Flex RAM also exists along
building on track recording functionality. Pickup with several memory configuration options in the
machines are configured as needed per track. memory setup. Recording is possible from
Track recorders are the more fundamental external inputs A,B,C and D and also from the
recording function and the primary method internal audio outputs to Main and Cue. In
used when general sampling is needed. Track addition internal audio from each track can be
recorders are often described as being ‘always sampled. Various combinations of these sample
available’ meaning that by default the sources are also possible giving a powerful
recording controls are preassigned and ready series of sampling options. Finally, remember
to record when needed for every track. that Octatrack samples in ‘stereo’.
Recording features are built into the base
functionality of each of the 8 audio tracks.
Accompanying the track recorders are 8
assignable recorder buffers which are located
in the flex machine sample slots. Unlike pickup
machines which have track recorder and
buffers automatically assigned, track recording
buffers would need to be manually assigned to

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6 Track Recording
6.1 Track Recording Overview NOTES

Two methods for track recording are possible. Manual recording by

pressing record and trig recording which is a more automated method
using the sequencer.
Manual Recording. Trig Recording.

Will require manual events to trigger Uses sequence trigs events to trigger
and manage the recording process. and automate the recording process.

Tx + Record

Track Record
Recording is performed from the
selected audio source.

Record Buffer
Recording is captured into a
Flex recording buffer which is located in
Rx: RECORDING BUFFER
Machine the flex machine sample slots.

Track Record
If a recording is performed when a
sample already exists in the record
buffer, it will be overwritten.

Play The recording buffer, just like any flex

sample, must be assigned to a flex
machine to enable playback.

Recorder Buffers

[T1] R1 Recording1
Octatrack convention is to assign recording
[T2] R2 Recording2 buffers based on the respective track. For
Flex example recorder buffer 3 assigned to
T3 Machine
R3 Recording3
track 3 which will be loaded with a flex
[T4] R4 Recording4 machine. Flex machines must be assigned
to play back a recorded sample.
[T5] R5 Recording5
[T6] R6 Recording6
Recorder buffers should be saved to the
[T7] R7 Recording7 compact flash card as buffers are not
retained in memory after power down.
[T8] R8 Recording8

Note: When sampling in Octatrack, external inputs AB or CD always record a stereo input even
when only selecting the individual A, B, C or D. When AB or CD pairs are selected this will
record one signal, A / C is panned hard left and the other B / D panned hard right. This is more
like a dual mono input.

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 Track Recording 6
NOTES
Track Recording Methods: Advantages & Use Cases

Both manual and trig recording has a place in Octatrack workflow. The
manual method is a quick and easy way to sample audio from the internal
or external inputs. Its advantage is speed and availability to capture audio
on the fly. The disadvantage is that tightly quantized recordings is more
difficult using manual method and this is where trig recording offers a better
approach. By using MIDI to connect devices or when sampling from
internal tracks the sequencer can synchronise the recording of audio. This
gives a much more quantized sample but the down side is that trig
recording will need a little more preparation in setting this up.

Sampling Workflow Considerations

It may be worth either as a specific task or during the development and set
up of projects, to create a series or single template for sample recording.
There are a number of tasks and settings that are often repeated and
having pre-defined template options helps to jump forward in the workflow
and give a predictable starting point and save time doing repetitive setup.

These are optional settings which are system wide

Personalisation & Behaviour. but are set to match a specific personal Octatrack
System Options and preferences for workflow. Will develop initially then remain at a
workflow and functional control. fixed state and wont change regularly. Examples
are [REC1] button behaviours or default rec mode.

These are settings which are made based on the

Setup and Configuration. project specifics and objective of each session.
Project Options and setup for specific However they may often be the same or repeated
recording sessions and objectives. in other projects. Examples are recording input
source or recording length.

These are actions taken which are made based on

Process and Events. the project specifics and objective of each session.
Project Actual workflow and tasks to However they may often be the same or repeated
achieve the set objectives. in other projects. Examples are pre assigning flex
tracks or a master track or pre-set monitoring level.

Template

Track Recording Symbols with Track Recorders

F Stop.
The track audio playback is in a stopped state.

F Play.
The audio track is currently playing.

F Record.
+ The track recorder is currently recording audio.

F Play / Record.
+ Audio is playing while recording / overwriting into the track recorder.

An Error ! Symbol may appear if there are issues such as empty files in the sample

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6 Track Recording
6.2 Sampling Setup NOTES

A number of track recording and pickup machine setup features are

available when recording and sampling. Some are mode dependant and
operate differently depending on what process is being carried out such as
track or manual recording or pickup machine looping. The main two pages
are the Recording Setup 1 and Setup 2 accessed by [FUNC] + [REC1] and
[FUNC] + [REC2] respectively.

Setup 1 [FUNC] + [REC1]

(A) (B) (C)

(D) (E) (F)

Setup 1 page is useful when displayed during

sampling as this shows the sample and playback
progress, BPM, available sample time and status.

(A) INAB (B) INCD (C) RLEN

Data Entry Data Entry Data Entry

External Audio Input AB External Audio Input CD Recording Length

Sets the audio source (always Sets the audio source (always Length from track recording start
records in stereo) between, - off, A, records in stereo) between, - off, C, based on sequencer BPM (scale
B, A+B (summed) or AB (hard left / D, C+D (summed) or CD (hard left is ignored). Example, 16 will
hard right). / hard right). record 16 x 1/16th steps, max will
be the maximum recording time
available (default is 16 sec)

- Off, A, B, AB, A+B - Off, C, D, CD, C+D 1 - 64, Max

(D) TRIG (E) SRC3 (F) LOOP

Data Entry Data Entry Data Entry

Mode to Start Sampling Internal Audio Source Playback behaviour

Controls how recording trigs and Selects the internal sampling Defines how a captured sample
buttons operate in specific modes. source options. Also sets the will behave when played. Either
One is dependant on RLEN and behaviour of how a recorder and a playback will loop or not.
can be restarted. One2 is buffer playback trig operates on the
dependant on RLEN and can be same step.
stopped. Hold will sample only
while pressed.
- Off, Main, Cue, T1, T2, T3, T4,
One, One2, Hold On, Off
T5, T6, T7, T8

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 Track Recording 6
NOTES

Setup 1 [FUNC] + [REC2]

(A) (B) (C)

(D) (E) (F)

Setup 2 page is useful when displayed during

sampling as this shows the sample and playback
progress, BPM, available sample time and status.

(A) FIN (B) FOUT (C) AB

Data Entry Data Entry Data Entry

Fade In Fade Out AB Audio Input Monitoring

Introduces a fade in at the start of Introduces a fade out after the Only relevant to pickup machines.
the recording to avoid looping recording to avoid looping clicks Allows direct monitoring of the AB
clicks between start and end between start and end points. Set audio input and sets the
points. Set in relation to sequence in relation to sequence steps. Aim monitoring level for the active
steps. Aim for the smallest value for the smallest value then iterate track.
then iterate upwards if needed. upwards if needed.

0-64 0-64 0-127

(D) QREC (E) QPL (F) CD

Data Entry Data Entry Data Entry

Record Quantize Playback Quantize CD Audio Input Monitoring

Quantize (by time) manual Quantize (by time) manual Only relevant to pickup machines.
recording and pickup machine triggering (not sequence trigs) of Allows direct monitoring of the CD
recording. The intervals start after recording buffers and pickup audio input and sets the
the manual [RECx] button press machines. Off - Play immediately monitoring level for the active
and are based on the playing on trigger. Other settings sync to track.
sequence, i.e. PLEN allows the the sequence. PLEN allows pattern
pattern to play full length before to play full length before playing or
recording or the number will set the the number will set the steps
steps before recording e.g. 4 = before playback e.g. 8 = ½ bar.
next beat, 8 = ½ bar, 16 = 1 bar etc Linked to QUANTIZED TRIG
parameter in the attributes menu*.
Off, PLEN, 1, 2, 3, 4, 6, 8, 12, 16, Off, PLEN, 1, 2, 3, 4, 6, 8, 12, 16,
0-127
24, 32, 48, 64, 96, 128, 192, 256 24, 32, 48, 64, 96, 128, 192, 256

* The QPL quantized playback parameter is also mirrored by the QUANTIZED TRIG setting in the
audio editor. This is found under the ATTRIBUTES section of the audio editor. If QPL is changed it
will also change the QUANTIZED TRIG setting in the audio editor.

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6 Track Recording
NOTES

▌TYPICAL SAMPLING PREPARATION & SETUP.

While setting these parameters is not essential to initiate sampling, the

options chosen will affect the outcome and an understanding of a starting
point will help achieve the desired results. These are pre-requisite options
before starting to sample.

1. Select a track [Tx] to sample into and assign a flex machine. Also
assign the sampling track audio buffer to the track. Example [T5] will be
the audio sampling track and recording buffer 5 assigned to allow
playback after recording.

I. Double tap the track button e.g. [T5] to open the flex sample list.

II. Scroll using [UP] [DOWN] to select the RECORDER5. Press [YES]
to ensure it is assigned to track 5. Note that buffers can be assigned
to any track but best practice is to keep the 1 to 1 convention.

2. Define the audio source to sample. This could be based on the

connected device and its input or potentially an internal audio source.
Multiple audio source selections are possible. For this example - input A
will have an audio input connected.

3. Open the first recording setup page. Press [FUNC] + [REC1] which will
open ‘Setup 1’ page.

4. Select the audio source to sample. Multiple inputs are possible.

I. Turn rotary (A) for INAB, to select the external input A or B

combinations. In this example set to ‘A’ to sample from the
connected device.

II. Turn rotary (B) for INCD, to select the external input C or D
combinations. In this example set to ‘-’ to ensure no input is selected
for audio sampling.

III. Turn rotary (E) for SRC3, to select the internal track 1 - 8 or the
output audio - Main / Cue. In this example set to ‘-’ to ensure no
internal audio is selected for sampling.

5. Set the sample length, RLEN. Turn rotary (C) to select the length
required to sample, in this example 32 i.e. 2 Bars. This length is based
on sequence steps relative to BPM. Max would be the maximum file
size, by default this records approx 16 seconds but can be changed in
the project menu: [PROJ] > CONTROL > MEMORY > Parameter
RESERVE LENGTH.

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 Track Recording 6
NOTES

6. Select the playback loop option on or off by turning rotary (F), LOOP.
For this example, set to ON. When ON the recorded audio, immediately
after recording and when triggered to play, will loop playback. If a single
trigger initiates playback, the audio will continue to cycle, otherwise if
loop is set OFF it will play once at the point of trigger.

7. Select the control behaviour of [REC1] and [REC2] with the TRIG
setting. This sets how these buttons control recording. Select ONE for
this example.

• ONE: Buttons provide control, RLEN governs recording length.

• ONE2: Buttons primarily control record, overdub and replace.

• HOLD: Buttons need to be pressed and held to record and overdub.

8. Open the second recording setup page. Press [FUNC] + [REC2] which
will open ‘Setup 2’ page.

9. Set a fade in and fade out on the recorded audio. This overcomes any
audio clicks and glitches when playing across loop end and start. Adjust
these two settings in harmony but start small to avoid impinging on rest
of audio. Iteratively increase if needed to remove recording clicks on
playback looping.

I. Turn rotary (A) for FIN adjustment. For this example set to 0.063,
the smallest iteration to start.

II. Turn rotary (A) for FOUT adjustment. For this example set to 0.063,
the smallest iteration to start.

10. Set the quantize setting for manual or pickup machine recording.
Quantize is the audio recording and playback for manual recording with
iterations aligned to the steps of a playing sequence pattern.

I. Turn rotary (D) for QREC, to select audio quantized recording, in

this example set to OFF for manual recording or PLEN so recording
starts after the completed current pattern cycle.

II. Turn rotary (E) for QPL, to select audio quantized playback, in this
example set to off. This can assist when manual triggering playback
ie [Tx] + [PLAY] and is not relevant to trigs set in the sequencer.

11. The direct monitoring AB and CD only applies to pickup machines so

can be ignored. To monitor audio when in the track recorder, set DIR to
a value > 0. DIR parameter is found in the MIXER page.

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6 Track Recording
Set Up Parameters and Track Recording STANDARD FONT
Main Page Parameter
ITALIC GREY FONT
Set Up Page 1 or 2 Option
Multiple external and internal source options are available for selection individually or used all
together for sample recording. Track recording selects the input to record to the track.

Tx +
External Internal External
INAB SRC3 INCD
None, AB, A, B, A+B T1, T2, T3, T4, T5, T6, T8, None, CD, C, D, C+D
Main, Cue, None

Record FIN FOUT

Fade In to avoid loop clicks. Fade Out to avoid loop clicks.
0-64 0-64
0.063 0.063

Manual Recording

Record

RLEN Recording length max by

Recording length set default is ~16sec
Can be adjusted in memory settings
TRIG relative to sequence BPM.
Trigger Setting. 1-64, Max. Example = 16

QREC Top cursor represents recording status

ONE ONE2 HOLD
Recording quantize for manual recording, synchronised
to the trig sequence pattern.
1 2 3 4 PLEN
Lower cursor represents playback status

TSTR & TSNS

Trig Recording Recorder trigs will initiate recording from the sequencer.
Time stretch and transient
One shot trigs also are possible.
detection parameters.

Existing audio in the buffer will be overwritten when recording.

Play

QPL
Playback quantize for manual (not sequenced) triggers,
synchronised with the current sequence pattern

Playback Trigger. Will activate the flex machine for the track.

LOOP
Playback Looping On or Off
(immediately after recording)

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 Track Recording 6
NOTES
TRIG Parameter: Manual & Trig Recording Controls

The REC1 and REC2 buttons are used with manual recording and as such
requires physical actions to control per track recording. Trig recording is
initiated by programmed pattern steps. The specific behaviour of how these
events control the recording actions is dependant on the TRIG parameter
setting which is selected from within the recording setup page 1. This
control behaviour differs when using pickup machines.

Recording Setup 1 Page

Trig setting is selected using rotary data entry (D). Three

+ REC1 options are available to select for assigning how recording
control is handled. These are One, One2 and Hold.

ONE ONE2 HOLD

Sample Length from RLEN Sample Length from RLEN Sample Length based on hold
Recording length is governed by Recording length is governed by Recording length is governed by
RLEN. When RLEN is reached the RLEN. When RLEN is reached the how long the button or trig is held
recording will automatically stop. recording will automatically stop. up to the max RLEN.

Press Tx + REC1, REC2, REC3 to Press Tx + REC1, REC2, REC3 to Press and hold Tx + REC1, REC2,
initiate recording from the audio initiate recording from the audio REC3 to initiate recording from the
inputs represented by REC1 (AB), inputs represented by REC1 (AB), audio inputs represented by REC1
REC2 (CD), REC3 (Internal audio). REC2 (CD), REC3 (Internal audio). (AB), REC2 (CD), REC3 (Internal
audio). Recording will only take
place while the buttons are held or
Press Tx + REC1, REC2, REC3 Press Tx + REC1, REC2, REC3
until RLEN is reached.
again to restart sample recording, again during sampling to stop
which will overwrite the existing recording.
audio. Release Tx + REC1, REC2, REC3
during sampling to stop recording.
One button recording is possible if
One button recording is possible if set in the personalisation settings.
set in the personalisation settings. The recording will also be
dependant on whether manual or
trig sampling is performed.

One button recording is possible if

set in the personalisation settings.

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6 Track Recording
6.3 Sampling and Recording NOTES

Manual Recording

Manual recording uses the three REC buttons to control the sample
recording process of the track recorder to capture audio into a track buffer.
The button LED’s show audio input activity by their level of illumination.
Recording will be performed based on the Setup 1 and Setup 2 page
parameter settings including RLEN and also the buttons selected.
Manual Recording Controls

LED illumination represents the Recordings are made into the

audio activity at the input / output. selected track recorder buffer.
Red indicates audio clipping.

Tx +

The option for single button REC buttons represent the audio
recording can be setup in the source to sample:-
personalize menu. [REC1] AB, [REC2] CD, [REC3] Internal

Manual Quantize

If the sequencer is not playing the recording will start immediately and the audio sample
is captured to the buffer over the defined duration.

Recordings overwrite previous buffer audio

If the sequencer is playing, the recording will actually start after the REC buttons are
pressed Press and based on QREC setting for quantize of manual recording.

QREC = OFF will record immediately

PLEN Press

QREC 4 Press 1/4 1/4 1/4

Examples 8 Press Press 1/2

16 Press Press Press 1

Step 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

Quantization is performed to the next step after, nearest quantize ‘point’ once the manual
recording start command is triggered.
As a rule of thumb divide QREC by 16 to establish the quantization points.
Example 4/16 = 1/4, 8/16 = 1/2, 16/16 = 1 etc. The pattern length also reflects quantization.

QPL quantize also follows same principles but only for manually triggered playback.

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NOTES

▌MANUAL SAMPLING.

1. It is good practice to assign a flex machine to the track to record into.

While not essential for the sample recording processes itself, the
allocation of a flex machine allows more immediate playback of the
captured audio.

2. Ensure the sequencer [REC], GRID RECORDING Mode is Off / Unlit.

3. Press [Tx] + [RECz] to initiate manual sample recording.

Where x is the track to record into i.e. Track 1 [T1].

Where z is the recording audio input option:-

• [REC1] Records audio from the external inputs AB.

• [REC2] Records audio from the external inputs CD.

• [REC3] Records internal audio from Octatrack tracks, main or cue.

Example: Press [T1] + [REC1] to record AB input to track 1 buffer.

4. If the sequencer is NOT running, the recording will start immediately on

button press. If the sequencer is running the recording start will be
quantized based on QREC. For example if QREC is PLEN, the
sequenced pattern will complete its current cycle and then start
recording at the next cycle start. This is an aid to manual recording.

5. The default recording length is approx 16 seconds but can be changed

in the memory settings. Recording progress is displayed on the dynamic
bar at the bottom of pages Setup 1 and Setup 2.

6. The audio is captured into the selected track buffer and the sampling
algorithm will estimate the BPM and length in bars of the audio.

7. Subsequent recordings will overwrite any audio already contained in the

recording buffer.

8. Remember that to play back the pattern length would need to match.

The Setup1 or 2 pages which are accessed by [FUNC] + [REC1] or [REC2] will display
the dynamic recording and playback bar which shows progress as the recording takes
place. It is often helpful to have a setup page open when manual recording.

Top cursor represents recording status

16s
117

Lower cursor represents playback status

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6 Track Recording
NOTES

▌QUICK MANUAL SAMPLING MODE.

To enable the use of the [REC1], [REC2] and [REC3] sampling without the
pre-requisite [Tx] track button, the option for one button recording is
possible. This is found in the Project > System > Personalize options. This
is useful when one handed recording is required or when performing an
intensive recording session. To set this option:-

1. Press [PROJ] to open the project menu. Scroll using [UP] [DOWN] to
highlight SYSTEM and press [RIGHT] to open the sub menu.

2. Press [UP] [DOWN] to scroll to PERSONALIZE in the sub menu. Press

[YES] to select and open the options list.

3. Scroll using [UP] [DOWN] to highlight the RECORD QUICK MODE

option in the list.

4. Press [YES] to toggle RECORD QUICK MODE to On / Checked or Off /

Unchecked. To allow single press recording set to On / Checked.

5. Manual track recording can now be performed for the selected track by
simply pressing [REC1], [REC2] or [REC3].
☞ ☞

Quick Manual Sampling Option.

Single button action requiring
only the respective [RECx] press.
☞

Default Manual Sampling.

Tx + Dual button action requiring the
track [Tx] + respective [RECx].

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 Track Recording 6
NOTES

Trig Recording

Recording Trigs are set when one of the recording setup menus or the
track trig edit menu is open. Trig recording uses the sequence to control
the recording process. This will use the track recorder to sample into a
track buffer. Recordings will be performed based on the Setup Page 1 and
Setup Page 2 parameter settings.
Record TRIG’s can be placed in a pattern to activate the recording start in GRID RECORDING mode.
Record trigs are different to normal trigs and are only set when operating in the track TRIG EDIT
menu [FUNC] + [BANK] or a RECORDING SETUP menu, example [FUNC] + [REC1]. These menus
would need to be on display. The audio source can also be set for each trig.

Recording Trigs

Press [1] - [16]

Recording is to the track buffer. Will overwrite

existing audio each cycle. Trigs lit red.

By default will trigger record on every

loop cycle of the pattern.

One Shot Recording Trig

Press [FUNC] + [1] - [16]

Recording is made when the trig is triggered.

Recording into the track buffer. Armed trigs
Yellow, Unarmed / triggered trigs will flash.

Optionally One Shot Trigs can be set

Use [FUNC] + [YES] to rearm all one-shots
Use [Tx] + [YES] to rearm the track one-shots
Use [Tx] + [NO] or [FUNC] + [NO] to Disarm.

Top cursor represents recording status

16s Setup 1 & 2 pages will display a recording

117 and playback real time progress bar.

Lower cursor represents playback status

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6 Track Recording
NOTES

▌TRIG SAMPLING WITHIN THE SETUP OR TRIG EDIT MENU.

1. Select a track. Press [Tx] for example [T5] for track 5.

2. It is good practice to assign a flex machine to the track to record into.

While not essential for the sample recording processes the allocation of
a flex machine allows more immediate playback of the captured audio.

3. Select GRID RECORDING mode ON, Press [REC]. The record button
will illuminate red to indicate the mode is selected.

4. Press [FUNC] + [REC1] to open the setup menu 1. Recorder trigs can
be added while in Setup 1 or 2 option menus.

or

3. Press [FUNC] + [BANK] to open the track trig edit menu. Grid recording
must be on to select this option. Recorder trigs can be added while in
track trig edit menu.

4. Press TRIG [1] - [16] to place a recorder trig in the sequence. Typically
a trig at step 1, page 1 is used to initiate recording at the pattern start.

5. If a one-shot trig is required, press [FUNC] + Trig [1] - [16] to toggle a

trig to a one shot. The trig button will be lit yellow when armed and
recording will be initiated once when the trig is activated instead of
recording each time the pattern cycles. One shots will flash when
triggered and disarmed and can be rearmed to record again using
[FUNC] + [YES] or [Tx] + [YES] to arm track. Also [FUNC] + [NO] or
[Tx] + [NO] to disarm track.

6. With the setup 1 menu still open, hold the placed Trig. The setup
display will show INAB (A), INCD (B), SRC3 (E) as inverted if source is
selected for sampling. Also buttons [REC1], [REC2], [REC3] will be lit to
show the audio source(s) selected when the trig is held.

7. Press the selected Trig [1] - [16] + [REC1], [REC2] or [REC3] while
holding the Trig, to toggle the audio source for sampling on or off.

8. Press [PLAY] while in GRID RECORDING mode. The sequencer will

run and recording will start when the recording trig is initiated. If the
sequencer cycles recording will be overwritten each cycle unless a one
shot is assigned in which case one cycle is recorded.

9. The audio is captured into the selected track buffer and the sampling
algorithm will use the current Octatrack BPM and pattern length in bars
of the audio. Subsequent recordings will overwrite the buffer.

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 Track Recording 6
NOTES 6.4 Playing Back Recordings and Samples
While the automatic alignment of track recorders is made to tracks,
recording buffers need to be assigned to a flex machine to be triggered and
played in track recorders (pickup machines are hard assigned). Recording
buffers are located in the flex machine sample slot lists although they are
not automatically saved and will be lost if Octatrack is powered down or the
buffer is overwritten without saving.

Track recording is separate to playback but can use the same track. It is
good practice to assign a flex track to the recording tracks prior to sampling
to make the workflow transition from recording to playback simple and
quick, almost seamless. QPL Quantization can also be applied to manually
triggered playback of samples.

▌ASSIGNING A RECORDER BUFFER TO A FLEX MACHINE.

1. Select the track to assign a flex machine. Example track 5, press [T5].

2. Double tap, the track button [Tx] to open the sample slot list. As this is a
flex machine the recorder buffers will also appear in the sample slot list.

3. Press [UP] [DOWN] to highlight the recorder buffer to assign. For

example R5►RECORDING5.

4. Press [YES] to assign RECORDING5 to Track 5 flex machine.

▌MANUALLY TRIGGING SAMPLE RECORDING BUFFERS

1. Ensure GRID RECORDING mode is OFF. The [REC] button unlit. Trig
Mode should also be set to ‘Tracks’, Press [FUNC] + [UP] [DOWN].

2. Trig [9] - [16] in this mode represents the tracks 1-8 and their assigned
machines and samples including the recording buffers. For Example:
Press Trig [9] to trigger Track 1 sample, Trig [10] for Track 2, and so on.
The buttons also flash when playing to show trig activity on the track.

Trigs 9-16 represent the Sample Trigs for Tracks 1-8 in normal mode
(not in GRID RECORDING mode)

T1 T2 T3 T4 T5 T6 T7 T8
Track 1 Track 2 Track 3 Track 4 Track 5 Track 6 Track 7 Track 8

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6 Track Recording
NOTES

▌MANUAL TRIGGING A SAMPLE RECORDING BUFFER FROM TRACK.

1. Press and hold [Tx] + [PLAY], where Tx is the track where the flex
machine and assigned recorder buffer resides. Example, to play the
recorder buffer in track 5, Press [T5] + [PLAY].

2. Press [Tx] + [STOP] to stop the track sample playback. Example press
[T5] + [STOP] to stop track 5 playing.

▌PREVIEWING A RECORDING BUFFER IN THE AUDIO EDITOR.

1. Press [Tx] to select the track with the flex machine and assigned
recorder buffer.

2. Press [AED] to open the Audio Editor utility.

3. Press and hold [FUNC] + [YES] to preview / play the buffer assigned to
the selected track.

▌PREVIEWING A RECORDING BUFFER IN FLEX SAMPLE LIST.

1. Double Press [Tx] to select the track with a flex machine and open the
sample slot list.

2. Press [UP] [DOWN] in the flex sample list to scroll and highlight the
RECORDINGx to audition and play.

3. Press and hold [FUNC] + [YES] on the highlighted RECORDINGx to

preview / play the buffer audio. Press [CUE] + [YES] to preview to the
cue outputs.

Note: Manually triggering samples can be applied and will adhere to appropriate settings
including QPL Quantization so the actual playback may be delayed to match the running
sequence. Previewing samples is not a synchronized process and therefore does not ‘trigger’ a
sample but simply plays the sample or recording immediately to allow for audible checks.

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 Track Recording 6
NOTES

▌SEQUENCED BUFFER SAMPLE PLAYBACK TRIGS IN A PATTERN.

1. Press [Tx] to select the track with a flex machine and assigned recorder
buffer to play. Note that the flex machine could also have a previously
saved sample assigned instead of a recorder buffer.

2. Ensure none of the recording setup or trig edit menus are open. Only
recorder trigs can be set when operating within these menus.

3. Press [REC] to enter GRID RECORDING mode. This allows recording

of steps into the sequencer to create a pattern. [REC] should be lit red.

4. Press a Trig [1] - [16] to place a trig. This will initiate playback on the
trig for the track assigned sample buffer when the sequencer is playing.
Typically Step 1 on Page 1 of the pattern would start playback at the
start of the pattern.

5. Press [PLAY] to start the sequencer and play the pattern. The Trig set
will activate playback of the assigned recorder buffer sample. These will
play even when recording.

6. Subsequent steps placed in the pattern after the first trig and before the
sample audio duration end will restart the playback of the sample. For
newly created samples with LOOP is set On in the setup 1 menu, the
sample will loop playback after the initial trig is activated.

The Octatrack Notebook : Reference & Guide 139

6 Track Recording
6.5 Recording Edit Menu and Managing Buffer Samples NOTES

In depth editing and multiple uses of recordings is possible which will be

covered later. Some essential recording buffer management actions can be
performed in the RECORDING EDIT menu. These are typically undertaken
immediately after sampling. Bear in mind recordings are not, by default,
automatically saved so care should be taken in the workflow to avoid losing
valuable audio and wasting time.

▌CLEARING THE RECORDING TRACK.

1. Ensure not in GRID RECORDING mode, ie [REC] unlit.

2. Press [Tx] to select the track containing the buffer to clear. For
example, [T5] for track 5.

3. Press [FUNC] + [REC1] or [REC2] to open the recording setup menu 1

or 2. Keep the setup page open.

4. Press [FUNC] + [PLAY] to clear the track’s recording buffer.

5. A confirmation prompt will pop up. Press [YES] to confirm clearing the
buffer or [NO] to exit without deleting the buffer audio.

▌SAVE THE RECORDING BUFFER TO THE COMPACT FLASH.

1. Press [Tx] to select the track containing the buffer to save. For
example, [T5] for track 5.

2. Press [FUNC] + [REC3] to open the RECORDING EDIT menu.

3. Press [UP] [DOWN] to scroll and highlight the ‘SAVE THIS

RECORDING’ option.

4. Press [YES] to confirm saving or [NO] to cancel.

5. The naming popup menu will appear and allow the sample to be
renamed. Once complete, or to accept the default, press [YES]. A
prompt may appear if a duplicate filename exists.

6. The sample is typically saved to the audio pool. The location can be set
between audio pool and project folder in the PERSONALIZE options.

7. The samples will be saved and can now be assigned instead of the
buffer to a flex or static machine. Options to assign to ‘self’, ‘free flex’ or
‘free static’ are presented. Select an option or [NO] to cancel.

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 Track Recording 6
NOTES

▌SAVE ALL RECORDING BUFFERS TO THE COMPACT FLASH.

1. Press [FUNC] + [REC3] to open the RECORDING EDIT menu.

2. Press [UP] [DOWN] to scroll and highlight the ‘SAVE ALL

RECORDINGS’ option.

3. Press [YES] to confirm saving or [NO] to cancel.

4. The naming popup menu will appear sequentially per sample and allow
each sample to be renamed. Once complete, or to accept the default,
press [YES]. A prompt may appear if duplicate filenames exist.

5. The samples are typically saved to the audio pool. The location can be
set between audio pool and project folder in the PERSONALIZE
options.

6. The samples will be saved and may be assigned to tracks.

▌EDIT RECORDING IN THE AUDIO EDITOR.

1. Press [Tx] to select the track containing the buffer to save. For
example, [T5] for track 5.

2. Press [FUNC] + [REC3] to open the RECORDING EDIT menu.

3. Press [UP] [DOWN] to scroll and highlight the ‘EDIT THIS

RECORDING’ option.

4. Press [YES] to confirm opening the audio editor or [NO] to cancel.

5. The audio editor utility will open ready for editing the selected sample.
This is the same function that is accessible by pressing [AED].

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6 Track Recording
NOTES

▌CHANGING AVAILABLE TRACK RECORDER SAMPLE TIME.

1. Press [FUNC] + [REC3] to open the RECORDING EDIT menu.

2. Press [UP] [DOWN] to scroll and highlight the ‘GO TO MEMORY

CONFIG’ option.

3. Press [YES] to confirm opening memory config function or press [NO]

to cancel.

4. The MEMORY CONFIG utility will open.

5. Press [UP] [DOWN] to scroll and highlight the ‘RESERVE

RECORDINGS’ option. This selects which track(s) to assign memory
to. This works in conjunction with ‘RESERVE LENGTH’. Tracks start at
R1 and the range can flex up to R2 - R8.

6. Press [RIGHT] [LEFT] to change the setting.

7. Press [UP] [DOWN] to scroll and highlight the ‘RESERVE LENGTH’

option. This selects the amount of recording time assigned to track
recorders. This is by default approx 16 secs per track. This works in
conjunction with ‘RESERVE RECORDINGS’

8. Press [RIGHT] [LEFT] to change the setting.

Project
Total 85.5MB RAM
Default ~64MB

Default ~21MB

85.5MB
Available Flex RAM Track Recorder
Flex Machine Slots Sampling Memory
Total 64MB (Used Shown Checked) 2.7MB per Track

Memory is allocated and reserved

in the MEMORY options.

RESERVE RECORDINGS = NONE, allocate all to Flex RAM

RESERVE RECORDINGS = R1..R1-R8

RESERVE LENGTH = Recording time allocated to selected buffers

Example: 16 Seconds or 32 Seconds

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 Track Recording 6
NOTES

Summary of RECORDING EDIT Menu

Press [FUNC] + [REC3] to open the RECORDING EDIT menu.

+ REC3

Menu Option What does it do?

RECORDING EDIT EDIT THIS RECORDING Opens the currently selected track recording
buffer in the audio editor function. The Audio
Editor is also available by [AED].

RECORDING EDIT SAVE THIS RECORDING Save the currently selected track recording buffer
to the audio pool (or another location) on the
installed compact flash memory card.

RECORDING EDIT SAVE ALL RECORDINGS Save all track recorder buffers to the audio pool
(or another location) on the installed compact
flash memory card.

RECORDING EDIT GO TO MEMORY CONFIG Opens the MEMORY function to allow memory
allocation and management settings. This is also
available from the [PROJ] function and located
under the SYSTEM submenu.

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6 Track Recording
6.6 Time Stretching and Sampling NOTES

Samples that are recorded can be immediately time stretched or time

compressed to match the Octatrack BPM (beats per minute) tempo. The
behaviour of time stretching is defined for static and flex machines with the
TSTR parameter found in the SRC Setup menu and also in the Audio
Editor, in particular the ATTRIBUTES menu.

Tx

Track
Sampling is made into Track Recorder
and associated recorder buffer

[AED] TSTR
Editor settings used Track Master
AUTO OFF Time Stretch Off
for individual default Time Stretch.
samples. [SRC] Setup Page
OFF - NORMAL - BEAT

AUTO NORMAL BEAT

Audio Editor Settings General Algorithm Rhythmic Algorithm

TSNS
Transient Detection
Sensitivity
[SRC] Setup Page

RATE
Time stretch or
pitch change
[SRC] Setup Page

RATE
Time stretch or
Pitch Time
pitch adjust
[SRC] Page

Up Stretch

TEMPO
Down BPM Compress

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 Track Recording 6
NOTES

▌SETTING THE BASIS OF TIME STRETCHING BEHAVIOUR.

1. Press [AED] to open the Audio Editor utility.

2. Press [FX1] to open the ATTR - Attributes options within the audio
editor.

3. Press [UP] [DOWN] to scroll through the attribute options available.

Highlight to select TIMESTRETCH.

4. Press [RIGHT] [LEFT] to cycle the three available options for

TIMESTRETCH. This will change between ‘Off’, ‘NORMAL’ and ‘BEAT’.
The option displayed will determine the behaviour of time stretching
and whether it is applied or not.

The Octatrack Notebook : Reference & Guide 145

 NOTES

146 The Octatrack Notebook : Reference & Guide

 7
AMP
There are five track parameter buttons that drones the AMP has features to develop the
give access to the settings for each track. The target sound. The envelope and its components
SRC button has been covered and is the shape the overall sound while the AMP main
function which manages the fundamental page also has parameters that set the pre-
sound sources and machines. Following this in effects volume level and the stereo balance for
the audio path comes the AMP function and it’s the track. The AMP envelope also has influence
track parameter page. AMP is short for on effects FX1 and FX2. Remember that
amplitude which refers to the strength and Octatrack audio always works in stereo. It
level of an audio signal over a period of time. should also be noted that a master track can
The amplitude, heard by the sounds volume also has access to an AMP section.
will change over time naturally, but can also be
shaped within the AMP page where specific
controls are available. In essence the AMP
main page provides access to the functions to
shape, pan and control the level of the core
sound for the track. The AMP setup page
defines the behaviour of the AMP functions.
The AMP section and its envelope is a key
element in sound design and plays a huge role
in how the audio will be heard. Whether
designing short plucky sounds or long evolving

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7 AMP
7.1 AMP and Audio Structure NOTES

The AMP section follows the sound source enabling the amplitude
envelope to be applied to shape the sound along with the stereo balance
and volume level adjustment.

Track

SRC AMP FX1 FX2

Audio Source. Amplitude. Effect One. Effect Two.
[SRC] Setup Page [AMP] Main Page [FX1] Main Page [FX2] Main Page

Envelope

Static Track

Envelope can also be applied to the multi-

mode filter or amplitude modulator if assigned
into FX1 or FX2 effect slots.
Flex Track Pan

L R
Pickup

A
Level Assignable LFO’s
B
Thru

1
2
LFO
Neighbour Low Freq Osc’s.
[LFO] Main Page

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 AMP 7
NOTES 7.2 Amp Main and Setup Pages

Main Menu [AMP]

(A) (B) (C)

(D) (E) (F)

(A) ATK (B) HOLD (C) REL

Data Entry Data Entry Data Entry

Attack Time Hold Time Release Time

Controls the attack time starting Controls the hold time (which also Controls the release time starting
from the trig / note. This is the covers attack time) starting from from the end of hold or note off.
initial ‘ramp up’ of the audio level. the trig / note. Duration is based on This is the ‘ramp down’ phase of
sequence steps and BPM the audio level.

0-127, Default 0 0.007-128, inf (default) 1 - 126, inf (default)

(A) VOL (B) BAL (C)

Data Entry Data Entry Data Entry

Volume Level Balance Not assigned

Sets the volume of the track Controls the audio signals position
delivered to the main and cue within the left and right stereo field.
output. This is pre-effects.

-64 to +63 - 0 Default -64 to +63 - 0 Default

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7 AMP
NOTES

AMP Setup Menu [FUNC] + [AMP]

(A) (B) (C)

(D) (E) (F)

(A) AMP (B) SYNC (C) ATCK

Data Entry Data Entry Data Entry

AMP Envelope Behaviour Synchronise to BPM Attack Phase Shape

Controls the behaviour of the Selects whether the envelope Selects Log as exponential or
envelope on the audio level. should be synchronised with the linear shape for initial attack
main BPM phase of the envelope.

ANLG, RTRG (default), R+T,

On (default) , Off Lin (default), Log
TTRG

(D) FX1 (E) FX2 (F)

Data Entry Data Entry Data Entry

Envelope for FX1 Envelope for FX2 Not Assigned

Selects behaviour of the envelope Selects behaviour of the envelope
on the multi-mode filter or on the multi-mode filter or
amplitude modulator if loaded to amplitude modulator if loaded to
FX1 slot. FX2 slot.

ANLG (default), RTRG, R+T, ANLG (default), RTRG, R+T,

TTRG TTRG

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 AMP 7
NOTES 7.3 Amp Envelope Basic Functions
Amp track parameters consist of a number of envelope configurations based
around the AHR envelope model. The envelope shapes the start - attack
time, the general duration - hold time expressed as sequencer steps relative
to BPM and the end - release phase of the sound as it evolves over time.

AHR Envelope Parameters

Trig ON

HOLD
(Time based on seq steps)

ATK REL
(Attack Time) (Release Time)

AHR Envelope with Trig control AHR Envelope with Note control eg Keyboard On/Off

Trig ON Note ON Note OFF

HOLD HOLD
(time) (time)

ATTACK RELEASE ATTACK RELEASE

(time) (time) (time) (time)

Attack, release and the hold are time based Release phase will be initiated immediately
parameters. Hold in total, also includes the on a Note Off signal if it occurs before the end
attack time phase. of the hold time phase.

Trig ON Note ON Note OFF

HOLD
(time)

HOLD
(time)

ATTACK RELEASE ATTACK RELEASE

(time) (time) (time) (time)

If attack time is longer than hold time, the Release phase will be initiated immediately
release phase will be initiated when attack upon completion of the hold phase if it ends
phase is completed. before the Note Off signal.

If hold setting is set to inf (infinity) using a

keyboard will play the notes while ever the
key is held or for duration of the sample.

Images shown are for illustration purposes only.

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7 AMP
7.4 Amp Envelope Setup Parameters NOTES

Amp AHR (attack time, hold seq steps / time, release time) envelope is also
applied to the multi-mode filter or amplitude modulator if either is loaded into
the FX1 and/or FX2 slot.

AMP AHR Envelope Parameters

Trig ON

ATCK
(Attack Shape)

SYNC
(Synchronise to BPM)

AMP Parameter Options

ANLG - Sample Triggered RTRG - Sample Triggered

Sample Sample Sample Sample

Triggered Triggered Triggered Triggered

ATTACK H R A H ATTACK H R A H
(time) (time)
Attack phase, initiated when a sample is Attack phase, initiated when a sample is triggered,
triggered, will restart at the current level. In this will restart zero level. In this example during release.
example during release.

TTRG - Sequencer Triggered R+T - Sample Trig / Trigless Trig

Sample or Sample or Sample or Sample or

Trigless Trig Trigless Trig Trigless Trig Trigless Trig

ATTACK H R A H ATTACK H R A H
(time) (time)
Attack phase, initiated when a sample trig or trigless Attack phase, initiated when a sample trig or trigless trig
trig is triggered which will restart at the current level is triggered in the sequencer, which will restart at zero
of the envelope. In this example during release. level. In this example during release.

Images shown are for illustration purposes only.

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 AMP 7
NOTES 7.5 Amp Envelope Influence on Effects
Multi-Mode Filter Envelope - AMP controls

The AMP setup parameters also controls the behaviour of the multi-mode
filter envelope, if it is loaded into one of the FX1 / FX2 effect slots. Option to
apply AMP hold to the filter is also possible in the filter effect setup.

FX1 Effect Slot AMP Setup Page FX1 Effect Slot

Multi-Mode Filter FX1 FX2 Multi-Mode Filter

ANLG ANLG
AD Envelope AD Envelope
Retrigger RTRG RTRG Retrigger

R+T R+T
Base Width TTRG TTRG Base Width

If filter is loaded If filter is loaded

Filter AD Envelope Parameters

ANLG - Sample Triggered RTRG - Sample Triggered

Sample Sample Sample Sample

Triggered Triggered Triggered Triggered
H H

ATTACK DECAY A ATTACK DECAY A

(time) (time) (time) (time)
AMP setting dictates the behaviour of the filter AMP setting dictates the behaviour of the filter AD
AD envelope. Sample trig will start the attack at envelope. Sample trig will start the attack at the
the current level. Hold control from AMP is zero level. Hold control from AMP is optional for the
optional for the Filter, set in the filter setup page. Filter, set in the filter setup page.

TTRG - Sequencer Triggered R+T - Sample Trig / Trigless Trig

Sample or Sample or Sample or Sample or
Trigless Trig Trigless Trig Trigless Trig Trigless Trig
H H

ATTACK DECAY A ATTACK DECAY A

(time) (time) (time) (time)
AMP setting dictates the behaviour of the filter AD AMP setting dictates the behaviour of the filter AD
envelope. Sample trig or trigless trig will start the envelope. Sample trig or trigless trig will start the
attack at the current level. Hold control from AMP attack at the zero level. Hold control from AMP is
is optional for the Filter, set in the filter setup page. optional for the Filter, set in the filter setup page.

Images shown are for illustration purposes only.

The Octatrack Notebook : Reference & Guide 153

7 AMP
NOTES

Amplitude Modulator, Lo-Fi Collection - AMP Controls

The AMP setup parameters also controls the amplitude modulator

behaviour, if it is loaded into one of the FX1 and FX2 effect slots. The AMP
setup page FX1 and FX2 parameter options that apply to the filter are;

FX1 Effect Slot AMP Setup Page FX2 Effect Slot

Amplitude Modulator FX1 FX2 Amplitude Modulator

ANLG ANLG

RTRG RTRG
Phase Restart Phase Restart
Retrigger Retrigger
R+T R+T

TTRG TTRG
If Lo-Fi Collection is loaded If Lo-Fi Collection is loaded

ANLG & RTRG - Sample Triggered R+T & TTRG - Sample or Trigless Trig
Sample Sample Sample or Sample or
Triggered Triggered Trigless Trig Trigless Trig

Start Cycle Start Cycle Start Cycle Start Cycle

A sample trig will restart the phase of the A sample trig or trigless trig will restart the
amplitude modulator in the Lo-Fi effect if phase of the amplitude modulator in the Lo-Fi
assigned in FX1 or FX2. effect if assigned in FX1 or FX2.

Images shown are for illustration purposes only.

154 The Octatrack Notebook : Reference & Guide

 AMP 7
NOTES 7.6 Master Track
A master track may optionally be assigned as track 8. The only AMP
parameters available to the master track are the FX1 and FX1 settings
normally found on the AMP setup page. These parameters are based on the
the interface to the multi-mode filter and amplitude modulator.

▌SELECTING THE AMP PARAMETERS IN MASTER TRACK 8.

1. Select the master track, track 8. Press [T8].

2. Press [FUNC] + [AMP] to open the AMP setup page. Alternatively

double Press [AMP] to open the AMP Setup page.

3. The AMP main page will show blank. The only options available are
setup FX1 and FX2.

The Octatrack Notebook : Reference & Guide 155

 NOTES

156 The Octatrack Notebook : Reference & Guide

 8
Parts and Scenes
Parts are one of the least understood features 16 scenes which can then be selected for
of Octatrack and are often overlooked. In fact assignment to a slot. The trig buttons are used
it is ok ignore them, but this does mean to access the 16 scenes. A scene can store a
missing out on a useful and creative feature. series of parameter states in slot A and B and
Parts operate in the background generally out the crossfader then will transition between the
of sight. However one part is always selected two states. This offers quick, DJ style creative
and active at any time. Track assignments, variations and by loading and changing scenes
samples selected, parameter configurations on the fly, a wider performance experience
etc are set up and stored in the current part. A comes to the fore. There are multiple means to
part covers all tracks and a maximum of 4 parts create variation and movement in Octatrack but
are stored in each bank, meaning 4 alternative Parts and Scenes provide an immediate and
configurations can be stored across the four contained method and one that should be
parts. Think of a part like a preset or patch. embraced within your workflow.
Changing parts for example during a live set
provides a great way to make variations,
changing settings while playing the same
pattern, maybe changing samples even. This
is where the use of parts really excel. Another
way to create variation is in the use of scenes.
A scene can be assigned to each of the two
scene slot locations, A & B. Each part can hold

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8 Parts and Scenes
8.1 Parts Overview NOTES

Parts are often the source of confusion in Octatrack. There are 4 parts
stored per bank. To get a clear understanding of parts its good to firstly
understand what their purpose is. Parts provide the opportunity to switch
between 4 different parameter configurations (stored in each part) for the
same pattern. This offers the ability to change the sound, almost like
changing presets. This is a great way to add variation during live and
improvised sessions. Intrinsic pattern elements such as trigs and locks are
separate and specific patterns themselves not configured under parts.

Parts are not always used to their full potential. They work in the
background storing the parameter configurations and track assignments
and may appear invisible in how they perform this role. In actual fact
configurations by default are managed in part 1. So if the proactive use of
parts in a workflow is generally ignored, in reality the current part is always
in use behind the scenes.

Changing to another part will then mean any settings will be applied in the
track parameters and configuration changes will be made in the currently
active part. So four parts can offer four variations of the pattern.

Each pattern is always linked to a part.

Part 1 is the default part.

Part 1

Parts can be edited by pressing Parts can be selected by pressing

[FUNC] + [PART] [PART]
to open the pop-up editor.
Part 4 * BANK Part 2 then [UP] [DOWN] [LEFT] [RIGHT]
* Edited, unsaved parts. then [YES]

Part 3

Machine, Sample & Effect

Assignments
Track Parameter Settings
i.e. SRC, AMP, LFO, FX

Up to 16 Scenes

Parts store configurations

158 The Octatrack Notebook : Reference & Guide

 Parts and Scenes 8
NOTES 8.2 Viewing the Current Part
Parts operate as the host to configurations of track parameters, machines,
sample assignment and scenes. The configuration is visible within the
specific parameter location, so for example the SRC page will show the
machine parameters. However there are a number of areas to view in
order to understand the current part in use.

Octatrack Track Parameter Main Page

Active part number and

the part name

Octatrack Part Selection Pop-Up Page

Active part is displayed inverted.

The dotted border shows navigation selection.

The asterisk tag indicates

TEST parts are edited but not saved.

All parts shown along with Navigate parts using

their defined name. [UP] [DOWN] [RIGHT] [LEFT] and [YES] to select.

▌CHECKING CURRENT PART.

1. The main page will display the currently active part and its name.

2. Press [PART].

3. The display will show the parts pop-up menu. The active part will be
shown inverted in the 4 part options. The active part can be changed
from this menu.

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8 Parts and Scenes
8.3 Using Parts NOTES

Many projects will be developed without consciously managing parts at all.

The active part will simply remain in the background while adjustments are
made around it. This is ok for many applications. But there are many useful
reasons to learn and adopt the use of parts both for creative and practical
reasons. Of course there are also multiple ways to achieve the same result
with Octatrack so the parts option is one way to perform a task and is
always available there should you choose to use it.

Note that the Copy [FUNC] + [REC], Clear [FUNC] + [PLAY] and Paste
[FUNC] + [STOP] also operate in the part menu.

▌CHANGING PARTS.

1. Press [PART] to open the part pop-up menu.

2. The currently active part will show inverted. Each part may also have an
assigned name shown under the part number.

3. Press [UP], [DOWN], [LEFT], or [RIGHT] to navigate to the new part to

load. The navigation selection is shown with a dotted box within the part
window.

4. The desired part is selected with the dotted bounding box, press [YES].

5. The new part is loaded and the main display will show the new part
number and it’s name. This is linked to the pattern as shown on the
main display.

▌RENAMING PARTS.

1. Select the part to rename as this process edits the active track.

2. Press [FUNC] + [PART] to open the part edit pop-up menu.

3. Scroll to the RENAME option using [UP] or [DOWN]. The selected

option is shown inverted.

4. Press [YES] to select RENAME.

5. The text edit naming menu will open and present the current part name.
Edit to the desired name within the text edit window then press [YES]

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 Parts and Scenes 8
NOTES

▌SAVING A PART.

1. Select the part to save as this process saves the active track. Edited but
unsaved parts are shown in the pop-up parts menu with an asterisk.

2. Press [FUNC] + [PART] to open the part edit pop-up menu.

3. Scroll to the SAVE option using [UP] or [DOWN]. The selected option is
shown inverted.

4. Press [YES] to select SAVE.

▌SAVING ALL PARTS.

1. Edited, unsaved parts shown in the pop-up parts menu with an asterisk.

2. Press [FUNC] + [PART] to open the part edit pop-up menu.

3. Scroll to the SAVE ALL option using [UP] or [DOWN]. The selected
option is shown inverted.

4. Press [YES] to select SAVE ALL. All four parts will be saved.

▌RELOAD PART.

1. Press [FUNC] + [PART] to open the part edit pop-up menu.

2. Scroll to the RELOAD option using [UP] or [DOWN]. The selected

option is shown inverted.

3. Press [YES] to select RELOAD the current part from the previously
saved state. If a part has never been saved an advice prompt will state
‘SAVE PART FIRST!’. A saved version must be available to use reload.

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8 Parts and Scenes
8.4 Creative Use Case Examples NOTES

There are many creative options and user cases that can benefit from the
application of parts within the workflow or considered in the process.

Sample Changes

A commonly used application is the change of samples. This is useful when

playing live and initiating variations in a track arrangement. For example
intro may have a different kick drum in the intro, breakdown and outro while
the existing pattern continues to in the song.

Song Track Part 1

KickSampleMain
Intro Verse Break Verse Outro

LFO LFO
T1 Machine AMP LFO DES
FX1 FX2

Part 2
KickSampleAlt

LFO LFO
Pattern A01 T1 Machine AMP LFO DES
FX1 FX2

▌ALTERNATING PART - SIMPLE EXAMPLE.

1. Create a static track for example a kick track T1. This by default will be
created in Part 1. A sample should be loaded in the machine.

2. Select the Part pop-up menu, Press [PART].

3. Example, Copy Part 1 to Part 2. Press [FUNC] + [REC] to copy the

current part i.e. Part 1 within the part menu.

4. Switch to highlight Part 2 using the [UP] [DOWN] [RIGHT] or [LEFT].

5. Paste the copied part to Part 2. Press [FUNC] + [STOP] to paste the
current part i.e. Part 1 into Part 2.

6. Ensure Part 2 is active. Press [YES] when highlighted.

7. Select the SRC page and double tap the track button e.g. [T1]. This
opens the sample list. Select and load the alternative kick sample.

8. Now the part can be changed on the fly between Part 1 and Part 2 at
various places in the song arrangement. This will seamlessly switch the
sample. More variations can be made with applying to other tracks too.

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NOTES
Parameter Changes

A more advanced and expansive variant on the sample change option is to

make parameter changes. This can be as well as sample changes or just
focus on parameters. For example the pitch could be changed across
melody tracks and then parts can switch between the normal setting and for
example and octave higher while percussion remains the same. Things can
get crazy when making effect changes or filter adjustments between parts
and with multiple parameter settings. Be adventurous.

On the Fly Part 1

+1 Octave
Pitch 0

LFO LFO
Normal Pitch T1 Machine AMP LFO DES
FX1 FX2

Part 2
Pitch +12

LFO LFO
Pattern A01 T1 Machine AMP LFO DES
FX1 FX2

Improvisations

A great trick, especially during live improvisations and jam session is to use
the part as a fall back to the original settings. This allows wild and crazy
parameter tweaking on the fly without worrying about losing the original
sound and restoring these easily.

▌RESTORING BACK FROM LIVE IMPROVISATIONS.

1. Create the base core of your song sound to a state your happy with.

2. Save the Part using [FUNC] + [PART] > SAVE.

3. Play the song out live. Improvise with parameter changes, get wild with
tweaking and experimentation. Perform multiple iterations and see what
creative ideas come up.

4. Then what? This is the point where you need to revert to the original,
either as part of the performance or for practical reasons. Reverting to
the previously saved part solves this.

5. To reload to the last saved part, Press [FUNC] + [PART] and scroll to
RELOAD then press [YES].

6. The original part will immediately restore the core settings.

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NOTES
Experimentation & Testing

Not all uses of Parts have to be creative. They can also help in building and
trialing ideas and testing certain configurations. One example is to have two
identical parts but with one operating a track with a static sample and
another with a flex sample on the same sample. This makes it possible to
evaluate if a static machine has the performance criteria needed when
modulating the sample. Often a flex machine is better, but then this uses
the limited available memory resources.

Expanded Scene Storage

Another non-creative example of using parts is in the availability of scenes.

Each part can store 16 scenes. While this is a good amount, there may be
times when more are needed. It is possible to store 16 scenes in each part
giving the option to store another 16 in a second part which can be easily
recalled if needed.

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NOTES 8.5 Scenes Overview
Octatrack has a DJ style cross fader which is dedicated to the control of
scenes. A Scene consists of a set of locked parameter states. Assigning
scenes to each of the two slots, A and B, then allows the transition between
the two states. This offers creative variation and movement. While changing
a control individually can also apply creative movement, the power of
scenes is the control of multiple track parameter transitions in a single
control. This allows alignment of the transitions and not just a change from
one state to another but also the iterations in-between. 16 Scenes can be
stored in a Part (of which there are 4) and are accessible using the Trig
buttons. In turn Parts are stored within a bank.

Each of the 16 Scenes (per part) is accessed by the 16 Trigs

Hold [A] or [B] + Trig [1] to [16] to select a scene to the slot

A and B buttons represent the scene slot assignments.

A Hold [A] or [B] + Adjust Parameter to lock a setting B

Parameter 1 Parameter 1
Default Setting Scene Setting

Parameter 2 Parameter 2
Scene Setting Scene Setting

Parameter 3 Parameter 3
Scene Setting Scene Setting

Default Default
Parameters Parameters

Fully left will apply the parameters Fully right will apply the parameters
in slot A at their fully defined value. in slot B at their fully defined value.

The parameter value will be extrapolated between the A and B settings and
the location of the crossfader will determine the current value.

Although any slot can use any of the 16 scenes, it is the normal Octatrack
convention to use 1-8 for A and 9-16 for B.

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8.6 Viewing the Current Scene State NOTES

Its clear where the physical location of the crossfader is on the Octatrack
faceplate but the status can also be viewed on the display.

Octatrack Track Parameter Main Page

Any parameter that has a stored setting in

the respective scene will show inverted
when holding the scene button [A] or [B]

Scene selected for slot ‘A’ Scene selected for slot ‘B’

Symbol dynamically represents

position of crossfader’

▌CHECKING SCENE SETTINGS.

1. Press and hold [A] or [B].

2. The screen on display will show the parameter setting value assigned
as an inverted image. In addition the following button states indicate
pages with scene settings applied:-

• Track buttons with a scene lock applied will show as a dimmed

green and / or flashing button.

• On the selected track, unselected track parameter pages for the

track will show dimmed green and / or flashing if a scene parameter
lock exists in the page.

• The currently selected page will display parameters locked in

scenes as inverted. The scene numbers applied to ‘A’ and ‘B’ are
also shown bottom left on the display.

• The Trig keys will illuminate to identify which scenes are applied in
the slot. A red lit button will refer to the currently pressed scene slot
and green trig button will refer to the other scene slot.

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NOTES 8.7 Using Scenes
Scenes are a key part of Octatrack’s armoury in bringing more creative
variations and options into the process. Scene parameter locks take
precedence over track parameter locks when the crossfader is moved. This
is to ensure smooth scene operation and not be interrupted by other
parameter locks when applying scene transitions. Also bear in mind that the
speed of crossfader manipulation will affect the performance.

▌ASSIGNING A SCENE.

1. Press and hold [A] or [B].

2. The Trig keys will illuminate to identify which scenes are applied in the
slot. A red lit button will refer to the currently pressed scene slot and
green trig button will refer to the other scene slot.

3. While holding the A or B button select the Trig representing one of the
16 scenes stored. This could also select an empty scene to allow
parameters to be setup.

▌SETTING PARAMETER LOCK INTO A SCENE.

1. Assign a scene to edit to scene ‘A’ and / or ‘B’.

2. Press and hold [A] or [B]. For example to assign parameter locks to the
first scene ‘A’, hold button [A]

3. While holding the scene button i.e. [A] adjust the parameter to lock. This
may mean pages should be changed to reach the parameter desired.
Example: Press [A] + Turn data entry (D).

4. The parameter lock for the scene will be stored as the value for the
parameter when the {CROSSFADER} is fully positioned to the selected
slot i.e. ‘A’.

5. Continue adding more parameter locks while the scene button his held
to build multiple parameter locks into the scene.

6. Repeat if desired for scene ‘B’.

7. The parameters will automatically be stored in the scene.

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NOTES
▌REMOVING A SCENE PARAMETER LOCK ASSIGNMENT.

1. Select the page for the parameter to ‘unlock’.

2. Press and hold [A] or [B] for the scene to remove the parameter lock.

3. The screen on display will show the parameter setting value assigned
as an inverted image. While holding the Scene button press the data
entry for the parameter lock to remove, example: Press [A] + Press data
entry (D) or for levels (LEVEL).

▌OPERATING ACROSS SCENES.

1. To apply the scene ‘A’ fully, slide the {CROSSFADER} fully left.

2. To apply the scene ‘B’ fully, slide the {CROSSFADER} fully right.

3. Slide the {CROSSFADER} in-between the end states to apply

parameters at values that are extrapolated between the two states.

▌MUTING SCENES.

1. Press [FUNC] + [A] to mute the ‘A’ scene. The button will be unlit. This
disregards the scene lock settings and applies the general part value.

2. Press [FUNC] + [B] to mute the ‘B’ scene. The button will be unlit. This
disregards the scene lock settings and applies the general part value.

3. Press [FUNC] + [A] and / or [B] to unmute. The button will revert to red
and the scene parameter locks will be reapplied at the value dependent
on the position of the {CROSSFADER}.

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NOTES 8.8 Copying & Pasting Scenes
Scenes can be cleared, copied and pasted.

▌COPYING A SCENE.

1. Assign a scene to copy to a scene slot ‘A’ or ‘B’. Copy and paste
operates with the active scene.

2. Press and hold [A] or [B] + [REC] for the scene to copy.

3. A message confirming ‘COPY SCENE’ will be shown.

▌PASTING A SCENE.

1. A scene should already be copied and held in the copy memory.

2. Press and hold [A] or [B] + [STOP] for the scene to paste.

3. A message confirming ‘PASTE SCENE’ will be shown. The scene will

be copied into the scene location i.e. Trig [1] to [16] as the currently
active scene selected, replacing the original.

▌CLEARING A SCENE PARAMETER LOCKS.

1. Ensure the scene to clear is loaded into a scene slot ‘A’ or ‘B’.

2. Press and hold [A] or [B] + [PLAY] for the scene to paste.

3. A message confirming ‘CLEAR SCENE’ will be shown. All parameter

lock data is cleared from the selected scene.

4. If required, press [A] or [B} + [PLAY] again to undo clear. A message

saying ‘UNDO SCENE’ will be displayed.

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8.9 Scenes and Levels NOTES

Scenes parameter locks are applied within the existing standard parameter
pages. Some parameters have an alternative version that are unique to
scene parameter locking. These parameters are mainly orientated around
volume levels and are used to avoid volume dips between scene levels and
the general settings by transitioning between track and scene levels.

The exclusive scene levels appear when [A] or [B] is held.

Scene Normal Page Available Description

Parameter Parameter Settings
Min Mute audio, post track effects.
XLV LEV Various
Max Passes through audio at the LEV level

Min Mute audio, pre track effects.

XVOL AMP
Max Passes through audio at the VOL level

Min Mute audio.

XDIR AB DIR AB MIXER
Max Passes through audio at the DIR level

Min Mute audio.

XDIR CD DIR CD MIXER
Max Passes through audio at the DIR level

Generally speaking, setting the level scene parameter locks follows the
same process as described previously. Although the scene application on
level parameters is different, the actions to set up by using the (LEVEL) or
data entry controls is the same.

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NOTES 8.10 Creative Use Cases Examples
The options and applications of scenes is numerous with the parameter
combinations almost endless. As with everything Octatrack, trial and error,
experimentation and exploration is encouraged.

Track Volume Mutes

In this example imagine multiple tracks with some elements that add body
and fill to the mix. This could be an additional pad synth and hi hats for
example. They may only be required in certain parts of the main mix and
therefore the crossfader can adjust the levels of these two tracks to bring
the instruments in and out of the mix.

Scene [A] Scene [B]

Full Mix, All Tracks. Original is same as Scene A.
This scene can be copied / Hold [B] and adjust Levels.
pasted to Scene B which can In both the Hi Hat and Pad Tracks
then be edited. set parameter XLV to MIN.

The audio of the hi hat and backing pad will be dropped out when the
{CROSSFADER} is fully left at scene ‘B’ and in the mix fully at scene ‘A’ fully left.

Filter Sweeps

In this example breakdowns and buildups in true DJ style can be applied

using the scene function to sweep filter cutoff across a number of tracks. A
simple application would be to cutoff the drum kicks and percussion. This
can also be in addition to the level scenes as described earlier and include
other effect or level sweeps too to get even more creative. Assume the filter
effect is on FX1.

Scene [A] Scene [B]

Full Mix, All Tracks. Original is same as Scene A.
This scene can be copied / Select drum tracks, filter FX page.
pasted to Scene B which can Hold [B] and adjust the (A) Base, (B)
then be edited. Width and (C) Q to get the filter
setting required.

The audio of the tracks assigned will be cut gradually across the
{CROSSFADER} based on the filter settings applied to scene ‘B’

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NOTES

Glitch Sample Modulation

Parameter sweeps are one way to use scenes, but they aren't limited just to
parameter value changes. Octatrack is all about sampling and scenes are a
great way to manipulate samples on the fly. Flex tracks are best for
applying fast sample modulations.

Scene [B]
Scene [A]
In the Flex main SRC page, Hold [B]
Full Mix, All Tracks.
and adjust sample start STRT (B).
The sample playback
Also experiment with RATE (D),
parameters as default.
PTCH (A) or all of these together.

STRT

Manipulating samples using the {CROSSFADER} can produce crazy effects and
even more so when coupled scene parameter locks also applied.

RATE

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NOTES

Dynamic Scene Progressions

Working between A and B doesn't mean there are only two options
available. A good workflow assisted by the creation of predefined scene
states. Dynamic switching scenes can then be performed almost like a DJ
cueing up tracks in a set but in this case scenes. By operating from a ‘base’
scene then switching through various scenes give multiple creative
variations, all within a single or across multiple patterns.

Example: Steps in the Workflow Process

1 Scene [A] - Stored in Trig 1 Scene [B] - Stored in Trig 9 2

This is the base mix with defaults This is the first variation. For
set and the original position. example filter breakdown.

3
Invoked scene change.

4 While playing in Scene ‘B’ a 5

change can be made to select a Invoked scene change.
new scene into slot ‘A’.

6
While playing in Scene ‘A’ a
change can be made to select a
new scene into slot ‘B’.

7
Invoked scene change.

8
Process may continue with
Tip: When working live it is useful to create a multiple scenes.
library of scenes and use marker / masking tape
labels to make recall and identification easy.

MUTES FILTER DELAY GLITCH

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NOTES

Sample Recording Aid

Creative options from scenes are almost endless. Practical examples also
of using scenes more as a tool than in a creative workflow. An example is
the use of scenes during the sampling process to switch between
monitoring input audio and playing the captured sample. Samples can be
recorded then sweeping the crossfader will switch to the sampled rather
than the input audio. This of course can also be part of the creative process
if performing using on the fly sampling

Choose a track for sampling, i.e. Track [T7].

Volume defaults should be set in the MIXER, DIR to 127. So that direct monitoring is audible. In the AMP page
the volume should be -64. The default state would therefore be only the direct monitoring will be audible.

LFO LFO
T7 Machine AMP LFO DES
FX1 FX2

A
Track AMP VOL = -64

Audio Default Settings

MIXER, DIR = 127

B

Mixer DIR or XDIR for Scenes

Track AMP VOL = 0

Scene ‘B’ Settings

MIXER, DIR = MIN

When sweeping the {CROSSFADER} is moved fully left the default positions are in play meaning the
sampling input is heard through direct monitoring. When sampling is completed, the {CROSSFADER} is
swept right to scene B. The track audio will be heard and incoming audio muted.

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NOTES

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 NOTES

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 9
Pattern Basics
Patterns are at the heart of Octatrack and are sequencing before diving deeper into the
created and arranged within its powerful workflow and before discussing the finer details
sequencer. The sequencer organises and of the sub elements and functions. It is important
controls patterns to form rhythms and develop to know that patterns and the sequencer are
evolving melodies and arrangements. Patterns inextricably linked. A sequence is in fact the
trigger sounds across the 8 tracks and can be formation of steps into a pattern and Octatrack’s
assembled into full song arrangements. sequencer is the tool for managing this
Patterns contain the trigs that make up a functionality. Add to this the power of the
pattern, trig locks, pattern length and time Octatrack’s Trig options including trigless trigs,
signature data. Pattern sequencing is a trig locks, parameter locks, micro tuning and the
notable function that seems to be central to power is there for all to see. Getting to know the
most Elektron devices. There are 16 patterns elements that quickly get things up and running
stored in a bank, each of which is selected with with patterns is the main objective of this section
the [PTN] + Trig [1] - [16] buttons or at the point leaving the advanced features till later. While
of selecting the bank. While it is important to this section is focussed on audio patterns, the
get to know the components within a pattern it same basic principles and processes apply to
is arguably better to understand the overall MIDI tracks too.
sequencing concept and its practical nature
before delving deeper. This section therefore
provides the basics in building patterns and
offers a quick start to using Octatrack

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9 Pattern Basics
9.1 What is a Pattern? NOTES

Patterns control all 8 tracks, both audio and MIDI all of which are controlled
and managed in the sequencer. There are 16 patterns per bank and
patterns are automatically saved. Patterns can be copied and pasted in the
pattern slots making it easy to edit and develop variations.

A pattern contains for each of the tracks:-

Sample Trigs MIDI Note Trigs

Track Recorder Trigs Trigless Trigs for

for Audio Tracks MIDI & Audio Tracks

Swing Trigs for MIDI

Parameter Lock
& Audio Tracks

PATTERN

Slide Trigs for Audio

Conditional Lock
Tracks

One Shot Trigs for

Sample Lock
Audio Tracks

Link information for Length & time

pattern to part signature information

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 Pattern Basics 9
NOTES

General Pattern Structure & Display Indicators

‘Trigs’ are building blocks of a pattern, each is used to initiate the start of an event, for
example to trigger a sample or a note to be played or to action a parameter change. Trigs are
represented in Octatrack by the 16 dedicated ‘Trig’ buttons [1] - [16]. Trigs are assigned to
steps in the sequencer to map out part of a song, arrangement or musical passage.

☞
☞

☞
☞
The sequencer is the tool for managing and creating patterns and consists of 4 Pages of
16 steps which can be configured with number of steps for the pattern.

Default 1 Bar, 1/16th Notes

Page 1

Page 2

Page 3

Page 4

Sequence position shown on

the beat e.g. 1,5,9,13

Sequencer Transport Status

Currently Active Part

Currently Active Pattern

Patterns will trigger the audio samples

and/or MIDI Notes in the relevant tracks

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9 Pattern Basics
9.2 Workflow Overview - Audio Sequence NOTES

The sequence workflow requires the creation and assembly of sounds into
a series of steps to form a melody or drum sequence. Samples can be
loaded from the audio pool or recorded in to achieve this.

OPTION S BASIC

1 Select Track [T1] - [T8]

2 Ensure a Flex or Static Machine is assigned

Record Sample: 3 Assign Sound to a Track

Track Recorder or Pickup Machine Double Tap

4 Set the Tempo: [TEMPO]

5 Set Pattern Length: [FUNC] + [SCALE]

Select GRID RECORDING Mode: [REC]

Create Pattern by Selecting Trig Steps: [1] - [16]

Select Bank:
[BANK] + [A]...[P] i.e. [1] - [16] 6
Select Pattern: [PTN] + [1] - [16]

Select LIVE RECORDING Mode: [REC] + [PLAY]

Playing Tracks Live

Trigs: [9]...[16] represent tracks (Trig Mode = Tracks)

Playback to Listen: [PLAY] 7 Continue to next track sequence

Set Parameter Locks 8

Add Effects: [FX1] [FX2] 9

12 Save Project: [FUNC] + [PROJ]

A pattern contains Trigs but also the parameter settings found in SRC, AMP, LFO, FX1, FX2

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NOTES 9.3 Getting Started with Using Patterns
This section assumes that tracks are already setup as required, machines
and samples assigned. As a tip, having a template ready with the audio
setup in place would allow this point to be the starting point of a project.

▌SELECTING A SAVED PATTERN FROM A BANK

1. Select a Bank, Press [BANK], then Trig [1] - [16] to select a bank A to P.
Octatrack will prompt to select a pattern.

2. Select the desired Pattern within the chosen bank, Press Trig [1] - [16].

3. To select a new or to change the pattern within the currently selected

bank, Press [PTN], then Trig [1] - [16]

4. A 4 Second countdown timer and prompt to allow the bank or pattern to

be selected is shown on the display after pressing [PTN] or [BANK].

5. A blank pattern can be selected when starting out from scratch

Select [PTN] to select a pattern. Alternatively a prompt to select a

pattern is presented automatically when selecting a bank [BANK].

GREEN UNLIT
Indicates a pattern exists Indicates no pattern exists
in this trig location. in this trig location.

2 4

RED
Indicates the currently
selected pattern.

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9 Pattern Basics
▌PLAYING A PATTERN NOTES

1. Press [PLAY] - Key is lit green.

▌STOPPING A PATTERN

1. Press [STOP] to stop playback and allow for effect fades. Stop will be lit
white when stopped or paused.

2. Press [STOP] & [STOP] to stop playback and kill effects and all notes
off for MIDI.

▌PAUSING A PATTERN

1. Press [PLAY] to pause during playback. Play (green) and Stop (white)
both are lit.

2. Press [PLAY] again to continue.

▌CHANGING A PATTERN DURING PLAYBACK

1. Select a new pattern within the currently selected bank;

Press [PTN], then [1] … [16] (or select from another [BANK] and
Pattern [1]...[16] while the sequence if playing.

2. The pattern will be queued until the existing sequence is completed.

The cued pattern is indicated in the ‘current pattern’ area of the display.

A03
Currently active pattern eg A03

A03 A01
Currently active pattern A03 with A01 cued
and ready to change at the end of the current
pattern duration.

A01
New active pattern A01

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9.4 Creating Basic Patterns
Octatrack has many powerful features that combine to create a pattern. The basic set up will require
the arrangement of steps within grid or live recording mode and setting trigs to activate samples and
associated parameters. This section concentrates on the initial process of building arrangements
with Sample Trigs

SAMPLE TRIG
TRIG
Parameters An event set at a defined step
An event can trigger either an audio sample
in the sequencer that triggers (Audio track) or MIDI notes (MIDI Track) or
Machine, Sample,
Pitch, Start, Length, the playing of the sample other things based on the trig type set.
Rate, etc assigned to the track machine.

8
Trig keys are used for multiple modes. In
this illustration they set and trigger 8

samples within patterns. They are also

used to select audio and midi tracks and
are used for bank and pattern selection Sample
Play Sample trigs are indicated RED on the
Trig keys. Unlit keys contain no trigs.

1 16
Trk 1

RECORDING MODES

Two recording modes for creating and programming patterns are available in Octatrack. Grid Recording mode allows
steps to be manually selected at locations throughout the static sequence. Live recording mode enables tracks to be
played live individually or chromatically and the real time position is recorded.

GRID RECORDING LIVE RECORDING

• Select by pressing [REC] button. • Select by pressing [REC] + [PLAY].

• REC button illuminates red when in grid • REC button flashes red and PLAY button
recording mode. is lit green.

• Manually select trig buttons [1] - [16] to • Play the trig buttons [9] - [16]
toggle on or off a Trig at the desired step representing tracks 1 - 8 to real time
location. record. Trig Mode set to ‘Tracks’.

• Ideal for fixed step patterns such as • Ideal for natural rhythms such as hats
drums, kick and snare. Great for pre- and shakers. Great for improvisation and
defined / inorganic pattern styles. organic sounds.

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9 Pattern Basics
9.5 Grid Recording Basics. NOTES

The basic and simplest method of recording trigs into the steps of a pattern
is in grid recording mode. The examples used here demonstrate sample
trigs programmed into a pattern although the same process applies to MIDI.

▌PROGRAMMING A PATTERN IN GRID RECORDING MODE

1. Press [Tx] to select a track to record the pattern into. Example, Press
[T1] for track 1.

2. Select GRID RECORDING mode by pressing [REC]. The REC Key will
turn red to indicate grid recording mode is active.

3. Press Trig [1] - [16] to select the desired Trigs for the steps required on
the current track. Example: Kick sample on the beat, steps 1,5,9,13.
Active sample trig steps will be lit red. Default (depending on length /
scale) is 1 bar / 1/16th notes in the sequence.

4. To add a parameter lock, Hold [1] - [16] of an existing trig + Turn data
entry (A) - (F) of the parameter to lock to the trig. Parameter locked trigs
will flash red.

5. Press [PAGE] to change to another available page if required. Access to

steps 17 - 32 in Page 2, 33 - 48 in Page 3 and 49 - 64 in Page 4 is
possible if the pattern length allows. Press [FUNC] + [PAGE] to open
the menu to extend length and therefore add pages.

6. Select an alternative track and repeat steps 1 - 5 for additional track

patterns.

7. Press [PLAY] to play the pattern. Trigs can be added / deleted in GRID
RECORDING mode while playing.

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 Pattern Basics 9
NOTES

▌NUDGING TRIGS LEFT / RIGHT IN THE PATTERN

1. Press [Tx] to select a track to edit. Example, Press [T1] for Track 1.

2. Select GRID RECORDING mode by pressing [REC]. The REC Key will
turn red to indicate grid recording mode is active.

3. Press [FUNC] + [RIGHT] to shift all trigs 1 step later. Each button
combo press nudges all trigs by 1 step right / later.

4. Press [FUNC] + [LEFT] to shift all trigs 1 step earlier. Each button
combo press nudges all trigs by 1 step left / earlier.

5. Trigs located at the edge of the pattern will ‘wrap’ from the end to the
start or start to the end depending on the direction being shifted.

▌REMOVING TRIGS IN A PATTERN IN GRID RECORDING MODE

1. Select GRID RECORDING mode [REC]. The REC button is lit red.

2. Press Trig [1] - [16] on a lit / active step to remove. The red button
status indicating a sample trig will be unlit.

3. To remove individual parameter locks, Press Trig [1] - [16] + Press data
entry (A) - (F) rotary for the parameter to remove.

▌PREVIEWING TRIGS IN A PATTERN IN GRID RECORDING MODE

1. Select GRID RECORDING mode [REC]. The REC button is lit red.

2. Press Trig [1] - [16] + [YES] to audition to the MAIN output, the audio for
the sample trig.

3. Press Trig [1] - [16] + [CUE] to audition to the CUE output, the audio for
the sample trig.

▌PLAYING IN GRID RECORDING MODE

1. Press [PLAY]. Play will commence, button lit.

2. Press [STOP] to Stop or [PLAY] again to pause.

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9 Pattern Basics
9.6 Live Recording Basics. NOTES

Live recording enables the capturing of more dynamic and natural patterns
and melodies, operating in real time to trigger tracks while the sequence is
running and recording.

▌RECORDING A PATTERN IN LIVE RECORDING MODE

1. Select LIVE RECORDING mode by holding [REC] + [PLAY].

2. The sequence will start and the REC Key will flash red and the PLAY
key will be lit green to indicate live recording mode is active.

3. Play live Trig [9] - [16] for the desired track to trigger and record it.
Sample trig tracks in LIVE RECORDING mode are represented as
Track 1 = Trig [9], Track 2 = Trig [10] and so on to Track 8 = Trig [16].
Ensure Trig Mode is set to Tracks.

4. While LIVE RECORDING, changing a parameter by turning the

selected data entry (A) - (F) rotary control will record the parameter lock
into the track for sample trigs or recorded as lock trigs if no sample trigs
are present.

5. The recording will automatically, by default, quantize trigs to full steps

and not micro timed.

6. Press [STOP] to stop recording and playback. Pressing [PLAY] will stop
recording but continue to play.

▌CHANGING LIVE RECORDING QUANTIZATION

1. Press [PROJ] to open the project menu. Scroll using [UP] [DOWN] to
highlight the SYSTEM menu.

2. Press [RIGHT] or [YES] to select and enter the sub menu. Scroll using
[UP] [DOWN] to highlight the PERSONALIZE menu. Press [YES]

3. Scroll in the PERSONALIZE menu to highlight the option, ‘QUANTIZE

LIVE REC’.

4. Press [YES] to toggle this option to OFF / Unchecked to record

unquantized and set to ON / Checked to quantize.

5. Following the normal live recording process which will now record trigs
into the sequencers 16 steps and recording based on the micro timing
resolution of 1/384th steps.

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▌SWITCHING FROM LIVE TO GRID RECORDING / PLAY ON THE FLY

1. While in LIVE RECORDING mode, Press [REC]

2. The mode switches from LIVE RECORDING, rec button flashing red to
GRID RECORDING mode, rec lit solid red. Play continues.

3. To switch directly from LIVE RECORDING to play, press [PLAY] while in

LIVE RECORDING mode. Play will be green, rec button is unlit.

▌DELETING TRIGS & PARAMETER LOCKS IN LIVE RECORDING MODE

1. Select LIVE RECORDING mode by holding [REC] + [PLAY].

2. The sequence will start and the REC Key will flash red and the PLAY
key will be lit green to indicate live recording mode is active.

3. To delete:

• All Trigs. Press and hold [NO] + [Tx] of the track to erase. Multiple
tracks can be erased at the same time. Example, Press and hold
[NO] + [T1] + [T2].

• Sample Locks. Press and hold [NO] + Press (LEVEL)

• All Parameter Locks, press and hold [FUNC] + [NO].

• Individual Parameter Locks. Press and hold [NO] + Press data entry
(A) - (F) for the parameter to delete.

4. Erasure will take place as the sequencer record cursor ‘wipes’ over the
trigs during the LIVE RECORDING.

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9.7 Recording Mode Summary. NOTES

As a summary and reference for sample trigs, the following recording mode
functions are available in Octatrack.

Function Grid Live Comments / Notes

Select Recording Mode [REC] [REC] + [PLAY]

REC button state Red Flash Red

Play while recording Yes Yes Playback by default in live mode.

[1] - [16] [9] - [16] Live recording will play / record tracks
Trig Placement
Per Trig Play Real Time in real time.

[1] - [16] + data entry (A) - (F) Turn data entry when live recording or
Parameter Lock Placement
data entry (A) - (F) Record Real Time when holding trig during grid recording.

[1] - [16] [NO] + [Tx]

Trig Removal Where ‘x’ is track [T1] - [T8].
Per Trig Erase Real Time

[1] - [16] + Press [FUNC] + [NO]

Parameter Lock Removal
data entry (A) - (F) Erase Real Time

[1] - [16] + [YES]

Trig Preview N/A Audible preview of trig to main or cue.
[1] - [16] + [CUE]

[FUNC] +
Shift Notes N/A Nudge trigs one step
[LEFT] [RIGHT]

Track Select [Tx] [Tx] Where ‘x’ is track [T1] - [T8].

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9.8 Length and Scale
Octatrack has a Maximum of 64 steps mapped over 4 Pages, each containing 16 steps. The steps
are essentially set by Trigs using the 16 Trig keys, one for each step and a pattern per audio and/or
MIDI track. Default behaviour means that extending pattern lengths also copies over the existing
pattern to the new page. This can be changed in personalisation project settings.

Page 1 Page 2 Page 3 Page 4

1 16 32 48 64
Trk 1
Trk 2
Trk 3
Trk 4
Trk 5
Trk 6
Trk 7
Trk 8

Orange Lit Bright Orange Flash Dark / Unlit Dark / Unlit

page contains a pattern pattern page being played no pattern on this page no pattern on this page

1:4 2:4 3:4 4:4

[FUNC] + [PAGE] [PAGE]

Selects the Scale settings and with the Cycles through and selects the active
menu open [PAGE] to change length. + page of the available (up to 4) pages.

NORMAL
PAT All tracks share same length
Pattern Settings PAT options and time signature.
selected for editing.
PER TRACK
Tracks can be assigned individual
step lengths and scales.

Select Normal OR Per Track.

[FUNC] + [PTN]
Selects the Pattern setting options. +

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Length and scale by default are controlled globally (Normal), meaning

changes in length or scale affect all tracks. Scale mode in the PATTERN
SETTINGS Menu - [FUNC] + [PTN], allows this to be changed to control
each track individually (Per Track).

▌SETTING SCALE MODE

1. Press [FUNC] + [PTN] to open the PATTERN SETTINGS menu.

2. Scroll using [UP] [DOWN] to highlight the PAT in the left menu.

3. Press [RIGHT] or [YES] to select the pattern - PAT options.

4. Scroll using [UP] [DOWN] to highlight the NORMAL or PER TRACK

option as desired. Normal is default and sets length and scale across all
tracks. Per track will allow individual track settings for length and scale.

5. Press [YES] on the chosen option to select. The option when active will
show checked.

6. Press [NO] to leave the menu.

▌SELECTING LENGTH & SCALE OPTIONS

1. Press [FUNC] + [PAGE] to open the SCALE menu.

2. The display and available options will represent either the NORMAL or
PER TRACK settings.

3. To navigate and change options in the SCALE menu:-

• To navigate the parameter selection, Press [LEFT], [RIGHT]. Solid

underscore indicates the selected parameter.

• To change the actual / total step parameters, Press [UP] [DOWN]

or [FUNC] + [UP] [DOWN] to snap changes or press trigs to adjust
the length of the pattern. Press [PAGE] for changes in multiples of
16 steps.

• To change the scale multiplier, Press [UP] [DOWN] or (LEVEL)

when scale is selected.

4. Extending to multiple pattern pages will automatically copy the pattern

across to the new page by default but is changeable in personalisation.

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NOTES

Normal Scale Mode

Default Mode

[FUNC] + [PAGE]
Selects the Scale settings.

Actual number of steps in Total number of steps available ie

the pattern length 16, 32, 48, 64 in the pattern length.
A block of 16 represents a full page.

Symbols indicate Trig, Level Scale for the pattern as a multiplier

and Arrow buttons provide of the tempo. 1/8X, 1/4X, 1/2X,
navigation options. 3/4X, 1X, 3/2X, 2X

Per Track Scale Mode

Set in the Pattern Settings [FUNC] + [PTN]

[FUNC] + [PAGE]
Selects the Scale settings.

Actual number of steps in Total number of steps

the pattern length for the available ie 16, 32, 48, 64 in
selected track the track pattern length

Scale for the active track

Master length. Steps to play
as a multiplier of tempo.
before all tracks restart. INF
1/8X, 1/4X, 1/2X, 3/4X, 1X,
sets continuous looping.
3/2X, 2X

Symbols indicate Trig, Level and Arrow Master scale. General scale,
buttons provide navigation options. independent of track. Used with
MIDI clock out / Ext MIDI in.

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▌QUICK CHANGE OF GLOBAL OR PER TRACK PATTERN LENGTH

1. Press [FUNC] + [PAGE] to select the Scale Page. Scale mode is set in
pattern settings.

2. Press [PAGE] to cycle in full page (16 step) increments. The existing
page pattern is copied to new page.

▌QUICK CHANGE OF GLOBAL OR PER TRACK STEPS

1. Press [FUNC] + [PAGE] to select the Scale Page. Scale mode is set in
pattern settings.

2. Press Trig [1] … [16] to select up to the 16 steps of the current page.

▌SETTING GLOBAL OR PER TRACK TIME SIGNATURE

1. Press [FUNC] + [PAGE] to select the Scale Page. Scale mode is set in
pattern settings.

2. Navigate to the scale multiplier using [LEFT] or [RIGHT]

3. Adjust the setting using [UP] or [DOWN] or turn (LEVEL).

Available options are:- 1/8x 1/4x 1/2x 3/4x 1x 3/2x 2x. All
provide a multiplier of the active Tempo.

▌CONTROLLING THE PATTERN MASTER LENGTH

1. Press [FUNC] + [PAGE] to select the Scale Page which will need to be
Per Track for this option to be available. Scale mode is set in pattern
settings.

2. Navigate to the parameter to change using [LEFT] or [RIGHT]

3. Press [UP] or [DOWN] or Turn (LEVEL) to adjust the master length

setting. This defines how long the pattern plays before restart and will
also affect how pattern chain changes occur.

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NOTES

▌CONTROLLING THE PATTERN MASTER SCALE

1. Press [FUNC] + [PAGE] to select the Scale Page which will need to be
Per Track for this option to be available. Scale mode is set in pattern
settings.

2. Navigate to the global multiplier using [LEFT] or [RIGHT]. The global

multiplier is independent of the track settings and sets the overall time
signature.

3. Press [UP] or [DOWN] or Turn (LEVEL) to adjust the master scale

setting.

Summary of scale and length parameter applications.

Parameter Scale Mode Options Description

Sets the number of individual steps within the
Step Length
overall pattern. This means standard or unusual
Length XX 2 Digits Normal 1 - 64
pattern lengths can be applied. 16 would
XX / YY
normally be 1 bar.

Steps Total Sets the total steps available to the pattern.

Length YY 2 Digits Normal 16, 32, 48, 64 Each block of 16 is represented in each page.
XX / YY Used for the overall length of all track patterns.

Sets the sequencer speed with respect to tempo

BPM. Can help align to other instruments not
only direct sync but multiples for example to play
Scale 1/8x, 1/4x, 1/2x, 3/4x,
Normal triplets. Examples, 1/8X will play the pattern 1/8th
(Tempo Multiplier) 1x, 3/2x, 2x
speed of the current tempo setting, 2X will play
double the speed of the tempo BPM i.e.
resolution from 16 to 32 notes.

Step Length Sets the number of individual steps within the

Length XX 2 Digits Per Track 1-64 overall pattern. Great for creating polyrhythms
XX / YY where tracks run in different cycles.

Sets the total steps available to the specific track

Steps Total
pattern. Each block of 16 is represented in each
Length YY 2 Digits Per Track 16, 32, 48, 64
page. Used for the overall length of all track
XX / YY
patterns.

Sets the sequencer speed with respect to tempo

Scale 1/8x, 1/4x, 1/2x, 3/4x,
Per Track BPM. Great for playing triplets and having
(Tempo Multiplier) 1x, 3/2x, 2x
alternative pattern cycles.

Provides an overall length reference for track

pattern restarts. INF will mean continuous
Master Length Per Track 1-64
cycling and not reset. This is also used with the
Chain After setting for chaining patterns
Independent of track tempo and provides a
1/8x, 1/4x, 1/2x, 3/4x, global master scale. This is particularly important
Master Scale Per Track
1x, 3/2x, 2x to MIDI clock output and for MIDI external
sequencer control of position.

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9.9 Sequencer Tempo & Metronome NOTES

Tempo sets the overall Beats Per Minute (BPM) of the project. Two modes
exist. Project mode (default) which sets the overall, all tracks, tempo setting
shared to all patterns. Pattern mode allows individual tempo settings per
pattern. The tempo can be set between the range 30-300 BPM. Various
elements such as LFO’s, slide speed, echo delay effect etc also sync to the
sequencer tempo.

[TEMPO]
Selects the Tempo settings.

Current tempo. Selects project tempo.

Tempo is applied to project,
shared across patterns.

Symbols indicate Trig, Level and Arrow Selects pattern tempo.

buttons provide navigation options. Tempo is applied to each
pattern individually.

▌SETTING THE TEMPO

1. Press [TEMPO] to select the tempo page.

2. Use [FUNC] + [YES] if needed to toggle between pattern and project

tempo modes. Project mode will set a tempo that applies to all patterns
as opposed to pattern mode which sets the individual pattern tempo.

3. Adjust the tempo value in increments:

• +/- 1 BPM Steps: Turn rotary data control (LEVEL)

• +/- 4 BPM Steps: Press and turn (LEVEL) for larger increments

• +/- 0.1 BPM Steps. Use [UP] or [DOWN] button In either mode to
adjust the tempo in smaller 0.1 BPM steps

4. The [TEMPO] Button flashes red in time with the selected tempo rate.

Note: Pattern tempo’s can also be set individually in the arranger menu. The setting in the arranger
menu take precedence for tempo and therefore override any project or pattern tempo setting.

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NOTES

▌SETTING TAP TEMPO

1. Ensure the tempo page menu is NOT open.

2. Tap [FUNC] + [TEMPO] a minimum of 4 taps.

3. Tempo will adjust to the average of the new tapped in tempo. Additional
taps will continue to be counted but the average will only be 4 taps.

▌MANUALLY NUDGING TEMPO TEMPORARILY

1. Press & Hold [LEFT] to incrementally reduce the tempo by 10% in any
mode.

2. Press & Hold [RIGHT] to incrementally increase tempo by 10% in any

mode.

3. Release [LEFT] or [RIGHT] Key to return to original tempo value

▌MANUALLY NUDGING TEMPO OF A SAMPLE TEMPORARILY

1. Press & Hold [Tx] + [LEFT] to reduce the tempo for the sample in the
track selected. Example [T1] + [LEFT] where Track 1 has a sample
loaded in a flex or static machine.

2. Press & Hold [Tx] + [RIGHT] to increase the tempo for the sample in the
track selected. Example [T1] + [RIGHT] where Track 1 has a sample
loaded in a flex or static machine.

3. Release [Tx] + [LEFT] or [RIGHT] Keys to return to the original tempo

value. Sequencer tempo is not affected by sample tempo changes.

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NOTES

Pick Up Machine Tempo Synchronization.

When pickup machine recordings exist, the sequencer tempo can be

synchronised to the recording. This avoids sequencer drift and allows
alignment of the sequencer to recorded audio especially when operating
live or on the fly, which is where pick up machines are generally used.

▌SYNC SEQUENCER TEMPO TO A PICKUP MACHINE AUDIO

1. Press [Tx] + [TEMPO] to toggle synchronise to the sequencer BPM to

the pickup machine audio recording of the track. Example [T1] +
[TEMPO] to sync the sequencer of Track 1 Pickup Machine.

2. If the sequencer is in a stopped state when sync is activated and pickup

machines are playing, then pressing [PLAY] will make the sequencer
play at the start of the playing pickup machine loop. If no pickup loop is
playing then [PLAY] will start the sequencer immediately.

3. A message will appear to show sync state as ‘SEQ: USE TEMPO’ for
the normal sequencer tempo or ‘SEQ: SYNC PICKUP 1’ when sync is
to the pickup machine track. If no pickup machine audio is available on
the selected track, a message will be presented.

4. The main page display will show the pickup machine selected in the
location where tempo would normally be displayed.

5. Press [TEMPO] to open the tempo page. The tempo BPM will show the
synchronised tempo and indicate that pickup tempo sync is active
otherwise it will show the normal sequencer tempo.

[Tx] + [TEMPO]
Sync’s the the sequencer to a pickup machine audio.

Pickup machine Tempo state sync’d to

synchronised tempo. pickup machine or
normal ‘tempo’.

Current seq tempo

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NOTES

Metronome

Metronome is an audible reference that assist when creating patterns

especially during live recording or during jamming or improvisation.
Basically the metronome plays out a backing ‘click track’ while the
sequencer is running at the selected tempo of the project or pattern as a
reference to work alongside.

▌QUICK SELECTION OF METRONOME ON/OFF

1. Press [CUE] + [TEMPO] or [FUNC] + [MIX] to toggle ON. The

metronome, when on will be audible.

2. Press [CUE] + [TEMPO] or [FUNC] + [MIX] to toggle OFF. The

metronome, when off will be silent.

3. The display will indicate a temporary ‘METRONOME OFF’ or

‘METRONOME ON’ message when selection is made.

[CUE] + [TEMPO]
Quick selection of metronome On/Off.

or

[FUNC] + [MIX]
Quick selection of metronome On/Off.

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▌SETTING METRONOME OPTIONS

1. Press [PROJ] to select the project settings menu.

2. Scroll using [UP] [DOWN] to highlight the CONTROL menu option.

Press [RIGHT] or [YES] to select.

3. Scroll using [UP [DOWN] in the sub menu to select METRONOME.

Press [YES] to select.

4. The popup metronome setup options will appear.

5. Scroll using [UP] [DOWN] to highlight the option to change.

6. Press [YES] to toggle the setting for the selected option.

Section Function What does it do?

METRONOME ACTIVE Sets the metronome ON / Checked or OFF /
Unchecked. Quick selection by [FUNC] + [MIX]
or [CUE] + [TEMPO] for On/Off.
METRONOME TIME SIG. NUMER. Controls the note measure of the metronome.
This is the numerator / top number in the time
signature. Default 4/4.
METRONOME TIME SIG. NUMER. Controls the beat measure of the metronome.
This is the denominator / bottom number in the
time signature. Default 4/4.
METRONOME PREROLL In LIVE RECORDING mode to set how many
count in bars are played by the metronome
before the sequencer starts recording / playing.
Default is OFF.
METRONOME CUE VOLUME Volume level to the cue outputs. Default is 32.

METRONOME MAIN VOLUME Volume level to the main outputs. Default is 0.

METRONOME TONAL Sets the audio sound for the metronome to a

tonal style ON/Checked (default) or to an atonal
short pulse when OFF/Unchecked.
METRONOME PITCH Used when Tonal is set ON/Checked, pitch sets
the pitch of the sound. Default C6.

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NOTES 9.10 Micro Timing
Micro timing is the fine positioning of trigs in a pattern. Often step
sequencing and quantized recording will create rigid trigs. The micro timing
menu, available in GRID RECORDING mode offers the ability for more
precise adjustment of the trig placement within the pattern ‘grid’.

▌SETTING INDIVIDUAL TRIG MICRO TIMING

1. Press [REC] to select GRID RECORDING mode. The REC button will
be lit red to indicate grid recording mode is active.

2. Press and hold the trig to nudge, Trig [1] - [16] + Press [LEFT] or
[RIGHT] buttons.

3. The Micro Timing pop up grid display appears.

4. While still holding the selected Trig, adjust the micro timing by pressing
the [LEFT] to move earlier in time or [RIGHT] to move later in time. This
nudges the trig offset from its current grid position in 1/384th increments.

Setup in Grid Recording Mode - [REC] On

.Trigs on the first step, when nudged earlier will be triggered at the end of the pattern, Trig on
the last step will play late. Micro Timing settings are stored with the active pattern

MICRO TIMING

[LEFT] [RIGHT]
Backward / Earlier Forward / Later

23/384 3/64 1/32 1/64 - + 1/64 1/32 3/64 23/384

ON GRID

First Step Last Step

Select Micro Timing. Resolution Micro Timing Adjustment

Trig [1] … [16] + [LEFT] or [RIGHT] Defined resolution steps shift Press [LEFT] or [RIGHT] to adjust
to open settings pop up the trig timing back or forth in the micro timing.
1/384th in the sequence

-/+
1/384 1/192 1/128 1/96 5/384 1/64 7/384 1/48 3/128 5/192 11/384 1/32
13/384 7/192 5/128 1/24 17/384 3/64 19/384 5/96 7/128 11/192 23/384

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The micro timing menu can adjust the trig offset from the grid. In addition
two other parameters are found in the micro timing pop up menu. Trig count
sets the amount of times a sample trig is repeated in between steps, similar
to a retrig option. Trig condition applies a set of conditional rules to a
sample / note trig, one shot trig, lock trig, trigless trigs. Conditional trigs are
explained later in the guide.

▌SETTING TRIG REPEAT IN THE MICRO TIMING MENU

1. Press [REC] to select GRID RECORDING mode. The REC button will
be lit red to indicate grid recording mode is active.

2. Press and hold the trig to nudge, Trig [1] - [16] + Press [LEFT] or
[RIGHT] buttons.

3. The Micro Timing pop up grid display appears.

4. Press [UP] or [DOWN] to select the trig count number. The number
selected (2 - 8) will apply to the sample trig and be distributed between
its own step and the next trig that is activated.

Trig Count
Sets number of repeats.
Example, Trig Count = 3

Track 1

1 16

3 Trigs repeated evenly

between the original trig and the
next trig step activated.

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NOTES

Quantize can be applied to micro timed trigs. This is performed in in

iterations when in the TRACK TRIG EDIT MENU.

▌SETTING QUANTIZE TO MICRO TIMED TRIGS

1. Press Track [Tx] to select the track to edit. Example, Press [T1]. It is
assumed micro timed trigs exist on this track for this process.

2. Press [REC] to select GRID RECORDING mode.

3. Press [FUNC] + [BANK] to open the TRACK TRIG EDIT menu. The
popup display will appear.

4. Press [UP] [DOWN] to scroll and highlight the ‘TRIGS’ option and the
displayed trigs.

5. Press [YES] to quantize by 50% based on the micro timing value of the
trigs in the track.

6. Each press of [YES] will tighten up the timing even further. A series of 6,
[YES] presses will completely remove any micro timing and revert trigs
to the ‘on grid’ position.

7. Press [NO] to exit the menu.

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9 Pattern Basics
9.11 Copy, Paste and Clear Trigs in Grid Recording Mode NOTES

The Copy, Paste and Clear features are available when working in the
sequencer for Trigs and their parameter locks in GRID RECORDING mode.

EXAMPLE:
Copy from Trig Step 1 and Paste to Step 13, Clear Trig 9

COPY / PASTE

TRIG

Copy Paste
Hold Trig [1] + [REC] 1 13 Hold Trig [13] + [STOP]

Track 1
1 13

Clear
9 Hold Trig [9] + [PLAY]

CLEAR

▌COPYING ONE TRIG TO ANOTHER STEP LOCATION

1. Press [REC] to select GRID RECORDING Mode.

2. Press Trig [1] - [16] + [REC], for the source trig to copy. This copies the
trig and settings.

3. A message ‘COPY TRIG’ is displayed to confirm action complete.

4. Press Trig [1] - [16] + [STOP], for the destination trig to paste into. This
pastes the previously copied the trig and settings.

5. A message ‘PASTE TRIG’ is displayed to confirm action complete.

6. Press Trig [1] - [16] + [STOP] again straight after to undo the previous
paste if required. An ‘UNDO PASTE’ message is displayed to confirm
action is complete.

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NOTES

▌COPYING MULTIPLE TRIGS TO OTHER STEP LOCATIONS

1. Press [REC] to select GRID RECORDING Mode.

2. Press Trigs [1] - [16] + [REC] selecting multiple source trigs to copy.
This copies the trigs and settings and recognises the step positioning
with respect to the first step location.

3. Press Trig [1] - [16] + [STOP], on the first step destination trig to paste
into. This pastes the previously copied first trig and settings and the
other copied trigs into their respective positions relative to the first step.

4. Press Trig [1] - [16] + [STOP] again straight after to undo the previous
paste if required.

▌CLEARING TRIG LOCK SETTINGS OF AN INDIVIDUAL TRIG

1. Press [REC] to select GRID RECORDING Mode.

2. Press Trig [1] - [16] + [PLAY] on the selected trig from which to clear the
trig settings.

3. Press Trig [1] - [16] + [PLAY] again to undo the previous action.

▌CLEARING TRIG LOCK SETTINGS OF MULTIPLE TRIGS

1. Press [REC] to select GRID RECORDING Mode.

2. Press Trigs [1] - [16] + [PLAY] on all of the selected trigs from which to
clear the trig settings.

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9.12 General Copy, Paste and Clear Patterns NOTES

The Copy, Paste and Clear features are available when working with
Octatrack for patterns (not in any recording mode). Patterns including trigs
and parameter locks are copied, pasted but not parts.

EXAMPLE:
Copy from current pattern A02 to a new pattern B04

Not in recording mode. Not in recording mode.

Pattern 2 Pattern 4

Bank A Bank B

Select the source Bank + Pattern Select the destination Bank + Pattern

Copy Clear Paste

Press [FUNC] + [REC] Press [FUNC] + [PLAY] Press [FUNC] + [STOP]

COPY CLEAR PASTE

▌COPYING CURRENT PATTERN TO ANOTHER PATTERN SLOT

1. Ensure not in recording mode.

2. Select the source pattern to copy. This will be the current pattern. Press
[BANK] + [1] - [16], and then press Pattern [1] - [16]. Bank A is Trig 1,
Bank B is Trig 2 and so on.

3. Press [FUNC] + [REC] to copy the current pattern. A ‘COPY PATTERN’

Message is displayed.

4. Select the destination pattern to paste into. Press [BANK] + [1] - [16],
and then press Pattern [1] - [16]. Bank A is Trig 1, Bank B is Trig 2 and
so on.

5. Press [FUNC] + [STOP] to paste the previously selected pattern into the
newly selected pattern slot. A ‘PASTE PATTERN’ message confirms.

6. Press [FUNC] + [STOP] again to undo the previous paste action.

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NOTES

▌CLEARING TRIGS FROM THE CURRENT PATTERN

1. Press [FUNC] + [PLAY] to clear the current pattern.

2. A ‘CLEAR PATTERN’ Message will confirm completion.

▌UNDOING COPY, PASTE, CLEAR ACTION

1. Undertake a Copy, Paste, Clear action

2. Immediately after initiating the action in Step.1, repeat the key press to
undo the prior action e.g.

Trig [1] - [16] + [REC] To Copy ….. Trig [1] - [16] + [REC] To Undo

Trig [1] - [16] + [PLAY] To Paste …. Trig [1] - [16] + [PLAY] To Undo

Trig [1] - [16] + [STOP] To Clear .... Trig [1] - [16] + [STOP] To Undo

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9.13 General Copy, Paste and Clear Track Page NOTES

The Copy, Paste and Clear features are available when working with
specific pages of the pattern. A page displays 16 steps and can be cycled
using the [PAGE] button to any of the 4 other pages if available. The track
page trigs, parameter locks, machines, effect etc are copied, cleared and
pasted within GRID RECORDING mode.

EXAMPLE:
Copy trigs and param locks from current track page 1 to track page 2

In recording mode. In recording mode.

Copies the selected track page Pastes to the selected track page

Copy Clear Paste

Press [FUNC] + [REC] Press [FUNC] + [PLAY] Press [FUNC] + [STOP]

COPY CLEAR PASTE

▌COPYING CURRENT PAGE TO ANOTHER EXISTING PAGE

1. Select GRID RECORDING Mode, Press [REC].

2. Select a track, Press [Tx]. Example, Press [T2] for track 2.

3. Select pattern page to copy, Press [PAGE] to cycle to the desired page.
The page LED will illuminate bright to indicate page selected.

4. Press [PAGE] + [REC] to copy the current page. A ‘COPY PAGE’

message will display to confirm.

5. Select destination page to paste into, Press [PAGE] to cycle to the

desired page. The page LED will illuminate bright to indicate page
selected.

6. Press [PAGE] + [STOP] to paste the previously copied page. A ‘PASTE

PAGE’ message will display to confirm.

7. Press [PAGE] + [STOP] again to undo the previous action.

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▌COPYING A PAGE TO ANOTHER PAGE ON ANOTHER TRACK

1. Select GRID RECORDING Mode, Press [REC].

2. Select a track, Press [Tx]. Example, Press [T2] for track 2.

3. Select pattern page to copy, Press [PAGE] to cycle to the desired page.
The page LED will illuminate bright to indicate page selected.

4. Press [PAGE] + [REC] to copy the current page. A ‘COPY PAGE’

message will display to confirm.

5. Select another destination track, Example, Press [T3] for track 3.

6. Select destination page to paste into, Press [PAGE] to cycle to the

desired page. The page LED will illuminate bright to indicate page
selected.

7. Press [PAGE] + [STOP] to paste the previously copied page. A ‘PASTE

PAGE’ message will display to confirm.

8. Press [PAGE] + [STOP] again to undo the previous action.

▌CLEARING TRACK PAGE

1. Select GRID RECORDING Mode, Press [REC].

2. Press [PAGE] + [PLAY] to clear trigs from the current page.

3. A ‘CLEAR PAGE’ Message will confirm completion.

▌UNDOING COPY, PASTE, CLEAR ACTION

1. Undertake a Copy, Paste, Clear action

2. Immediately after initiating the action in Step.1, repeat the key press to
undo the prior action e.g.

[PAGE] + [REC] To Copy ….. [PAGE] + [REC] To Undo

[PAGE] + [PLAY] To Paste …. [PAGE] + [PLAY] To Undo

[PAGE] + [STOP] To Clear .... [PAGE] + [STOP] To Undo

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 NOTES

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 10
Patterns Advanced
Having covered the basics of pattern creation, has many features which, when mastered, brings
this section provides a deeper dive into the out the best from the device and also inspires the
features and parameters that unlock the full musician or producer to explore new sound
power of sequencing within Octatrack. Starting design possibilities. Bringing together all of these
with a more advanced understanding of trigs features and options for patterns may seem
and their application. A deeper dive on Trig daunting, but this section will help to make the
types and trig modes are covered along with right choices and explore avenues in pattern
the application and use of trigs. The sequencer design that otherwise may be easily overlooked.
can be enhanced by using more of the complex So get deeper into creating patterns, try things
pattern functions such as trig conditions where out. In depth knowledge plus happy accidents
patterns are governed by a series of defined could be a perfect combination.
rules and offer a great way to bring variety and
interest to sounds. Parameter locks enable
parameter settings to be adjusted for each step
which creates evolving patterns even without
triggering a sound. Parameter locks are often
called P-Locks. Sample locks allow individual,
unique sounds to be assigned per step.
Patterns can be also chained together and later
in the book the arranger will be discussed
which assists in building full songs. Octatrack

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10.1 Summary and More About Trigs NOTES

Trigs are the building blocks to patterns. They activate events across a
series of steps and are assembled within the sequencer. Trigs however can
offer much more power and control than simply triggering an event ‘on’.
While timing of trigs is important, how they are applied and the events they
trigger is what truly delivers on the performance.

Overview of Trigs

TRIG
A trig is applied typically in GRID RECORDING
mode by pressing [1] - [16]. Also Tracks [9] - [16]
can be recorded in LIVE RECORDING mode.

Track

A trig will initiate one or more events when

it’s step is trigger in the sequencer.

Typical Events

C
Sample Trig. Parameter Lock. Note Trig.

Triggers the playback of a Triggers a change in one or Triggers a MIDI Note

sample loaded into the more parameter value generation and output to
tracks machine. settings. connected external gear.

Example. Example. Example.

A sample loaded from the The sample pitch PTCH Triggers a note melody
sample list into a static value which is located arranged in the sequencer
machine located in the SRC page. for an external synth.

Typically a single sample trig applied to a step is the most commonly used case to play a
sample from a machine. However multiple parameters can be changed from one trig when
using parameter locks.

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Trigs and Steps.

Trigs are applied to steps in the sequencer. The sequencer is the tool used
to play, manage and arrange trigs. The sequencer has 4 pages of 16 steps
meaning a full pattern is defined as 64 steps. Various techniques such as
conditional trigs can give the perception of longer patterns.

Taking sample trigs, the most common trig, as the example a single trig is
applied to a selected step. When trig is removed and a new trig applied the
old trig and its settings are removed. A tip to layer trigs is to use micro
timing to ‘slide’ another trig close to the same step as another.

Example: Micro-Timing to Layer Trigs

Sample Trig.
One sample trig assigned to trigger on a step, fully ‘on grid’.

Example Step 5.

Backward / Earlier
G
IN
M
TI
O
R
IC
M

Sample Trig.
One sample trig assigned to trigger the next step, use micro timing to
adjust and to bring it forward 23/384 ie Max.

Example Step 6.

Both trigs will be activates simultaneously. Use condition trigs to set alternating trigger patterns
on each of the trigs if required or to create other creative applications on the same trig.

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A sample trig is assigned one per step. Parameter locks can be placed on a
sample trig and as well as triggering the sample playback, the assigned
parameter changes will also be triggered. It is normal practice to add
parameter locks to already existing trigs. It is this layering of events on a
trig that brings in the creativity and ability to design unique sounds and
create evolving and dynamic patterns.

Adding Parameter Locks to Sample Trigs

Sample Trig.
One sample trig assigned to trigger on a step.

Example Step 5.

Trig will rapidly flash when it

contains a parameter lock

Parameter Lock.
Parameter Lock applied into a existing trig step.
Hold Trig [1] -16] + Turn Data Entry (A) - (F) to apply a Parameter Lock.

Example Data Entry A - SRC Page PTCH.

The parameter selected will be contained in one of the 5 track parameter pages and the data
entry control will represent the parameter depending on which page is actively selected.

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So while a sample trig by default plays the machine sample, it is possible to

combine the sample trig and parameter lock functionality to play different
samples in the machine of the track on different trigs. This may be useful to
add variation to percussion tracks.

Example: Parameter Locks and Sample Trigs

Sample Trig.
Assign trigs on a sequencers steps. The default track
machine sample will be applied

Example Steps 1, 5, 9, 13

Main Default Sample

Alternate Locked Sample

Sample Lock.
Sample Lock assigned to the same track.
Press Trig [1] - [16] + Turn (LEVEL) or Press [UP] [DOWN]
Scroll to a different sample in the machine slots
Press [YES] to confirm sample selection.

Example Step 3.

Only one sample can be assigned to each step so this option will be good for triggering
alternate steps and does not allow multiple samples per step.

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10 Pattern Advanced
10.2 Parameter & Sample Locks NOTES

Two important features exist that allow each trig to be individualised and to
operate in a unique way. Sample locks provide the ability to assign
individual samples per trig. Parameter locks, sometimes called P-Locks, set
different parameter values per trig across the pattern. Sample and
Parameter locks are set typically in GRID RECORDING mode and also
LIVE RECORDING mode and provide a unique and individualised option
for trigs and patterns.

Definitions

The good news is that some of the terms used in the Elektron language are
becoming widely adopted in the audio producer community. The bad news
is they can still be confusing to some people. However a pause for a clarity
check is always a valuable and worthwhile thing to do.

TRIG
Trigs initiate one or more events at various points in a pattern. Trigs trigger a
variety of activities including sample playback. Think of each trig as an on/off
switch to start an event. The sequencer allows trigs to be managed and
deployed across the grid to build patterns and in turn create melodies and
musical sequences.

LOCK
If a trig initiates or triggers events in a pattern then think of the lock as a
change performed within the event itself. Consider a lock as the application of a
change in value, state or source assigned to the trig. So a parameter lock
would be a change in the parameters value. For samples this would be a
change in the sample played. The sequencer allows these changes to be
applied or ‘locked in’ to a trig to build variations and interest within a pattern.

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Sample Locks

Sample locks provide the ability to assign individual samples per trig
meaning a track can contain multiple sounds within the pattern. The
machine would contain a default generic sample but variations can be
applied using alternate samples from the sample lists of a static or flex
machine. One sample can be assigned to a trig.

‘TRK DEFAULT’
Original Static / Flex Machine sample
applied to trigs across the track.

Solid Red

Flash Red

‘New Sample’
Individual samples can be applied as
sample lock to trigs from the static/flex list.

▌SETTING A SAMPLE LOCK TO A TRIG

1. Press [REC] to select GRID RECORDING MODE. The REC button will
be lit red.

2. Press Track [T1] - [T8] to select a track to sequence and with an

assigned static or flex machine.

3. Hold Trig [1] - [16] + Turn (LEVEL) or [UP][DOWN]. The trig selected will
be the one which is assigned with a new sample.

4. The machine sample slot list will be presented.

5. While still holding Trig [1] - [16] + Turn (LEVEL) or [UP][DOWN] to scroll
the sample list and highlight the sample to select. The ‘TRK DEFAULT’
is the original default assigned sample.

6. Press [YES] while the sample is highlighted to load to the Trig.

7. The trig will flash red to indicate a sample lock is assigned.

8. To remove the lock press the Trig [1] - [16] + Press (LEVEL)

9. Press [PLAY] to hear the results.

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Parameter Locks

Parameter locks also provide the ability to individualise trigs in a track, in

this case by setting different parameter values per trig. Individual parameter
settings can be assigned to sample trigs, lock trigs, one shot trigs, trigless
trigs. The colour and behaviour of button indicator may vary depending on
the type of trig applied.

Parameter(s) set for the trig. The Parameter Locks can be removed
trig on the step will trigger the set for the trig.
parameter change. Hold Trig [1] - [16] + Press (A) - (F).

Flash
25 63

110 Default
Flash Flash
Additional Parameter(s) can be set for other trigs.
Multiple parameters can be applied to each trig.

127

63

Default 0

Various parameters can be parameter locked.

For example, Pitch, Decay, Filter Frequency etc
☞

Parameter locked values will be shown inverted on

the display for the parameter when the trig is held.

Images shown are for illustration purposes and are examples only.

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▌SETTING PARAMETER LOCKS IN GRID RECORDING MODE

1. Press [REC] to select GRID RECORDING MODE. The REC button will
be lit red.

2. Press Track [T1] - [T8] to select a track to apply parameter locks and
ensure trigs are placed to create a pattern. Parameter locks will be
applied to trigs.

3. Select a page where the parameter(s) to change are displayed. This

could for example be a track parameter page or an effect page.

4. Hold Trig [1] - [16] + Turn Data Entry (A) - (F) of the respective
parameter. Set a new parameter value that will be activated when the
specific trig is activated.

• Multiple parameters can be changed and assigned to the trig while

holding the trig.

• Multiple Trigs can be held to apply a change of a parameter across

a series of held trigs.

• Parameters that are locked will show on the screen graphic as

inverted while the trig is held.

• The trig button will flash to indicate that a parameter lock is present
on the trig. Colour will depend on the trig type.

5. Repeat step 4 for other trigs and/or parameters if required.

6. Press [PLAY] to hear the results and how the pattern sound evolves and
changes based on the triggered parameter changes.

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▌REMOVING A SINGLE PARAMETER LOCK FROM A TRIG

1. Press [REC] to select GRID RECORDING MODE. The REC button will
be lit red.

2. Press Track [T1] - [T8] to select a track to edit the parameter locks.
Parameter locked trigs will flash quickly.

3. Select the page where the parameter to remove resides and is

displayed.

4. Hold Trig [1] - [16] + Press Data Entry (A) - (F) of the respective
parameter. Also the (LEVEL) rotary control is an option.

5. The parameter lock previously applied to the trig for the chosen
parameter will be removed.

6. Repeat step 4 for other trigs and/or parameters if required.

▌REMOVING ALL PARAMETER LOCKS FROM A TRIG

1. Press [REC] to select GRID RECORDING MODE. The REC button will
be lit red.

2. Press Track [T1] - [T8] to select a track to edit the parameter locks.
Parameter locked trigs will flash quickly.

3. Hold Trig [1] - [16] + Press [PLAY] for the respective trig of the locks to
clear.

4. All of the parameter locks previously applied to the trig will be removed.

5. To Undo, Hold Trig [1] - [16] + Press [PLAY] immediately after clearing
the locks described in step 3.

6. Repeat step 3 for other trigs if required.

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▌SETTING PARAMETER LOCKS IN LIVE RECORDING MODE

1. Press [REC] + [PLAY] to select LIVE RECORDING MODE. The REC

button will be flashing red.

2. Press Track [T1] - [T8] to select a track to apply parameter locks and
ensure trigs are placed to create a pattern. Parameter locks will be
applied to trigs.

3. Select a page where the parameter(s) to change is displayed. This

could for example be a track parameter page or an effect page.

4. As the sequence records, Turn Data Entry (A) - (F) of the respective
parameter to change. A new parameter value will be recorded on each
trig that has been recorded.

• Lock trigs will be recorded as the white record cursor ‘sweeps’ over
each step meaning new values applied on multiple trigs. Lock trigs
indicated as lit green buttons.

• Multiple parameters can be changed and recorded in.

• The trig button will quickly flash to indicate that a parameter lock is
present on the trig. Colour will depend on the trig type.

▌REMOVING A PARAMETER LOCKS WHEN LIVE RECORDING

1. Press [REC] + [PLAY] to select LIVE RECORDING MODE. The REC

button will be flash red.

2. Press Track [T1] - [T8] to select a track to edit the parameter locks.
Parameter locked trigs will flash quickly.

3. Select a page where the parameter(s) to change is displayed. This

could for example be a track parameter page or an effect page.

4. As the sequence records, Press and hold the Data Entry (A) - (F) of the
respective parameter to remove.

• Lock trigs will be removed as the white record cursor ‘sweeps’ over
each step meaning original values will be applied on multiple trigs.

• Multiple parameters can be erased.

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10 Pattern Advanced
10.3 Trig Types
Trig types refers to all of the available trigs in Octatrack and to the events they activate and trigger.
Basically the type refers to the function it performs. The names can be somewhat confusing and the
earlier definition of trigs and locks is useful to help understand trig types

A quick summary list and their inter-relationship is provided here. Commands refer to Grid
Recording mode.

TRACK TRIG EDIT MENU [1] - [16] [FUNC] + [1] - [16]

Set up in the trig edit pop up

[1] - [16] + [NO]

Swing Trig. Sample Trig. Lock Trig.
Twice

Applies a Swing to Sample Trigs. Triggers the playback of a sample Triggers only parameter locks and
Lit Green loaded into a track machine. not machines or LFO’s or FX
Lit Red Lit Dim Green

Audio Control

Slide Trig.

Applies a slide from a Sample Trig [1] - [16] + [NO] [1] - [16] + [NO]
to a subsequent trig.
Lit Green
[1] - [16]

TRACK RECORDER

Trigless Trig.

R Triggers only LFO’s or FX

envelopes. Convert from sample or
Recorder Trig. lock trig.
Lit Bright Green
Used to trigger the track recorder Control
when sampling audio.
Lit Red

[FUNC] + [1] - [16]

MIDI Tracks

C# Control Triggers a parameter control event.

Note Trig. One Shot Sample Trig.

Audio Triggers direct / indirect audio events.

Triggers a MIDI track note which Triggers playback / record once

outputs to control external gear. when armed. Can be rearmed. Create as new.
Lit Red Lit Yellow Convert / Change.
Audio Audio Apply additional feature.

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Sample Trigs

Sample trigs are the most common trig of the family and refer to samples
assigned into a flex or static machine for the track. The trig will activate
playback of the sample and the track parameters apply how the sample is
played. The trig will use the default assigned ‘TRK DEFAULT’ sample so
each trig applied will have the same sample. The ability to assign other
samples is performed using sample locks.

SAMPLE TRIG To set Trig On/Off

Events set at a defined step in

the sequencer that triggers
sample play in a track Trig [1] - [16]
machine.

Sample Trigs Lit Solid Red

Sample plays its duration ………… Unless cutoff and restarted by another trig

▌SETTING A SAMPLE TRIG

1. Press [REC] to select GRID RECORDING MODE. The REC button will
be lit red. Sample trigs can also be recorded in LIVE RECORDING
mode using the Trig [9] - [16] that represent tracks 1-8.

2. Press Track [T1] - [T8] to select a track to sequence with an assigned

static or flex machine.

3. Press Trig [1] - [16] on the steps in which to assign the sample trigs.
Pressing the trig button toggles the trig on or off.

4. Each sample trig button will be lit red while empty steps will be unlit.

5. Press [PLAY] to hear the results. The same sample will be triggered on
all assigned steps, and the sample will playback from its defined start
position each time.

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One Shot Trigs

A sample trig by default will activate on each trig on each cycle of the
pattern. Sample trigs however can be set as one shot trigs meaning the
sample will only run once in the pattern. One shot trigs have a collective
behaviour in a pattern meaning that if one trig is activated and hence
disarmed, then all other one shots in the patter will also be disarmed. One
shots can be rearmed / disarmed manually. Note that One shots can be
applied in recorder mode and cannot be applied to MIDI tracks.

ONE SHOT TRIG On an existing Trig

Trig type set to an existing +

sample trig that will be
[FUNC] + Trig [1] - [16]
activated to play only once in
the track sequence.

One Shot SampleTrigs

Lit Yellow
Track 1 - Pattern A01

One Shot Sample plays ONCE Sample Trigs play as normal

Other One Shots in the track will disarm after the

first one shot trig is triggered in the current pattern.

Track 1 - Pattern A03

Track 1 - Pattern B05

Also one shots in the same track but from other

patterns will disarm when the first One-Shot is
triggered on the track
etc

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▌APPLYING A ONE SHOT TO A SAMPLE TRIG

1. Press [REC] to select GRID RECORDING MODE. The REC button will
be lit red. Sample trigs can also be recorded in LIVE RECORDING
mode using the Trig [9] - [16] that represent tracks 1-8.

2. Press Track [T1] - [T8] to select a track to sequence with an assigned

static or flex machine.

3. Press [FUNC] + Trig [1] - [16] on an existing sample trig to convert to a

one shot trig. If a trig doesn't exist, press Trig [1] - [16] to create one.

4. The sample trig which originally was lit red, will turn yellow.

5. Press [PLAY] to hear the results.

• The sample on the one shot will play only once and not play on
subsequent pattern cycles unless rearmed.

• Other one shots in the track will disarm once the first one shot trig
has been activated.

• One shots on other tracks will operate under their own control, ie the
first one-shot will trigger and disarm along with disarming other one
shot trigs.

• One Shots will show

• Yellow - armed. These will play when triggered.

• Yellow will turn to flash yellow / red - disarmed, once the first one
shot has been triggered or when this trig is the first triggered.

This tutorial sets up playback one shot trigs. Recording one shot trigs that trigger and initiate
recording can also be set. These are setup when a RECORDING SETUP 1 or 2 Menu is open
or TRACK TRIG EDIT Menu is open.

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▌REARMING / ARMING ONE SHOTS

• Press Track [T1] - [T8] + [YES] to rearm recorder trig one shots of the
selected track. A message ‘ARM REC TRK’ is displayed.

• In GRID RECORDING mode plus RECORDING SETUP or TRACK

TRIG EDIT menu open with REC TRIG chosen, Press [YES] to rearm
recorder trig one-shots of the currently active track. A message ‘ARM
REC TRK’ is displayed.

• In GRID RECORDING mode, Press [YES] to rearm sample trig one-

shots of the currently active track. Also [FUNC] + [YES] performs this
function. A message ‘ARM TRK’ is displayed.

• Not in GRID RECORDING mode, Press [YES] to rearm sample and

recorder trig one-shots for all tracks. Also [FUNC] + [YES] performs this
function. A message ‘ARM ALL’ is displayed.

• When playing, stop the sequencer, Press [STOP], then Press [STOP],
[STOP] i.e. quickly press [STOP ] x 3 times.

• Rearming will also be performed on a project change or when Octatrack

is powered off and on. Rearming is not performed on a pattern change.

• The PERSONALIZE menu contains options to change arming /

disarming behaviour.

• The Arm/Disarm functions can be disabled / enabled in the PROJECT

menu by pressing [NO] or [YES].

▌DISARMING ONE SHOTS

• Press Track [T1] - [T8] + [NO] to disarm recorder trig one shots of the
selected track. A message ‘DISARM REC TRK’ is displayed.

• In GRID RECORDING mode, Press [NO] to disarm sample trig one-

shots of the currently active track. Also [FUNC] + [NO] performs this
function. A message ‘DISARM TRK’ is displayed.

• Not in GRID RECORDING mode, Press [NO] to disarm sample and

recorder trig one-shots for all tracks. Also [FUNC] + [NO] performs this
function. A message ‘DISARM ALL’ is displayed.

• The PERSONALIZE menu contains options to change the behaviour of

the arming / disarming functions.

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▌ ONE SHOTS BEHAVIOUR

• Press [PLAY] to start the sequence and the pattern will play.

• The first one shot trig that is triggered is activated in the track, then it is
disarmed and does not play on future pattern loop cycles.

• Any other one shot trigs on the track where a one shot trig has already
been triggered will then be automatically disarmed.

• Any other one shot trigs on any other pattern on the same track where a
one shot trig has already been triggered will then be automatically
disarmed. This means changing patterns does not rearm one shots
automatically.

• Arming and Rearming buttons can be held to maintain the rearmed /

disarmed state. Multiple conditions exist for arming and rearming
sample and recorder trigs.

Example Track 1, Pattern A01

The first one shot on a track will activate and also disarm other one shots.

Pattern Page 1.

Rearm Track [YES] Loop Cycle.

Subsequent loops will not re-trigger unless one shots are rearmed.

Pattern Page 1.

Disarm Track [NO] Rearm Track [YES] Loop Cycle.

One shots can be manually rearmed and also disarmed.

Pattern Page 1.

[PLAY] [STOP], [STOP], [STOP] Restart

All tracks, sample, recorder one shots, can be rearmed by [STOP] x 3.

Pattern A01

Switching patterns does not automatically rearm the track one shots

Pattern A03

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Lock Trigs

While Octatrack has sample trigs assembled into a pattern to activate sample events such as
sample trigs plus parameter locks it also has a feature called Lock Trigs which do not trigger any
sample or audio / MIDI events nor do they trigger LFO or FX envelopes. Lock Trigs only trigger
parameter locks which are parameter changes. This enables variations and evolving progressions.

LOCK TRIG
Many parameters accessed from the
track parameter pages can be locked Event set at a defined step in A Parameter Lock is where a Parameter
the sequencer that triggers a is set to a defined value for the specific
parameter lock, ie changes in trig step. This enables one or more
value. Does not trigger parameter changes per step of the
sequenced pattern
samples / notes. Multiple locks
create variation within a
pattern

Lock Trigs are added by pressing

[FUNC] + Trig [1] ...[16] + 5
On an open trig

4 5

Lock Dim green keys contain only Lock Trigs.

Sample Trigs are lit red and Parameter Locked trigs flash.
Unlit keys contain no trigs

1 16
Trk 1

Parameter Locks can be assigned to lock trigs which Sample length should be taken into account
will set a parameter value change. Parameters will when applying lock trigs to ensure the
display inverted when parameter locked. parameter lock is audible.

▌SETTING LOCK TRIGS AND PARAMETER LOCK TRIGS IN GRID RECORDING MODE

1. Select GRID RECORDING mode [REC].

2. Press [FUNC] + Trig key [1] + [16] to assign a lock trig into an open and available step.

3. When only a Lock Trig is set on the selected step it will illuminate dimmed green.

4. To assign a Parameter Lock, select the track parameter page with the parameter to lock.

5. Hold the Lock Trig [1] - [16] + Turn (A) - (F) data entry for the parameter to lock. Example: [SRC]
Page, Pitch PTCH, data entry (A). The parameter will show inverted on the display

6. The Trig will be green for a lock trig and will flash when a parameter lock is assigned. When the
sequencer plays the trig, the parameter will adjust to the value assigned.

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▌CONVERTING TO / FROM LOCK TRIG

1. From Sample to Lock Trig.

• Press the Sample Trig [1] - [16] + [NO] twice.

Example: Hold and Press Trig [5] + [NO], [NO].

2. From Trigless Trig to Lock Trig (or vice versa).

• Press the Trigless Trig [1] - [16] + [NO] once.

Example: Press Trig [5] + [NO].

3. From Lock Trig to Sample Trig.

• Press the Lock Trig [1] - [16] once.

Example: Press Trig [5].

• Press the Sample Trig [1] - [16] again to remove it altogether.

Example: Press Trig [5].

4. Lock trigs are dim green.

▌CLEARING A LOCK TRIG - REMOVING ALL PARAMETER LOCKS

1. Select GRID RECORDING mode [REC]

2. Press Lock Trig [1] - [16] + [PLAY]. The parameter locks on the lock
trigs are removed while the ‘empty’ lock trigs are retained.

3. A ‘CLEAR TRIG LOCKS’ message will confirm the action is complete.

4. To undo, do not releases the Lock Trig from step 2.

While still held, Lock Trig [1] - [16] + [PLAY] again to undo the previous
clear action. A ‘UNDO TRIG’ will be displayed to confirm action is
complete.

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Trigless Trigs

Trigless trigs only activate an LFO or an Effect envelope meaning that

these functions can be sequenced as events in a pattern. Trigless trigs
cannot be created from scratch and are only applied by converting a
sample trig or lock trig.

LOCK TRIG SAMPLE TRIG

Events set at a defined step in Events set at a defined step in
the sequencer that triggers the sequencer that triggers
only parameter locks. sample play in a track
machine.

Trig [1] - [16] + [NO]

To convert a sample or lock trig

TRIGLESS TRIG

Triggers an LFO or Effect

Envelope only. Converted from
sample trig or lock trig.

Trigless Trigs
Lit Bright Green

When the trigless trig step is activated, only the LFO

or Effects Envelope is triggered.

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▌CONVERTING TO / FROM TRIGLESS TRIG

1. From Sample to Trigless Trig.

• Press the Sample Trig [1] - [16] + [NO].

Example: Press Trig [4] + [NO].

2. From Lock to Trigless Trig (or vice versa).

• Press the Lock Trig [1] - [16] + [NO].

Example: Press Trig [4] + [NO].

3. From Trigless Trig to Sample Trig.

• Press Trigless Trig [1] - [16] once.

Example: Press Trig [4].

• Press the Sample Trig [1] - [16] again to remove it altogether.

Example: Press Trig [4].

4. Trigless Trigs are lit bright green

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10 Pattern Advanced
10.4 Track Trigs & Track Edit Menu NOTES

The Trig Edit Menu provides the ability to work with trig timing in a more
precise way both to set up trigs and view the collective trigs together. It also
gives access to set up Swing, Slide and Recording Trigs. The description of
trig types has already introduced slide and swing and how this menu is the
key to working with these features. Other functions within the Track Trig
Edit menu are covered in the relevant topic section. Track Trig edit menu is
used typically within the GRID RECORDING mode.

In GRID RECORDING mode

[FUNC] + [BANK]
To open track trig edit menu.
This menu must remain open to edit trigs

TRIGS: Lock trigs and trigless trigs TRIGS: Sample trigs, One
are shown as smaller symbols Shots, trigs with full symbol

Representation of trigs set

Trig Types available. on each of the 16 steps.
Scroll to select [UP] [DOWN]
A dash ‘-’ indicated no trig
set on the specific step.
General parameter options, XXXXXX
trig type dependant e.g. Swing %.

One page each with 16 steps. Press Symbols for navigation

[PAGE] to change between the 4 pages. functions available.

Menu represents the trigs set in the selected track.

Slide and recorder trigs not available in MIDI tracks.

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Recorder Trigs

Instead of triggering playback actions, recorder trigs actually initiate a

recording event. Recording is covered in other sections, but a summary is
covered here.

In GRID RECORDING mode

[FUNC] + [BANK]

To open track trig edit menu.

This menu must remain open to edit
recorder trigs

To Set Recorder Trig On/Off

RECORDER TRIG
A trig that initiates the
Trig [1] - [16] recording of audio rather than
simply playing back a sample.
Recorder trigs are viewed and edited only
while the open track trig edit menu is open.
When holding Trig [1] - [16] + [RECx] where
x is one of the Rec buttons 1,2 or 3 to set
the recording source.

Recorder Trigs
Lit Red

One-Shot Recorder Trigs

Lit Yellow

The trigger will initiate recording. One Shots can also be applied which appear Yellow. An alternative is to use
the RECORDING SETUP menu option when setting recorder trigs.

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10 Pattern Advanced
NOTES
Swing Trigs

Swing trigs affect the timing of the trigs bringing it forward or pushing it back
in time to give a more natural feel to patterns. A swing trig is actually
applied to a sample trig and is not a ‘stand alone’ trig type. This is
performed in the TRACK TRIG EDIT Menu selected with [FUNC] + [BANK].

In GRID RECORDING mode

[FUNC] + [BANK]
To open track trig edit menu.
This menu must remain open to edit swing

Navigate to the ‘SWING’ row using [UP] [DOWN]

To Set Swing Trig On/Off

SWING TRIG

Trig [1] - [16]

Events applied to sample trigs
that pushes the trig from its ‘on
Swing trigs are viewed and edited only while grid’ position to create a
the open track trig edit menu is open. natural style swing.
Swing Trigs are lit green.

SAMPLE TRIG
Events set at a defined step in
the sequencer that triggers
sample play in a track
machine.

Sample Trigs Swing Trigs

are lit Red are lit Green

-1/8th +1/8th

No Swing (50%) Turn (LEVEL) to adjust Swing Swing (Max 80%)

Turn (LEVEL) in the track trig edit menu while SWING is selected to adjust the swing amount for the selected
track. Use [FUNC] + (LEVEL) for ALL tracks. No swing at 50%, full swing at 80% relative to current trig position.

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▌SETTING A TRACK SWING

1. Press Track [T1] - [T8] to select the track to edit. Example, Press [T1].

2. Press [REC] to select GRID RECORDING mode.

3. Ensure sample trigs are placed in the pattern.

4. Press [FUNC] + [BANK] to open the TRACK TRIG EDIT menu. The
popup display will appear.

5. Press [UP] [DOWN] to scroll and highlight the ‘SWING’ option. Any
controls now will apply to the swing function of the track.

6. Press Trig [1] - [16] to toggle a swing trig on or off. These must be
applied to sample trigs for the swing to be applied and heard. The
placement of sample trigs is visible in the TRACK TRIG EDIT Menu.

7. The Trigs buttons applied will be lit green. The TRACK TRIG EDIT
menu will also display the trigs applied in the pattern page. Press
[PAGE] to change the pattern page displayed.

8. Turn (LEVEL) to adjust the swing amount. 50% applies no swing and
80% is maximum. Press [FUNC] + turn (LEVEL) to change the swing for
ALL tracks.

9. Press [NO] to exit the menu.

Swing Trigs are visually aligned to Sample

Trigs in the Track Trig EDIT Menu.

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10 Pattern Advanced
NOTES
Slide Trigs

A slide trig can be applied to a sample trig on a track. A slide trig is the
starting point of where it’s parameter values will will transition from. The
slide will transition at a speed based on tempo towards an ending at the
following sample trig. One of the trigs must be parameter locked.

In GRID RECORDING mode

[FUNC] + [BANK]

To open track trig edit menu.

This menu must remain open to edit slide trigs

Navigate to the ‘SLIDE’ row using [UP] [DOWN]

To Set Slide Trig On/Off

SLIDE TRIG
Allows a transition from the trig
parameters to the following Trig [1] - [16]
sample trig parameters. One
Slide trigs are viewed and edited only while
must be parameter locked. the track trig edit menu is open.

SAMPLE TRIG
Events set at a defined step in
the sequencer that triggers
sample play in a track
machine. One of the two Trigs must be
parameter locked to allow a slide

Slide Trigs Lit Green

Slide From Slide To

One or more parameters slide from
one trig to a subsequent trig.

Multiple parameters can slide between trigs. The starting trig must have a slide trig applied and
one of the trigs must have its parameters locked.

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▌SETTING A TRIG SLIDE

1. Press Track [T1] - [T8] to select the track to edit. Example, Press [T1].

2. Press [REC] to select GRID RECORDING mode.

3. Ensure sample trigs are placed in the pattern.

4. Press [FUNC] + [BANK] to open the TRACK TRIG EDIT menu. The
popup display will appear.

5. Press [UP] [DOWN] to scroll and highlight the ‘SLIDE’ option. Any
controls now will apply to the slide function of the track.

6. Press Trig [1] - [16] to toggle a slide trig on or off for the first, starting trig
of the slide transition. These must be applied to sample trigs for the
slide to be applied.

7. Either the starting trig or the destination trig must be parameter locked
for the parameter value to slide.

8. The Trigs buttons applied will be lit green. The TRACK TRIG EDIT
menu will display the trigs applied in the pattern page. Press [PAGE] to
change the pattern page displayed.

9. Press [NO] to exit the menu.

Example Pitch Riser - GRID RECORDING Mode

SRC Page
Hold Trig [5] + Turn (A)
PTCH = -12 Default PTCH = 0

Slide Trig applied to the sample trig in

GRID RECORDING mode.

[FUNC] + [BANK]
Track Trig Edit Menu Open

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10 Pattern Advanced
10.5 Trig Conditions and Fill Mode NOTES

Conditional locks provide the ability to assign rules to trigs that must be
fulfilled to enable the trig step to be triggered. Effectively this is a parameter
lock that sets a condition on whether a trig will be activated or not for each
pattern cycle. Conditional locks are set in the micro timing menu for
individual or multiple trigs in a pattern. Conditional trigs offer a great way to
develop complex and evolving patterns especially when used together in
combination. Fill is a special conditional lock which is used to create
temporary variations on demand, when manually requested.

Basic Logic.
The in use principle of operation for conditional locks

True Trigger

RULE MET = PLAY TRIG

RULE NOT MET = DON’T PLAY TRIG

False No Trigger

Micro Timing Menu

The Setup for conditional locks is found in the micro timing menu

In GRID RECORDING mode.

Hold Trig [1] - [16] + [LEFT] [RIGHT]

To open the micro timing menu.

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NOTES

As always with Elektron devices, it is worth taking some time to familiarise

with concepts and terminology. Octatrack is no different and while
conditional trigs appear in many of their devices, its useful to understand
the fundamental principles of this topic and the terms used first. A summary
of key points are provided to get a good grounding of conditional trigs.

• Conditional trigs, trig conditions, condition locks are all used within the
same context and while there may be some semantic differences these
terms are often used interchangeably.

• Conditional trigs are assigned to one or more trigs from within the Micro
Timing menu accessible in GRID RECORDING mode.

• Conditional locks are applied as parameter locks.

• One condition can be applied to each trig but multiple condition trigs can
(and should, if you are really creative) exist in the same pattern.

• Conditional trigs can be applied to audio and MIDI tracks.

• Fill Mode is a special conditional trig that needs a manual action for the
condition to be met. This is initiated by using the [UP] [DOWN] and / or
[PAGE] buttons.

• Conditions are fundamentally based on the principles of logic. When a

condition is declared as ‘True’, consider this to mean ‘the trig will be
activated / triggered’

• Due to the logic concepts, ‘true’ and ‘false’ are used extensively and
often can be difficult to interpret. Always consider the context in which it
is applied. It may seem odd to hear that something being false will
generate a ‘true’ condition, but that’s not just an Elektron ‘thing’, but is
based on general logic concepts.

• Some conditions are inverted, indicated by a line above the function.

Consider this to mean, ‘not’. For example if the button combo of the
FILL function (inverted) is ‘not’ set, the condition is therefore true. Here
are some written examples to describe this better. Get it yet?

• FILL : Means that if the fill button combo is ‘not’ set ie not pressed
(sometimes referred to as false) then the condition is ‘True’ and the
trigger event will activate.

• FILL : Means that if the fill button combo is ‘set’ ie pressed

(sometimes referred to as true) then the condition is ‘True’ and the
trigger event will activate.

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NOTES

Applying Conditional Trigs

First set a trig, then apply a conditional lock as a parameter lock. This can
be done across multiple trigs in a pattern and some conditions even rely on
other conditions as part of the logic equation in order to perform their task.
Its usually a good tip to have a clear view or sketch out notes on what you
want to achieve before setting up the trigs.

▌ASSIGNING A CONDITION TO A TRIG

1. Select GRID RECORDING mode [REC].

2. Press the trig to assign a condition. Hold Trig [1] - [16].

Keep the Trig held throughout step 2 - 6 in this process.

3. Press [LEFT] or [RIGHT], while still holding the trig. Be careful not to
change the micro timing when applying these button commands.
Example, Hold Trig [1] + [LEFT].

4. The micro timing pop up menu will appear on the display.

5. Turn (LEVEL) rotary control to cycle the condition options, as displayed

while rotating, or set the condition to OFF.
Example, (micro timing menu still open), hold Trig [1] + Turn (LEVEL).

6. Release the buttons when the desired condition option is in view and
selected in the ‘TRIG CONDITION (LEV)’ parameter of the menu.

7. The condition is applied to the Trig.

To open the micro timing menu

Hold Trig [1] - [16] + [LEFT] or [RIGHT]

To set the Trig Condition, while holding the trig

Turn (LEVEL)

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Summary of Available Octatrack Trig Condition Types.

Name Options What does it do?

OFF Turns off any condition locks. Trigs operate as normal.

Fill mode is applied by pressing [UP] or [DOWN] + [PAGE] to manually activate

a temporary condition. If a trig is set to FILL, it will only trigger when the button
FILL Select
fill mode command is activated. When the button fill mode is not activated then
the trig will NOT be triggered.
Fill mode is applied by pressing [UP] or [DOWN] + [PAGE] to manually activate
a temporary condition. If a trig is set to FILL, it will trigger normally when the
FILL Select
trig mode buttons are not pressed. When the button fill mode command is
activated, then the trig will NOT be triggered.

If the most recent conditional trig (any type except PRE and PRE) on the same
track was ‘true’ i.e. activated, then this trig will also be ‘true’ and hence will
PRE Select activate the trig. This is based on the current track, ie the same track where
the PRE is applied.

If the most recent conditional trig (any type except PRE and PRE) on the same
track was ‘false’ i.e. not activated, then this trig will be ‘true’ and hence will
PRE Select activate the trig. This is based on the current track, ie the same track where
the PRE is applied.

If the most recent conditional trig (any type except PRE and PRE) on the
previous track was ‘true’ i.e. activated, then this trig will also be ‘true’ and
NEI Select hence will activate the trig. This is based on a ‘neighbour’ track, ie the track
prior to the one with the NEI applied.

If the most recent conditional trig (any type except PRE and PRE) on the
previous track was ‘false’ i.e. not activated, then this trig will be ‘true’ and
NEI Select hence will activate the trig. This is based on a ‘neighbour’ track, ie the track
prior to the one with the NEI applied.

Will trigger on the first cycle. The first played pattern cycle will set the condition
1ST Select to ‘true’ i.e. the trig will activate. The trig will not activate on subsequent pattern
cycles.

Will not trigger on the first cycle. Any other (not the first) played pattern cycle
1ST Select
will set the condition to ‘true’ i.e. the trig will activate.

X% 0-100% Probability percentage of when a trigger will activate, ie condition is ‘true’.

Sets how many pattern cycles will play before the condition is set to ‘true’ i.e.
A:B Various
the trig will activate.

Fill Mode is a special condition where a manual intervention must be applied with the button combo in
order to activate the condition state and therefore trigger (or not) the trig where it’s applied. The manual
trig mode command and the fill condition set on a trig work together.

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10 Pattern Advanced
NOTES

Fill and Fill Mode Explained.

Fill is a special condition that is manually applied rather than generated

from a states in a pattern. A button combination of [UP] or [DOWN] +
[PAGE] activates fill mode. This allows on-the-fly improvisation and ad lib
variations especially for live performance.

FILL

Applies a fill condition onto the chosen trig step. If a fill

request (using the buttons) is activated the condition is
‘true’ and therefore the trig on the step it has been
applied will be triggered.

FILL

Applies a fill condition onto the chosen trig step. If a fill

request (using the buttons) is NOT activated the
condition is ‘true’ and therefore the trig on the step it has
been applied will be triggered.

Fill mode is the manual action that temporarily adds fills and variations such
as a pitch change or filter drop on a button press command. This creates
more interest in a pattern or on a pattern cycle end. Fill mode is a pre-
requisite action in the operation of the fill trig condition. The fill condition
would need to be set on the same step as the trig to be triggered by the fill
mode command. To activate fill mode:-

• Hold [UP] + [PAGE] key during pattern playback. Fill is applied only
while the button combo is held.

• Press [DOWN] + [PAGE] key during pattern playback to activate a

fill command only on one pattern cycle.

• To latch fill mode ON, Press [UP] + [DOWN] + [PAGE]. To unlatch fill
mode, Press [UP] + [PAGE].

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NOTES

Fill Mode Examples

☞
☞
No Buttons Pressed Buttons Pressed

☞
✗ ✔

+ +

FILL FILL
Activates the Trig when Activates the Trig only
FILL mode is NOT active when FILL mode is active

1 16
Track 1

Buttons Pressed
☞

FILL
Activates the Trig for only one pattern cycle
when FILL mode has been activated

As well a fill mode condition being set, the step would also need a trig or trig lock. So this
may activate a parameter change and not necessarily a sample or note trig. This could
activate effects for example. Sample or Note trigs could activate end of pattern drum rolls
which would only trigger when FILL is activated manually, one cycle or on latch.

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10 Pattern Advanced
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Probability Explained

Probability assesses each of the trigs on every cycle of the pattern and
decides whether to activate / trigger the trig or not. The chance of triggering
is variable, where 100% Probability means steps trigger every time as
normal and 0% would not trigger at all on any cycle of the pattern. Any
value in between, for example 45% would then activate based on that
setting. In this 45% example case there is slightly less than a 1-in-2 chance
of triggering. Probability triggers are not in defined regular cycles and may
appear unpredictable of when the trig will or wont trigger.

X%

Applies the trig on the chosen step which will activate /

trigger at the frequency determined by the probability %.
This will be perceived as ‘by chance’, where the chance
is set by the % probability.

1 16
Track 1

X%
Operates the trigger based on perceived ‘chance’.
The chance % is called probability and can be set
0% (never trigger) to 100% (always trigger).
Anything in between provides the probability level.

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Probability Examples

100%
Default probability meaning
triggers normally each cycle

1 16
Track 1

25%
Step has a 1 in 4 chance
per cycle, of triggering.

1 16
Track 1

80%
Step has a 4 in 5 chance
per cycle, of triggering.

1 16
Track 1

0%
Step has a no chance per
cycle, of triggering.

1 16
Track 1

Probability
While the examples here describe in terms of an X in Y chance, the triggering does not
follow a defined or regular pattern of triggering or not on each cycle. Octatrack sets when it
will trigger in what appears to be random fashion. This randomisation is based on the
selected and setting of probability defined on the specific trigger step. So for 50% the trigger
will not necessarily be every second step but generally will trigger 50% of the time for each
cycle overall. The A:B Conditional trig is used for more predictable pattern cycle trigs.

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10 Pattern Advanced
NOTES

PRE Explained

PRE and PRE are specifically focussed on the track in which they are
placed and also the most recently triggered condition prior. PRE and PRE
conditions are triggered or not based on the state of a the most recently
evaluated conditional trig on the same track. The previous trig evaluated
can be any type with the exception of PRE and PRE, as these types will not
be evaluated and are ignored in this context.

PRE

Applies the trigger on the chosen step when a previous,

most recent trig event condition on the same track has
triggered i.e. registered as ‘true’. Will not trigger if the
prior condition is ‘false’ i.e. not activated.

PRE

Applies the trigger on the chosen step when a previous,

most recent trig event condition on the same track has
NOT triggered i.e. registered as ‘false’. Will not trigger if
the prior condition is ‘true’ i.e. has been activated.

PRE
Triggers when most recently prior trig
condition, same track has been
triggered i.e. T = ‘true’ .

1 16
Track 1 T T F
X%
Example

Other PRE / PRE ignored

PRE
Does NOT trigger when a previous
trig condition, same track has been
triggered i.e. T = ‘true’.

T Trigger Set = True, will activate / trigger F Trigger Set = False, which will NOT activate / trigger

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NEI Explained

NEI and NEI are specifically focussed on the track previous to the currently
active track. This prior track is called the ‘neighbour’ track within the context
of conditional trigs and is the one preceding the track where the condition
trig is applied. NEI and NEI conditions are triggered or not based on the
state of the most recently evaluated conditional trig on the neighbour track.
The previous trig evaluated can be any type with the exception of PRE and
PRE, as these types will not be evaluated and are ignored in this context.

NEI

Applies the trigger on the chosen step when a previous,

most recent trig event condition on the neighbour (prior)
track has triggered i.e. registered as ‘true’. Will not
trigger if the prior condition is ‘false’ i.e. not activated.

NEI

Applies the trigger on the chosen step when a previous,

most recent trig event condition on the neighbour (prior)
track has NOT triggered i.e. registered as ‘false’. Will not
trigger if the prior condition is ‘true’ i.e. has been
activated.

Example
X% 1 16
TRACK 1 T
(Neighbour)

TRACK 2 T F
(Active)

PRE
Does NOT trigger when a previous
trig condition, prior track has been
triggered i.e. T = ‘true’.

NEI
Triggers when most recently prior trig
condition, prior track has been triggered
i.e. T = ‘true’ .

NEI Condition is ‘false’ if no conditional trigs exist on the neighbour track.

T Trigger Set = True, will activate / trigger F Trigger Set = False, which will NOT activate / trigger

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10 Pattern Advanced
NOTES

1ST Explained

1ST and 1ST are specifically focussed on the first cycle of the pattern and
are triggered or not based on whether the pattern is in its first loop of the
cycle or in another cycle count. The loop counter is dedicated to the
conditional trigger, the general pattern cycles operate as normal.

1ST

Applies the trigger on the chosen step only when the

pattern loop is in its first cycle i.e. registered as ‘true’.
Will not trigger if the pattern is in loop cycle 2, 3 or any
other than the first cycle.

1ST

Applies the trigger on the chosen step when the pattern

loop is in cycle 2, 3 or above, i.e. registered as ‘true’. Will
NOT trigger if the pattern is in its first loop cycle.

Track 2

1ST
Will trigger on the 1st pass
only of the loop cycle

PATTERN LOOP 1
F T
1ST
Will trigger on the all loop
PATTERN LOOP 2 cycles except the first loop.
T F
Count Reset

PATTERN LOOP 3
T F

PATTERN LOOP… etc

T F

1ST Conditions are dependant on the loop cycles. T= True, Trigger will activate, F = False, Trigger will not activate

T T Trigger Set = True, will activate / trigger F F Trigger Set = False, which will NOT activate / trigger

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A:B Explained

A:B is focussed on the cycles of the pattern and when a trigger will occur
within the pattern cycle. Essentially this refers to how many patterns will be
played before the trig is activated. The loop counter is dedicated to the
conditional trigger, the general pattern cycles operate as normal.

A:B

Applies the trigger after ‘A’ number of cycles have

completed in a pattern sequence before the total number
‘B’ of conditional pattern cycles is reset. When the
number of ‘A’ patterns are completed a ‘true’ condition is
triggered and the trig activated.

Loop Cycle 1
Track 2 F
Loop Cycle 2
T
Loop Cycle 3
F
Loop Cycle 4
F

2:4
Will trigger on the 2nd cycle of a 4 cycle
loop count and reset at the end of 4th cycle.

PATTERN LOOP 1

A
The number of the loop within the total
PATTERN LOOP 2
cycles before the trigger is activated.
T In this example 2.
Count Reset

PATTERN LOOP 3

B
PATTERN LOOP 4 The number of loop cycles before the
conditional pattern count resets.
In this example 4.

Examples

1:2 2:4 5:6

Trigger is active on first loop Trigger is active on second loop, Trigger is active on fifth loop,
cycle, then third, fifth of new then, sixth on next cycle, tenth then, eleventh of new cycles etc.
cycles etc. The conditional loop etc. Conditional loop count is Conditional loop count is every
count is every second loop. end of fourth loop. sixth loop.

A:B Conditions are dependant on the loop cycles.

T Trigger Set = True, will activate / trigger F Trigger Set = False, which will NOT activate / trigger

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10 Pattern Advanced
10.6 Trig Count / Retrigger NOTES

The trig count function, found in the micro timing menu is similar to a
retrigger option that can be apply between 2-8 ‘repeats’ into each trig step.
The value sets the number of trigs evenly spread between this trig and the
next consecutive sequencer step. Given that this may retrigger sample
playback, ensure parameter settings allow this, for example a long AMP
Page Attack time may mean any re-triggering is not heard.

▌APPLYING A TRIG COUNT

1. Select GRID RECORDING mode [REC].

2. Press the trig to set the trig count. Keep the Trig held throughout this
process. Hold Trig [1] - [16].

3. Press [LEFT] or [RIGHT] While still holding the trig. Be careful not to
change the micro timing when applying these button commands.
Example, Hold Trig [1] + [LEFT].

4. The micro timing pop up menu will appear on the display.

5. Press ([UP] or [DOWN] to increase or decrease the number of triggers on

the trig. Example, (micro timing menu still open), hold Trig [1] + Press
[UP] x 3 to create 3 triggers on the trig step.

6. Release the buttons when the desired condition option is selected and
shown in the ‘TRIG COUNT (U/D)’ parameter of the menu.

7. The condition is applied to the Trig. Parameter locked trigs will flash in the
sequencer trig button.

To open the micro timing menu

Press Trig [1] - [16] + [LEFT] or [RIGHT]

To set the Trig Count

Press [UP] or [DOWN]

248 The Octatrack Notebook : Reference & Guide

 Pattern Advanced 10
NOTES 10.7 Creative Use of Trig Count & Conditional Trigs
Using trig count with conditional trigs is a good way to demonstrate how
combinations of multiple trig settings can generate complex and evolving
patterns, often appearing longer than the 4 bar limitation.

Sample Lock
Alternate sample to the
normal track sample.
Triggers along with effect.

X% PRE
Probability at 25% to Activates the Trig only
generate occasional when fill mode is not active
triggers

X%
Probability at 75% to give ☞ FILL
Activates the Trig only
A:B
Set to an odd cycle to give
variation on a run. Sample when fill mode is active an impression of generative
lock to change sample here [UP] + [PAGE] / evolving patterns

1 9 16 64

Trig Count
Assigned as 4 repeats to the
Trigless Trig trig. Only activated when
Assigned to activate the delay manually activating fill mode.
effect envelope. No sample or
Note trigger.

Trig micro timed forward so

that it triggers ‘almost on’ the
sample trig at step 9.

1ST
Triggers tStep 13 near the end
of the bar on first cycle only

The Octatrack Notebook : Reference & Guide 249

10 Pattern Advanced
10.8 Chaining Patterns NOTES

Patterns can be chained in series to playback in sequence. This is a quick

and easy function to make short pattern chains. A more elaborate process
is to use the ARR - arranger utility to build more comprehensive pattern
combinations. Pattern chains must be from the same bank and each
pattern can be added one to a chain.

Play Direction

1st PTN 2nd PTN 3rd PTN 4th PTN

Subsequently chained patterns which will play after the prior

First Pattern
pattern finishes by default based on PAT.LEN.

A01 A03 A05 A02

▌CREATING A CHAIN OF PATTERNS.

1. Press [BANK] - Trig [1] - [16] for A to P to select the bank from which to
build the pattern chain. Example Trig 1 for Bank A.

2. Hold [PTN] + Trig [1] - [16] …

…. Keep hold of [PTN] and also hold each Trig [1] - [16] to chain the
subsequent patterns. The order entered will determine the chain order.
Patterns must be held simultaneously to be added to a chain.
Example, Hold [PTN] + [1] + [3] + [5] together to chain A01, A03, A05.

3. Patterns will be shown on the display in the pattern section with a

double arrow between the current and next pattern to play.

4. Press [PLAY] to play the chain.

5. Hold [PTN] to observe the chain playback on the Trigs. Red indicates
current pattern playing in the chain, yellow trigs are cued patterns.

6. Press [STOP] to stop the chain playback and reset the start position to
the beginning.

7. Press [STOP], [STOP] to unlink and reset a chain.

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NOTES 10.9 Pattern Menu Summary
The pattern settings menu contains a number of per track or overall pattern
set up options. The menu is accessed by pressing [FUNC] + [PTN] and
parameters edited using [YES] or (LEVEL) on the highlighted option.
Settings are available for Audio and MIDI tracks.

▌USING THE PATTERN SETTINGS MENU

1. Press [FUNC] + [PTN] to open the setting pop up menu.

2. Press [UP] or [DOWN] to scroll the ‘Main Alternative’ options of Pattern,

PAT or each individual Track,T1 - T8. The options available and displayed
will reflect the setting selected here.

3. Press [RIGHT] to shift focus to the sub menu options on the right. This is
where the actual options and parameters are edited.

4. Press [UP] or [DOWN] to scroll the menu options and highlight the
function to change.

5. With the selected function highlighted, Press [YES] or Turn (LEVEL) to

cycle through the available parameter settings for the function. Some
options are ‘radio style’ meaning setting one option deselects another.

6. Press [NO] to back up and to exit the menu.

Available functions are

dependant on the alternatives of
PAT, Pattern or Tracks, T1-T8

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10 Pattern Advanced

Pattern Settings

The following options are available when the PAT - Pattern is selected from the main alternative
options. This means that any settings applied will affect the currently selected pattern. This will also
be displayed in the pattern settings window.

Context Function Options What does it do?

Main Alternative Sub Menu Parameters

PROJECT SCALE MODE: ON (Check) ON (Default) - All tracks in the pattern share the same length and time
signature, which are set in the scale setup. This forms as radio button
NORMAL OFF (Uncheck) relationship with per track i.e. when ON the Per Track Mode is OFF.

PROJECT SCALE MODE: ON (Check) ON - All tracks in the pattern have independent length and time signature,
which are set in the scale setup. This is ideal for complex polyrhythms. This
PER TRACK OFF (Uncheck) forms as radio button relationship with normal i.e. when ON the Normal Mode is
OFF. Default is OFF.

PROJECT CHAIN BEHAVIOUR: PLEN This parameter is applied when chained patterns are used. This sets the time
that the currently active pattern will play before a cued pattern i.e. the next
USE PAT SET Step Lengths
pattern waiting to play, will start playing.

PLEN (Default) - Plays to the total step length of pattern or the set master
length before the next cued pattern plays in the chain.

Step Lengths: Various step lengths of pattern can be selected before the next
cued pattern in the chain plays. If this flashes it means the setting is longer than
the pattern length in which case it will operate like PLEN.

The ‘USE PRJ SET’ must be OFF / Unchecked to apply this option.

PROJECT CHAIN BEHAVIOUR: ON (Check) ON - Sets the behaviour to that of the CHAIN AFTER setting in the [PROJ]
settings under CONTROL > SEQUENCER in the pattern change section. The
USE PRJ SET OFF (Uncheck) CHAIN AFTER default is PAT.LEN.

OFF (Default) - Will allow the unique behaviour of the pattern changes to take
precedence as set in this menu options.

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 Pattern Advanced 10

Pattern Settings (cont)

The following options are available when a T1-T8 - Track is selected as the main alternative.

Context Function Options What does it do?

Main Alternative Sub Menu Parameters

T1-T8 AUDIO TRACK: Auto Sets how the track of a previously playing pattern linked to a different part
should continue to play if this newly active pattern starts to play.
START SILENT No
AUTO - Uses the settings in the [PROJ] setting under CONTROL >
Yes SEQUENCER in the pattern change section to control the SILENCE TRACK
behaviour of the selected T1 -T8 track.

NO - The previously playing track + different part will continue to play when a
new pattern is selected starts to play. The previous track will stop when a trig is
activated for the new pattern in the sequence.

YES - The previously playing track + different part will stop playing when a new
pattern selected starts to play.

The YES / NO setting overrides the SILENCE TRACK setting in the [PROJ]
settings under CONTROL > SEQUENCER in the pattern change section.

T1-T8 AUDIO TRACK: ON (Check) ON - Sets whether the track will be connected or disconnected from the
sequencer. Disconnected means it can be played manually and has no control
PLAYS FREE OFF (Uncheck) from the sequence. Great for playing tracks alongside sequenced ones. Trig
Mode: Tracks, can control audio and MIDI tracks manually.

OFF (Default) - Sequencer controls track behaviour.

T1-T8 AUDIO TRACK: ON (Check) OFF (Default) - Track will loop and play on each cycle.

ONESHOT TRK OFF (Uncheck) ON - Track will not loop and will play only one full length.

Available only when PLAYS FREE is ON.

T1-T8 AUDIO TRACK: ONE Sets how the track will be played once triggered.

TRIG MODE ONE2 ONE (Default) - Plays the track from the start each time the Trig assigned to
trigger the track is activated. Pressing [STOP] will stop playback.
HOLD
ONE2 - Plays the track each time the Trig assigned to trigger the track is
activated. Press Trig again to stop or [STOP] to stop playback and sequence.

HOLD - Plays the track for as long as the Trig assigned to trigger the track is
activated. Releasing Trig will stop playback.

Available only for disconnected tracks, ie when ‘PLAYS FREE’ is set ON.

T1-T8 AUDIO TRACK: DIRECT Sets how the track start and stop will be quantized when played. Sequencer
must be running.
TRIG QUANT TR LEN
DIRECT - Plays the disconnected track immediately the Trig assigned to trigger
the track is activated.
1/16 + Various
TR LEN (Default) - Quantizes the start and stop to the total length of the track.

1/16 etc - Quantizes the start and stop to the set step length of the track. This
is based on the NORMAL or PER TRACK setting and works on the length of
the pattern or set master length (set in scale mode). Flashing digit indicates
setting is longer than pattern or master length.

Available only for disconnected tracks, ie when ‘PLAYS FREE’ is set ON.

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10 Pattern Advanced
10.10 Pattern Change Sequencer Control NOTES

A number of sequencer settings exist which establishes the default

behaviour of the sequencers pattern change. These are found in the
CONTROL section of the [PROJ] Menu under the SEQUENCER sub menu.
The Pattern Change settings also work in conjunction with other
parameters found in the pattern settings.

Context Function What does it do?

SEQUENCER CHAIN AFTER Sets the behaviour of chained patterns and defines how they
will start to play.

PAT LEN (Default) - Current pattern completes playing to its end

before the following chained pattern starts.

Step length; 2/16, 3/16, 4/16, 6/16, 8/16, 16/16, 24/16, 32/16,
48/16, 64/16, 96/16, 128/16, 192/16, 256/16. This may be better
when a long / infinite per pattern master length is in place and
PER TRACK scale mode is set. Affects all patterns but can be
changed in the PATTERN SETTINGS - USE PRJ SET.

SEQUENCER SILENCE TRACKS ON / Checked - Will silence all tracks when changing to a
pattern linked to another, different part. Samples will follow their
release phase set in AMP envelope.

OFF / Unchecked (Default) - Samples in the previous pattern /

part will continue to play when changing to another pattern until
a trig is activated on the tracks new pattern.

Affects all patterns in a project but can be overridden per track.

SEQUENCER LFO AUTO CHANGE ON / Checked - Will restart automatically all LFO’s when new
LFO settings become active when changing to another pattern
linked to another, different part.

OFF / Unchecked (Default) - LFO’s in the previous pattern / part

will continue to run when changing to another pattern until a trig
is activated on the tracks new pattern.

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 Pattern Advanced 10
NOTES

▌CHANGING PATTERN DEFAULT CHANGE BEHAVIOUR

1. Press [PROJ] to open the project settings menu.

2. Navigate to highlight the CONTROL Option using [UP] [DOWN].

3. Press [YES] or [RIGHT] to move to the right side sub menu.

4. Navigate to highlight the SEQUENCER Option using [UP] [DOWN].

5. Press [YES] to select and open the PATTERN CHANGE options.

6. Navigate to highlight the desired option;

• CHAIN AFTER: Turn the (LEVEL) rotary control to adjust the setting.

• SILENCE TRACKS: Press [YES] to toggle the value between the

On / Checked or Off / Unchecked settings.

• LFO AUTO CHANGE: Press [YES] to toggle the value between the
On / Checked or Off / Unchecked settings.

7. Press [NO] to backup and exit the menu.

The Octatrack Notebook : Reference & Guide 255

 NOTES

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 11
LFO’s
Octatrack has a number of modulation sources advance. Trial and error and testing ideas is
that can add variety and movement to sounds. therefore a recognised and accepted production
Modulation basically means the manipulation of technique when working with modulation. While
a destination parameter from the source of other modulation functions exist, LFO’s are
another function. Turning the volume control of perhaps the most common. Octatrack has 3
a radio up and down repeatedly is essentially LFO’s per track which brings a high level of
‘modulating’ the radio volume. In musical gear performance into the equation and coupled with
such as synthesizers, modular gear and the addition of the LFO designer this is certainly
samplers, modulation functions are usually a comprehensive feature set. Few synths and
integrated into the set up. LFO’s are a common samplers have this number of LFO’s available.
modulation sources and usually provide the The set up and configuration of an LFO to
ability to internally modulate a number of modulate another parameter is powerful. This
different destination parameters. LFO is a Low power is amplified and creativity expanded
Frequency Oscillator, basically a looping wave when multiple LFO’s are combined, not only
shape that operates below the audible with each other, but also with other Octatrack
frequencies of audio oscillators. LFO’s are used features such as parameter locks, effects and
for modulation. A simple example is to vary the sample functions i.e. start point. LFO’s are fairly
pan settings left to right to create interest and simple to use in themselves but the endless
movement. The patching of the modulation options make them a powerful and fun feature.
sources and destinations can be quite complex
and often the output cannot be predicted in

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11 LFO’s
11.1 Introduction to LFO’s NOTES

An Low Frequency Oscillator, commonly called LFO is a function that

creates movement generated from waves that operate below the audible
range. On some devices the frequency can be pushed into the audible
range but the primary purpose of an LFO in Octatrack is not to generate
sound. An LFO is used to generate movement and changes to other
settings and parameters of other functions. This is called modulation, where
the LFO is the source that modulates a destination parameter.

Why do we need LFO’s?

The simple answer is they are not essential for Octrack to operate as a
sampler. However to add the ability to create evolving sounds and
movement brings a higher level of performance and sound design
possibilities. Creating change and variation is important in keeping a
listener attached and connected and significantly increases interest.

Basic LFO Example.

Source Destination

LFO PAN
Modulation source to manipulate Modulation destination that will be
a connected destination. affected by the applied LFO.

L R

In this simple example an LFO with a Triangle wave will modulate the
pan of an audio signal left to right in a continuous ping-pong style

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 LFO’s 11
NOTES 11.2 LFO’s in Octatrack
Octatrack has 3 LFO’s, identical in features and an LFO designer which
creates user wave shapes, per track. An LFO can only modulate
parameters that are found on the track parameter main page. All of the 8
LFO designed wave shapes, 1 per track are available to all 8 tracks.

Track 1

Track Parameter Main Pages

LFO 1 LFO 2 LFO 3

LFO Parameters, shape, LFO Parameters, shape, LFO Parameters, shape,

destination, speed etc. destination, speed etc destination, speed etc

Optional

User Designed Wave

LFO Designer T1 Shapes

Track 2

LFO Designer All 8 Track User Waves are

available to the other tracks
T2

LFO 1 LFO 2 LFO 3

Track Parameter Main Pages

LFO’s can modulate other LFO’s SPD & DEP parameters based on hierarchy. Only a higher LFO ‘number’ can
modulate the lower ‘numbers’, i.e. LFO3 > LFO1/2, LFO2 > LFO1, LFO1 cannot modulate any other LFO.

Replicated across all Audio and MIDI Tracks.

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11 LFO’s
11.3 Set Up Page Parameters NOTES

The LFO set up page is important in order to get the desired result and
establish the ‘patch’ between the LFO source and the destination track
parameter. Consider the setup a starting point where tweaks and
adjustments can finely get to the point needed in the workflow.

Setup Menu [FUNC] + [LFO]

(A) (B) (C)

Also double
pressing [LFO]

(D) (E) (F)

(A) PMTR (B) WAVE (C) MULT

Data Entry Data Entry Data Entry

Parameter - Destination Wave Shape Speed Multiplier

Sets the destination to be LFO wave shape that will drive the Multiplies the SPD parameter by
modulated within the track destination parameter. There are the selected value.
parameter main pages. Parameter 11 defined shapes available plus
and page is displayed in the the user designed shapes T1 - T8
parameter setting. from each track (if created)
TRI, ITRI, SAW, ISAW, SQR, ISQR, EXP,
Track Parameters, Main Page 1x, 2x, 4x, 8x,16x, 32x, 64x
IEXP, RMP, IRMP, RND, T1-T8

(D) TRIG (E) SPD (F) DEP

Data Entry Data Entry Data Entry

Trigger Behaviour Base Speed of LFO Depth of Modulation

Selects the behaviour of the LFO Sets the base speed of the LFO, Amount of modulation applied to
when a trigger is activated. referenced to the tempo BPM. the destination parameter. DEP is
Variations can be adjusted with also available on the main page.
MULT. The SPD parameter is also
available on the main page.
Free, Trig, Hold, One, Half, Sync
0 - 127 0 - 127
Trig, Sync One, Sync Half

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 LFO’s 11
NOTES

When designing sounds and applying modulation it is good practices to

adjust by ear. The sound isn’t always predictable when modulation is
applied and desired results may need some tweaking.

▌BASIC START SETUP OF LFO

1. Press [FUNC] + [LFO] or double tap [LFO] to open the LFO setup page.

2. Turn (A) data entry to select the destination parameter to modulate. The
track parameter page and the actual parameter is shown.

3. The following LFO parameters are usually adjusted iteratively while the
sequence is playing and fine tuned to suit the desired output:-

• Turn (B) data entry to select the WAVE shape. Also the user defined
shapes are available from each of the tracks LFO designer T1-T8.
The user designed LFO’s would need to have bene created first.

• Turn (F) data entry to select the modulation depth DEP. It is good to
set this fairly high e.g. 127, to start so the effect can be heard and
then back it off as the sound develops.

• Turn (E) data entry to set a speed SPD. This is relative to Tempo
BPM. To multiply the speed if needed, Turn (C) MULT.

• Turn (D) if a different Trig behaviour is needed. While setting up and

adjusting, the TRIG or FREE options are good starting points. The
FREE option will continuously run the LFO and allow its application
to be continuously heard. As the sound design gets closer to your
audible target this can be set to another option if needed.

4. Press [NO] to back up and to exit the menu.

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11 LFO’s
11.4 Main Page Parameters NOTES

The LFO Main page presents all of the 3 LFO’s but brings focus to purely
the speed and depth parameters of each. Speed is always synchronised to
the Octatrack tempo. These are the same two parameters that appear in
the Setup page for each LFO.

Main Menu [LFO]

(A) (B) (C)

(D) (E) (F)

(A) SPD1 (B) SPD2 (C) SPD3

Data Entry Data Entry Data Entry

LFO 1 Speed LFO 2 Speed LFO 3 Speed

Sets the base speed of the LFO, Sets the base speed of the LFO, Sets the base speed of the LFO,
referenced to the tempo BPM. This referenced to the tempo BPM. This referenced to the tempo BPM. This
is the same SPD parameter also is the same SPD parameter also is the same SPD parameter also
available on the LFO setup page available on the LFO setup page available on the LFO setup page

0 - 127 0 - 127 0 - 127

(D) DEP1 (E) DEP2 (F) DEP3

Data Entry Data Entry Data Entry

LFO 1 Depth LFO 2 Depth LFO 3 Depth

Amount of modulation applied to Amount of modulation applied to Amount of modulation applied to
the destination parameter. This is the destination parameter. This is the destination parameter. This is
the same DEP parameter also the same DEP parameter also the same DEP parameter also
available on the LFO setup page. available on the LFO setup page. available on the LFO setup page.

0 - 127 0 - 127 0 - 127

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 LFO’s 11
NOTES 11.5 LFO Wave Shapes.
There are 11 defined wave shapes available for each LFO. Normal and
inverted versions. In addition each track has a user designed wave shape
(if created) that is accessible. Illustrations below show 2 wave cycles.

WAVE Options (B)

Amplitude

Amplitude
Time Time

TRIANGLE WAVE TRI & ITRI SAW TOOTH WAVE SAW & ISAW
ITRI is an inverted version of the TRI Triangle wave. ISAW is an inverted version of the SAW Sawtooth.
Amplitude

Amplitude

Time Time

SQUARE WAVE SQU & ISQU EXPONENTIAL EXP & IEXP

ISQU is an inverted version of the SQU Square. IEXP is an inverted version of the EXP Exponential.
Amplitude

Amplitude

Time Time

RAMP RMP & IRMP RANDOM RND

IRMP is an inverted version of the RMP Ramp wave.

T1 T1 The user designed waves, when created, are

also available from each track to all other
T2 T2 tracks. These are stored in the track LFO
designer per track and labelled T1 - T8
T3 T3
representing each track 1 - 8.
T4 T4
Zero crossing / amplitude level

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11 LFO’s
11.6 Modulation Speed. NOTES

Modulation speed is affected by two parameters. The SPD is the base

speed related to the BPM setting. The MULT parameter allows for faster
speeds by applying the multiplication factor to the SPD parameter.

LFO

Square Wave, Trig Mode = TRIG.

Modulation source to manipulate a connected destination.

1 Trigs 16

SPD 127 MULT x1

Square Wave, Trig Mode = TRIG. Square Wave, Trig Mode = TRIG.

1 16 1 16

SPD 127 MULT x2 SPD 64 MULT x2

Saw Wave, Trig Mode = TRIG. Saw Wave, Trig Mode = TRIG.

1 16 1 16

SPD 127 MULT x1 SPD 64 MULT x4

Zero crossing / amplitude level

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 LFO’s 11
NOTES 11.7 Modulation Depth.
Modulation depth governs how much of the LFO will be applied to the
destination parameter. If for example a Triangle LFO was set to control the
AMP page VOL (Track Level) should it be a subtle tremolo effect or a full
range of the volume shifting from minimum level to maximum. .

Two factors are important to consider with overall depth output. Firstly, the
depth DEP of the LFO where a range of 0-127 allows for the extreme high
and low limits of any destination. This may mean a maximum 127 is much
higher than needed for some applications. The second consideration is the
currently active value of the destination parameter which is the modulation
base reference or starting point for modulation.

Modulation Source Depth Modulation Destination Setting

127 127
63
DEP 127
64
DEP 64
64

0 0

The normal modulation depth range is 0-127 which If destination parameter default / ref position is
aims to cover the maximum range for any say at 0, it would need full range of modulation
destination parameter. depth to cover range.

To modulate a parameter at the mid position it If the destination parameter is set at mid position
would be possible to operate at a lower modulation e.g. 64, then there would need to be a range of
depth and still cover the range. 64 modulation to cover the limits of range.
Anything higher would have no additional affect.

It is hard to evaluate simply based on the theoretical ‘science’ behind the

depth and in fact most LFO parameters. As a tip, simply rely on how it
sounds more than how it works. Tweaking and tuning and trialing different
settings is a much more reliable method of sound design than studying the
technical operation.

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11 LFO’s
NOTES

Examples: Sample Pitch PTCH Modulation, TRIG set to Trig.

Source Destination

LFO PTCH
Square Wave, Trig Mode = TRIG. Sample Pitch - SRC Page.
Modulation source to manipulate a Modulation destination that will be
connected destination. affected by the applied LFO.

+12
63
0
64
-12

DEP 64 Pitch Set to 0

Although a depth of 127 will modulate the destination, only a depth DEP of 64 is actually needed as the
pitch value in this example is set to zero i.e. mid position on the +/- range. An LFO DEP of 64 will therefore
modulate to the pitch limits up and down the 2 octave range.

Source Destination

LFO PTCH
Square Wave, Trig Mode = TRIG. Sample Pitch - SRC Page.
Modulation source to manipulate a Modulation destination that will be
connected destination. affected by the applied LFO.

+12
63
0
64
-12

DEP 64 Pitch Set to -12

In this example a depth of 64 will not modulate the destination to the extreme limits as the pitch is set to
-12. A depth DEP of 64 will modulate only 50% of the maximum range. To get a maximum modulation
range the depth would need to be set to 127 on the LFO.

Different wave shapes will start at different points and therefore the type of wave shape selected will affect
how the output sound is delivered.

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 LFO’s 11
NOTES 11.8 Trig Mode Options.
Trig mode sets the behaviour of the LFO when it is triggered in the
sequence pattern.

Trigger Trigger FREE RUNNING (FREE)

AMPLITUDE

LFO runs freely and continuously and

ignores any trig start / stop events

TIME

Trigger Trigger TRIGGERED (TRIG)

The LFO restarts from its start position
AMPLITUDE

each time a note event is triggered

TIME

Trigger Trigger Trigger HOLD (HOLD)

LFO runs freely in the background. The
AMPLITUDE

current value in the cycle is held when a

note is triggered. When the next note is
triggered it will switch to hold the new,
current cycle position at the new trigger

TIME

Trigger ONE CYCLE (ONE)

AMPLITUDE

LFO runs from the start when triggered

and runs for one cycle only

TIME

Trigger HALF CYCLE (HALF)

AMPLITUDE

LFO runs from the start when triggered

and runs for only half of one cycle

TIME

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11 LFO’s
NOTES

These options will be triggered by an event but the LFO is synchronised to

the track start as opposed to the event itself.

Start Start SYNC TRIGGER (SYNC TRIG)

AMPLITUDE

Synchronises the trigger to start the LFO

at the start of every track and on every
subsequent pattern loop

TIME

Start SYNC ONE CYCLE (SYNC ONE)

AMPLITUDE

Synchronises the trigger to start the LFO

at the start of every track and the LFO will
run for one cycle only

TIME

Start SYNC HALF CYCLE (SYNC HALF)

AMPLITUDE

Synchronises the trigger to start the LFO

at the start of every track and the LFO will
run for a half cycle only

TIME

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 LFO’s 11
NOTES 11.9 LFO Designer.
A unique feature of Octatrack is the LFO designer. This is a tool that can
create custom LFO shapes and then utilise these as a ‘WAVE’ shape in
each of the three LFO’s. Waves are created and stored per track and are
named T1-T8 in the wave selection.

LFO Designer is found in the LFO Setup Page

Wave shapes created in the LFO Designer will be stored with the track and named T1-T8.

Hold Trig [1] - [16] + Press [TEMPO]

to interpolate between steps. Trigs will be lit +
Yellow where interpolation exists.

Press [FUNC] + [LEFT] or [RIGHT]

to rotate / shift wave shape.

Press [YES]
to select the RANDOMIZE or INVERT
Sub menu options.

Hold Trig [1] - [16] + Turn (LEVEL), (A), (B) or (C) to adjust shape up or down. Whichever
data entry is turned first will be the ‘central’ adjustment. Sections either side then can be
adjusted with other top row data entry controls while the trig is still held. Multiple trigs can be
adjusted when held together.

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11 LFO’s
NOTES

▌CREATING A CUSTOM WAVE SHAPE

1. Press [FUNC] + [LFO] or double tap [LFO] to open the LFO setup page.

2. Scroll [UP] or [DOWN] to select the ‘DESIGN’ option in the LFO list.

3. The Trig buttons will be lit red to represent each of the 16 ‘steps’ in the
wave shape to edit and the designer editor screen will be on display.

4. Hold Trig [1] - [16] for the step in the shape to adjust. While holding turn
either (LEVEL), (A), (B), (C), data entry controls to adjust the step
shape.

• All top row rotaries can edit a step shape with the first rotary
adjusted being the central control. Other rotaries either side will
adjust neighbouring steps while ever the Trig is still held.

• Holding multiple Trigs and adjusting the rotaries will adjust multiple
step shapes.

• The adjustment value will be on display when holding the Trig.

5. To toggle interpolation between steps, Hold Trig [1] - [16] for the first
step + [TEMPO] to connect to the next step. Trigs will turn yellow when
interpolation exists.

6. Press [FUNC] + [LEFT] or [RIGHT] to rotate or shift the shape.

7. To randomize the shape, press [YES] or press [FUNC] + [BANK] when

in the designer function. Use [UP] or [DOWN] to highlight RANDOMIZE
and press [YES]. Press [NO] to exit pop up menu.

8. To invert the wave shape, press [YES] or press [FUNC] + [BANK] when
in the designer function. Use [UP] or [DOWN] to highlight INVERT and
press [YES]. Press [NO] to exit pop up menu.

9. To exit the designer press [NO].

10. The custom wave shape will be named by the track ie T1-T8 and
accessible from the LFO1, LFO2 or LFO3 ‘WAVE’ parameter.

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 LFO’s 11
NOTES

▌SELECTING A CUSTOM WAVE SHAPE

1. Press [FUNC] + [LFO] or double tap [LFO] to open the LFO setup page.

2. Turn (B) data entry to select the WAVE shape. All track custom shapes
that have been created are available and labelled as T1-T8.

3. Press [NO] to back up and to exit the menu.

▌CLEARING A CUSTOM WAVE SHAPE

1. Select the track for the wave shape. Press [T1] - [T8]

2. Press [FUNC] + [LFO] or double tap [LFO] to open the LFO setup page.

3. Scroll [UP] or [DOWN] to select the ‘DESIGN’ option in the LFO list.

4. Press [FUNC] + [PLAY] to Clear / Reset the wave shape.

▌COPYING AND PASTING A CUSTOM WAVE SHAPE

1. Select the track for the source wave shape. Press [T1] - [T8].

2. Press [FUNC] + [LFO] or double tap [LFO] to open the LFO setup page.

3. Scroll [UP] or [DOWN] to select the ‘DESIGN’ option in the LFO list.

4. Press [FUNC] + [REC] to Copy the wave shape.

5. Select the destination track to paste wave shape. Press [T1] - [T8].

6. Press [FUNC] + [STOP] to Paste the wave shape.

The Octatrack Notebook : Reference & Guide 271

11 LFO’s
11.10 LFO Destinations NOTES

LFO - Audio Destination Parameters.

Page Parameter LFO Destination (Audio Tracks)

SRC PTCH Pitch (Static, Flex & Pickup Only)
SRC STRT Start Position (Static & Flex Only)
SRC LEN Sample Length (Static, Flex & Pickup Only)
SRC RATE Rate - Playback Speed (Static & Flex Only)
SRC RTRG Retriggers (Static & Flex Only)
SRC RTIM Retrig Time (Static & Flex Only)
SRC INAB Input AB options (Thru Machine Only)
SRC VOL Volume for Inputs AB (Thru Machine Only)
SRC <C> Data Entry Rotary C (Thru & Nei Machines Only)
SRC INCD Input CD options (Thru Machine Only)
SRC VOL Volume for Inputs CD (Thru Machine Only)
SRC <F> Data Entry Rotary F (Thru & Nei Machines Only)
SRC <A> Data Entry Rotary A (Nei Machine Only)
SRC <B> Data Entry Rotary B (Nei Machine Only)
SRC <D> Data Entry Rotary D (Nei & Pickup Machine Only)
SRC <E> Data Entry Rotary E (Nei Machine Only)
SRC DIR Playback Direction (Pickup Only)
SRC GAIN Recording Gain (Pickup Only)
SRC OP Recording Behaviour (Pickup Only)
AMP ATK Envelope Attack Time
AMP HOLD Envelope Hold
AMP REL Envelope Release Time
AMP VOL Volume Level
AMP BAL Balance / Pan
AMP <F> Data Entry Rotary F
LFO SPD1 LFO1 Speed
LFO SPD2 LFO2 Speed
LFO SPD3 LFO3 Speed
LFO DEP1 LFO1 Depth
LFO DEP2 LFO2 Depth
LFO DEP3 LFO3 Depth

SRC Parameter destinations are dependant on the track machine selected

272 The Octatrack Notebook : Reference & Guide

 LFO’s 11
NOTES

LFO - Audio Destination Parameters

Page Parameter LFO Destination (Audio Tracks)

FLTR BASE Filter Base Cutoff Frequency (MM Filter Only)
FLTR WDTH Filter Frequency Width (MM Filter Only)
FLTR Q Filter Resonance (MM Filter Only)
FLTR DPTH Filter Envelope Amount (MM Filter Only)
FLTR ATK Filter Envelope Attack Time (MM Filter Only)
FLTR DEC Filter Envelope Decay Time (MM Filter Only)
DEL TIME Delay time (Echo Freeze Delay)
DEL FB Delay Feedback (Echo Freeze Delay)
DEL VOL Delay Volume (Echo Freeze Delay)
DEL BASE Delay Hi Pass Filter (Echo Freeze Delay)
DEL WDTH Delay Lo Pass Filter (Echo Freeze Delay)
DEL SEND Amount Sent to Delay (Echo Freeze Delay)

FLTR & DEL are the default FX1 and FX2 effects. Access to the LFO destination parameters will
depend on the FX loaded into the FX1 and FX2 Slots. If an FX slot is empty the LFO will default
to the <A> to <F> Data Entry Rotaries

Page Parameter LFO Destination (Audio Tracks)

EQ FRQ1 Frequency Band 1 (2-Band Parametric Equaliser)
EQ GN1 Frequency Boost / Cut (2-Band Parametric EQ)
EQ Q1 Frequency Width (2-Band Parametric EQ)
EQ FRQ2 Frequency Band 2 (2-Band Parametric Equaliser)
EQ GN2 Frequency Boost / Cut (2-Band Parametric EQ)
EQ Q2 Frequency Width (2-Band Parametric EQ)
DJEQ LS F Low Shelf Frequency (DJ Style Kill EQ)
DJEQ <B> Data Entry Rotary B
DJEQ HS F High Shelf Frequency (DJ Style Kill EQ)
DJEQ LOWG Band 1 Gain (DJ Style Kill EQ)
DJEQ MIDG Band 2 Gain (DJ Style Kill EQ)
DJEQ HI G Band 3 Gain (DJ Style Kill EQ)
PHSR CNTR Centre Phase (2-10 Stage Phaser)
PHSR DEP Depth of Phase Modulation (2-10 Stage Phaser)
PHSR SPD Speed of Phase Modulation (2-10 Stage Phaser)
PHSR FB Original Signal Feedback (2-10 Stage Phaser)
PHSR WID Stereo Width (2-10 Stage Phaser)
PHSR MIX Mix of Dry and Wet Signal (2-10 Stage Phaser)

The Octatrack Notebook : Reference & Guide 273

11 LFO’s
NOTES
LFO - Audio Destination Parameters

Page Parameter LFO Destination (Audio Tracks)

FLNG DEL Delay in Flanged Signal (Flanger)
FLNG DEP Depth of Phase Modulation (Flanger)
FLNG SPD Speed of Phase Modulation (Flanger)
FLNG FB Original Signal Feedback (Flanger)
FLNG WID Stereo Width (Flanger)
FLNG MIX Mix of Dry and Wet Signal (Flanger)
CHOR DEL Delay in taps (Tap Chorus)
CHOR DEP Depth of Modulation (Tap Chorus)
CHOR SPD Speed of Modulation (Tap Chorus)
CHOR FB Original Signal Feedback (Tap Chorus)
CHOR WID Stereo Width (Tap Chorus)
CHOR MIX Mix of Dry and Wet Signal (Tap Chorus)
SPAT INP Dry Signal Gain (Spatializer)
SPAT DPTH Depth of widened signal (Spatializer)
SPAT WDTH Width of Spread (Spatializer)
SPAT HP High Pass Filter (Spatializer)
SPAT LP Low Pass Filter (Spatializer)
SPAT SEND Level of widened signal (Spatializer)
COMB PTCH Control of Resonant Frequencies (Comb Filter)
COMB TUNE Pitch Tuning (Comb Filter)
COMB LP Low Pass Cutoff Frequency (Comb Filter)
COMB FB Feedback Signal Gain (Comb Filter)
COMB <E> Data Entry Rotary E
COMB MIX Mix of dry and wet signal (Comb Filter)
COMP ATK Attack Time (Dynamix Compressor)
COMP REL Release Time (Dynamix Compressor)
COMP THRS Threshold (Dynamix Compressor)
COMP RAT Ratio (Dynamix Compressor)
COMP GAIN Make Up Gain (Dynamix Compressor)
COMP MIX Mix of Dry and Wet Signal (Dynamix Compressor)
LOFI DIST Distortion Overload (LoFi Collection)
LOFI <B> Data Entry Rotary B (LoFi Collection)
LOFI AMF Amplitude Modulator Frequency (LoFi Collection)
LOFI SRR Sample Rate Reduction Amount (LoFi Collection)
LOFI BRR Bit Rate Reduction Amount (LoFi Collection)
LOFI AMD Amplitude Modulator Depth (LoFi Collection)

274 The Octatrack Notebook : Reference & Guide

 LFO’s 11
NOTES
LFO - Audio Destination Parameters

Page Parameter LFO Destination (Audio Tracks)

PLTE TIME Decay Time (Gatebox Plate Reverb FX2)
PLTE DAMP Reverb Dampening (Gatebox Plate Reverb FX2)
PLTE GATE Gate time (Gatebox Plate Reverb FX2)
PLTE HP High Pass Filter (Gatebox Plate Reverb FX2)
PLTE LP Low Pass Filter (Gatebox Plate Reverb FX2)
PLTE MIX Mix of Dry / Wet Signal (Gatebox Plate Rev FX2)
SPRG TIME Decay Time (Spring Reverb FX2)
SPRG <B> Data Entry Rotary B (Spring Reverb FX2)
SPRG <C> Data Entry Rotary C (Spring Reverb FX2)
SPRG HP High Pass Filter (Spring Reverb FX2)
SPRG LP Low Pass Filter (Spring Reverb FX2)
SPRG MIX Mix of Dry and Wet Signal (Spring Reverb FX2)
DARK TIME Decay Time (Dark Reverb FX2)
DARK SHUG Dampening (Dark Reverb FX2)
DARK SHVF Shelving Filter (Dark Reverb FX2)
DARK HP High Pass Filter (Dark Reverb FX2)
DARK LP Low Pass Filter (DarkReverb FX2)
DARK MIX Mix of Dry and Wet Signal (Dark Reverb FX2)

The Octatrack Notebook : Reference & Guide 275

 NOTES

276 The Octatrack Notebook : Reference & Guide

 12
Audio
Octatrack is a high performance sampler and by and will become an integral part of the workflow
definition relies on a solid audio feature set. when working with audio. The fifth consideration
There are 5 primary audio topics in the overall with audio if file management. Some elements
consideration of Octatrack. The first is the are covered here but this is a topic that is
recording of audio into the machine. This has covered across various sections of the book. It
been detailed in the track machines section. is important to recognise, as with all images in
Secondly, playing out audio which is described this guide, that the diagrams shown are for
in the sequencing section. The third illustration purposes and are designed to inform
consideration, audio routing and the fourth in a simple way rather than to document any
which is the audio editing are the features of technical schematic or circuit diagrams.
Octatrack covered in this section. Starting with
hardware routing and the internal controls
including the relationship with cue and main
outputs. The MIX menu should not be
considered just as a utility but also offers many
creative and workflow options including muting
and soling the tracks, ideal for live
improvisation. In addition the audio editing
features are quite comprehensive and are also
covered in this section. The dedicated AED -
Audio Editor has some in depth editing functions

The Octatrack Notebook : Reference & Guide 277

12 Audio
12.1 Audio Inputs & Outputs. NOTES

Octatrack has a number of physical audio input and output connections

located at the rear of the device. 4 balanced / unbalanced audio inputs, 4
balanced audio outputs and also a stereo headphone socket are accessible
using ¼ inch / 6.35mm jacks.

Rear of Octatrack

4 x Audio Inputs 2 x 2 Audio Outputs 1 x Headphone Output

(balanced/unbalanced) (balanced) (stereo)

Inputs A/B and C/D Main L/R and Cue L/R 55 Ohm Output

Unbalanced TS Balanced TRS

Ring

Sleeve Tip Sleeve Tip

TS ¼ inch (6.35mm) Jack TRS ¼ inch (6.35mm) Jack

Tip - Sleeve connector (2 wire). Typically used Tip - Ring - Sleeve connector (3 wire).
for mono, unbalanced audio signals e.g. used Typically used for mono, balanced or stereo
for guitar leads and short signal runs. audio signals. Less susceptible to noise.

Note: Balanced cables can be used on unbalanced inputs but without the balanced signal
benefits. However if an unbalanced cable is used on a balanced connection, the signal will
operate as unbalanced and be susceptible to noise especially over longer distances. Generally
speaking use the correct cable for both of the connecting device inputs and outputs to ensure
the correct specified performance.

278 The Octatrack Notebook : Reference & Guide

 Audio 12
NOTES

Examples: Audio Set Ups.

Main L/R Output

Input A & B Input C & D

Digitone

2 x TR Mono 6.35mm Jacks

OP-Z

3.5mm TRS Stereo Mini Jack to 2 x

TR Mono 6.35mm Jacks

Preamp

Microphone connected via preamp e.g. to input C

The Octatrack Notebook : Reference & Guide 279

12 Audio
12.2 Audio Mixer - Routing. NOTES

The Octatrack mixer provides the ability to manage the audio from the
physical inputs.

Mix Menu [MIX]

(LEVEL) (A) (B) (C)

(D) (E) (F)

(LEVEL) MIX
Level Rotary

Headphone Output
Adjusts the audio output mix from
the headphone jack. Mix between
the ‘M’ Main and ‘C’ Cue audio.

-64 (Main) +64 (Cue) Default 0

(A) MAIN (B) DIR (C) GAIN

Data Entry Data Entry Data Entry

Main Level AB Direct Routing AB Gain

Sets the level at the main output. Sets the amount of audio from the Applies gain / attenuation to the
The maximum level of +63 AB inputs which is directly routed incoming audio signal. The -64
represents +12dB i.e. boosts. to the main output. 0 Sends no value will mute, 0 no gain applied
Negative values attenuates. Use audio from AB to main. 127 sends and +63 will apply +12dB gain.
the [FUNC] + (LEVEL) option when the current input level to main. Affects sampling, dir and thru
not in the Mix page. machine audio.

-64 to +63, Default 0 0 - 127, Default 0 -64 to +63, Default 0

(D) CUE (E) DIR (F) GAIN

Data Entry Data Entry Data Entry

Cue Level CD Direct Routing CD Gain

Sets the level at the cue outputs. Sets the amount of audio from the Applies gain / attenuation to the
The maximum level of +63 CD inputs which is directly routed incoming audio signal. The -64
represents +12dB i.e. boosts. to the main output. 0 Sends no value will mute, 0 no gain applied
Negative values attenuates. audio from CD to main. 127 sends and +63 will apply +12dB gain.
the current input level to main. Affects sampling, dir and thru
machine audio.

-64 to +63, Default 0 0 - 127, Default 0 -64 to +63, Default 0

280 The Octatrack Notebook : Reference & Guide

 Audio 12
NOTES

Audio Mix Routing - Mixer Functions.

Audio Inputs

A B C D

-64 +63 -64 +63

GAIN GAIN
AB CD

0 127 0 127
DIR DIR
AB CD

Octatrack Functions
Sampling, Thru Machines,
Track Effects, Cued Tracks
etc

Master Track
Effects

-64 +63
MAIN
Output Level -64 +63
CUE
Output Level
M-64 C+63
MIX
Headphones
L R L R

Main Cue Headphone

Audio Outputs

Main are the [CUE] + [T1] - [T8]

default outputs to route to cue outputs

The Octatrack Notebook : Reference & Guide 281

12 Audio
NOTES

▌SETTING THE HEADPHONE OUTPUT

1. Plug in the headphones to the headphone output.

2. Press [MIX] to open the mixer page.

3. Turn (LEVEL) to direct the balance between the MAIN audio - fully left
at -64 M and CUE audio - fully right at +63 C. Values mixed in between
also possible to route audio to the headphones.

▌DIRECTING INPUT AUDIO STRAIGHT TO THE MAIN OUTPUTS

1. Press [MIX] to open the mixer page.

2. Turn (B) to direct the amount of AB input audio to the MAIN output. The
maximum level, equal to the input is set at 127. A setting of 0 will
channel no audio to the output.

3. Turn (E) to direct the amount of CD input audio to the MAIN output. The
maximum level, equal to the input is set at 127. A setting of 0 will
channel no audio to the output.

4. The master track effects are applied to the direct input / outputs but the
other individual track effects are not applied to the direct routing. Thru
machines would be used to affect the incoming audio by track effects.

▌ADJUSTING INCOMING AUDIO GAIN / ATTENUATION

1. Press [MIX] to open the mixer page.

2. Turn (C) to the gain or attenuation of AB incoming audio. The maximum

level, equal to +63 introduces a gain of +12dB. A setting of -64 will
effectively mute the input, attenuating the signal.

3. Turn (F) to the gain or attenuation of CD incoming audio. The maximum

level, equal to +63 introduces a gain of +12dB. A setting of -64 will
effectively mute the input, attenuating the signal.

4. The gain and attenuation setting affects the Thru machines, DIR routing
and sampling in the octatrack.

282 The Octatrack Notebook : Reference & Guide

 Audio 12
NOTES

Main and Cue Routing.

There are two sets of dual outputs. The MAIN output is generally used for
driving studio or stage monitoring with all tracks routed. This is the normal
output. A secondary CUE output pair is also available where a tracks audio
can be fully or in part be routed out to the CUE as well as the MAIN. Cue
outputs are ideal for alternative mixes and control room applications and
especially for creating send / return effects chains with external effect
devices. Tracks can be selected to route or not to the CUE Outputs.

▌SETTING THE MAIN MIX

1. Press [FUNC] + Turn (LEVEL) to adjust the level for the MAIN output.
This is applicable when not in the MIX page.

2. Press [MIX] to open the mixer page.

3. Turn (A) to adjust the MAIN level. The maximum level, equal to +63
introduces a gain of +12dB. A setting of -64 will effectively mute the
input, attenuating the signal.

▌SETTING THE CUE MIX

1. Press [CUE] + [T1] to [T8] to select the tracks to send to the CUE
output. The track button will flash when cued. Note when working with
samples [CUE] + [YES] will preview the audio to the CUE outputs.

2. Press [MIX] to open the mixer page.

3. Turn (D) to adjust the CUE level. The maximum level, equal to +63
introduces a gain of +12dB. A setting of -64 will effectively mute the
input, attenuating the signal.

Note: The personalize menu options also contains setting applicable to the CUE output. This
sets the muting and selection behaviour when cueing tracks. Also the CUE CFG can also
change the CUE output behaviour.

Main and Cue levels can be set per track simply by using (LEVEL) or [CUE] + (LEVEL)

The Octatrack Notebook : Reference & Guide 283

12 Audio
12.3 Audio Mixer - Mute / Solo. NOTES

The Octatrack mixer provides the ability to control the mute and also the
solo of all tracks using the trig keys.

Mix Menu [MIX]

Audio Mute / Solo MIDI Mute / Solo

Red - Unmuted Yellow - Unmuted

Trig keys operate mute / solo control when the MIX menu is open

Command State Indicators

Unlit Trig Key

Press [TRIG] Mute ON (if previously off) Display shows a dash
Track Inaudible
Lit Trig Key: Red Audio / Yellow MIDI 2

Press [TRIG] Mute OFF (if previously on) Display shows filled / unfilled box
Track Audible
Unlit Trig Key
Mute ON (if previously off)
Hold [FUNC] + [TRIG] Delayed until FUNC released
Display shows a cross
Track Inaudible
Lit Trig Key: Red Audio / Yellow MIDI 2
Mute OFF (if previously on)
Hold [FUNC] + [TRIG] Display shows a plus sign
Delayed until FUNC released
Track Audible
Lit Trig Key: Green, Others Dimmed 2

Hold [CUE] + [TRIG] Solo ON (if previously off) Display shows an ‘S’ S
Only Solo Tracks Audible S

Trig keys which will become audible 2

Hold [CUE] + [TRIG] Solo OFF (if previously on) when the track is un-soloed are lit
dim and display a dotted box.

Track 8 cannot be muted if set to a master track.

284 The Octatrack Notebook : Reference & Guide

 Audio 12
NOTES

Notes on mix muting / soloing.

• The mute states will be retained when switching from un-solo.

• Master track 8 (if available) is not affected by mute states.

• Muting will silence audio on the MAIN outputs. If a track is cued to

the CUE outputs it will be audible on the cue even when muted.

• A cued track which is soloed will be audible on both the MAIN and
CUE outputs.

• Cue audio output is not available on the master track 8.

• Solo is only available in the MIX menu. Muting can be performed

using [FUNC] + [TRACK] when not in the MIX menu.

• Track Keys also indicate mute state. The yellow lit track button
indicates a muted, currently active track. An unlit track key is a
muted but currently unselected track.

Press [FUNC] + [T1] - [T8]

To mute or unmute the track.

Yellow Lit. Red Lit.

Currently active track, muted. Currently active track, unmuted.

T1 T1

MUTE UNMUTE

Unlit. Lit Green.

Not currently selected track, muted. Not currently selected track, unmuted.

Flashing Track Buttons.

Track is cued, routed to the CUE outputs by [CUE] + [T1] - [T8].

The Octatrack Notebook : Reference & Guide 285

12 Audio
NOTES

▌SETTING ANY TRACK MUTE STATE

1. Press [FUNC] + [T1] - [T8] to toggle the selected tracks mute / unmute.
This is available when not in the MIX menu.

2. Press [MIX] to open the mixer page.

3. Press Trig [1] - [8] to toggle mute / unmute for the selected audio track.
Muted audio tracks are unlit and indicate a ‘dash’ on the mixer display.
Unmuted tracks have red lit trigs and show an filled or unfilled box on
the mixer display.

4. Hold [FUNC] + Press Trig [1] - [8] to delay a mute condition. The mute /
unmute will only activate when the [FUNC] button is released. A pending
mute change from off to ON will indicate a cross on the display. A
pending mute change from on to OFF will display a + symbol. These are
all shown while [FUNC] is held.

5. The same process applies to MIDI tracks where trig [9] - 16] are used in
the process stated above and unmuted tracks show yellow trigs.

▌SETTING ANY TRACK SOLO STATE

1. Press [MIX] to open the mixer page. Solo is only performed with the
mixer page open.

2. Press [CUE] + Trig [1] - [8] to toggle solo on / off for the selected audio
track. Soloed audio tracks are lit green and indicate an ‘S’ on the mixer
display. Un-soloed tracks will display as per the mute or unmuted state.

3. The same process applies to MIDI tracks where trig [9] - 16] are used in
the process stated above.

286 The Octatrack Notebook : Reference & Guide

 Audio 12
NOTES 12.4 Cue Routing Behaviour
Tracks which are cued will be audible on the CUE outputs as well as the
MAIN output. The level can be controlled in the MIX page for the CUE
output and also the cue level per track is adjustable on the selected track
using [CUE] + Turn (LEVEL).

▌SETTING TRACKS TO CUE

1. Press [CUE] + [T1] to [T8] to select the tracks to send to the CUE
output. Master track, if assigned on track 8 cannot be cued.

2. The track button will flash to indicate it is cued.

3. To adjust the current track cue level , Press [CUE] + Turn (LEVEL). This
adjust the level, post effects and only the cue level not the main level.

4. To set the inputs directly to the cue outputs, Press

• [CUE] + [REC1] for AB, or

• [CUE] + [REC2] for CD or

• [CUE] + [REC3] for Internal audio.

• The respective rec key will flash when cued.

The Octatrack Notebook : Reference & Guide 287

12 Audio
NOTES

While the CUE routing settings are similar to MAIN, there are some specific
default behaviours than can also be changed in the appropriate settings.
Normal CUE operation allows the output pair to receive audio from selected
cued tracks but this can be changed. The PROJ > CONTROL > AUDIO.

▌CHANGING FROM NORMAL CUE TO STANDARD OUTPUTS

1. Press [PROJ] to open the settings menu.

2. Press [UP] [DOWN] to highlight the CONTROL option and press [YES]
or [RIGHT].

3. Press [UP] [DOWN] to highlight AUDIO in the right side options and
press [YES] to select.

4. Press [RIGHT] [LEFT] to highlight the CUE CFG box.

5. Press [YES] on the option to select on and to toggle between NORMAL

and STUDIO.

• NORMAL: This is the default setting and allows the CUE outputs to
be uniquely assigned using [CUE] + [TRACK]. These act as the
secondary alternative outputs.

• STUDIO: Sets the CUE outputs as generally assigned outputs and

disables normal mode. This operation is similar to main. Outputs are
readily routed to CUE and an additional level LEV for cue is
provided in this mode side by side with the level bar graph.
To adjust the volume:-

• Turn (LEVEL) to adjust MAIN level.

• Press [CUE] + Turn (LEVEL) for the CUE output level.

• Muting also will be applied in this mode to both cue and main.

288 The Octatrack Notebook : Reference & Guide

 Audio 12
NOTES

Some cue settings can be set in the personalize menu found in the PROJ >
SYSTEM > PERSONALIZE menu. This allows automatic selection of the
track and automatic muting when selecting cue.

▌SETTING CUE SELECTION TO AUTO ACTIVATE TRACK

1. Press [PROJ] to open the settings menu.

2. Press [UP] [DOWN] to highlight the SYSTEM option and press [YES] or
[RIGHT].

3. Press [UP] [DOWN] to highlight PERSONALIZE in the right side options

and press [YES] to select.

4. Press [UP] [DOWN] to highlight the CUE FOCUSES TRACK.

5. Press [YES] to toggle between checked ON or unchecked OFF. When

ON the track will automatically be selected as the active track when
selecting it to cue using [CUE] + [T1] - [T8]. When OFF, the track will
only be set to cue.

▌SETTING CUE SELECTION TO AUTO MUTE TRACK

1. Press [PROJ] to open the settings menu.

2. Press [UP] [DOWN] to highlight the SYSTEM option and press [YES] or
[RIGHT].

3. Press [UP] [DOWN] to highlight PERSONALIZE in the right side options

and press [YES] to select.

4. Press [UP] [DOWN] to highlight the CUE MUTES TRACK.

5. Press [YES] to toggle between checked ON or unchecked OFF.

When ON the track will automatically mute from the main output when
selecting it to cue (audio is sent to cue). Press [CUE] + [T1] - [T8] to cue
a track. When OFF, the track will only be set to cue when selected and
muting is unaffected.

The Octatrack Notebook : Reference & Guide 289

12 Audio
12.5 Audio Input Control. NOTES

The inputs available for routing external audio into Octatrack also provide
the ability to control delay compensation and to gate the noise from
incoming audio. These are found in the PROJ > CONTROL > INPUT
options.

Noise Gate.

Think of a gate as a door that opens to allow audio through or closes to

stop audio passing through. Now think if the door was partially open and
only allowed some audio through, i.e. the louder parts. In audio applications
this is useful when an audio signal may have low level background noise.
The Octatrack gate can therefore be applied to only allow audio above a
threshold through and reduce any unwanted noise.

Original Signal Gated Input Signal

-Inf

Threshold

0dB

Only audio above the threshold will pass through, reducing noise. A setting of -INF
effectively switches the gate off and all audio will pass through.

▌SETTING A NOISE GATE ON THE AUDIO INPUTS

1. Press [PROJ] to open the settings menu.

2. Press [UP] [DOWN] to highlight the CONTROL option and press [YES]
or [RIGHT].

3. Press [UP] [DOWN] to highlight INPUT in the right side options and
press [YES] to select.

4. Press [UP] [DOWN] to highlight the audio input NOISE GATE AB or

NOISE GATE CD depending on the input desired.

5. Turn (LEVEL) or press [LEFT] [RIGHT] to adjust the noise gate

threshold. This is the value in dB that will allow audio above the value
through and to cut the audio below. Often adjustments by ear is
advised. A setting of -INF effectively turns the gate off and all audio will
pass through while 0dB is maximum gating.

290 The Octatrack Notebook : Reference & Guide

 Audio 12
NOTES

Delay Compensation.

This feature ensures that the DIR routing audio and the Thru Machine or
Pickup Machine audio is synchronised. Internal processing within the audio
machine can introduce a delay compared to a direct audio signal. To
compensate for this a very short delay can be introduced to the DIR signal
and ensure the audio is in sync.

Delay Compensation Off / Unchecked Delay Compensation On / Checked

Original DIR Routed Signal Delayed DIR Routed Signal

Thru Machine / Pickup Machine Thru Machine / Pickup Machine

Potential Delay between DI & Machine Delay compensated to synchronise

▌SETTING UP DELAY COMPENSATION

1. Press [PROJ] to open the settings menu.

2. Press [UP] [DOWN] to highlight the CONTROL option and press [YES]
or [RIGHT].

3. Press [UP] [DOWN] to highlight INPUT in the right side options and
press [YES] to select.

4. Press [UP] [DOWN] to highlight the audio input DELAY COMPENSATE.

5. Press [LEFT] [RIGHT] to toggle DELAY COMPENSATE On / Checked

or Off / Unchecked. When On the DIR audio is slightly delayed to
ensure it syncs with the processed (and naturally delayed) Thru / Pickup
machine audio.

The Octatrack Notebook : Reference & Guide 291

12 Audio
12.6 Audio Editor Overview. NOTES

The Octatrack audio editor, also called AED, contains a series of functions
used for editing and working on imported and recorded audio samples. Five
editing ‘toolkits’ are available; Trim, Slice, Edit, Attributes and File, each with
a set of comprehensive sample management options. The audio editor is
accessible from a variety of locations within Octatrack.

Audio Editor [AED]

Audio Editor is accessed primarily by pressing [AED].

There are other ways to access the audio editor depending on the current location in Octatrack.

QUICK ASSIGN MENU TRACKS

With a sample highlighted, to open the audio The sample loaded into a flex or static
editor from within the static or flex lists. machine on a selected track can be edited.

Press [FUNC] + [BANK] Press [T1] - [T8] + [BANK]

SRC & RECORDING SETUP TRACK RECORDER

With a setup page open for a static or flex Select the track with the recorder buffer of
machine. Select the sample slot sample. the audio to edit.

Press [FUNC] + [BANK] Press [REC1] or [REC2] + [BANK]

Function Selected in AED by Description

Trims the sample start and end point. Also loop

TRIM Press [SRC]
points of the sample can be set.
Divides a sample into multiple (max 64) slices,
SLICE Press [AMP]
varying lengths, each with its start and end point.
Multiple, more intricate editing functions such as
EDIT Press [LFO]
crop, reverse, normalize are available here.
A samples permanently linked attributes such as
ATTR Press [FX1]
gain, loop mode, tempo are presented here.
File management tools such as save, load, clear
FILE Press [FX2]
are available under FILE.

Note: The available options in the audio editor will depend on how the current sample is handled.
Options will differ whether working in a flex or static sample. Flex samples have a wider set of
editing options available in AED.

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The workflow of the audio editor will be based on what the objective is. Whether just to trim a
recorded sample or build complex slices the direction may be different. A basic starting workflow
guide is shown here and assumes a track has a sample loaded or recording in a buffer. Opening
AED may revert to the previous opened state. Navigation to the desired position may be required.

OPTIONAL WORKFLOW TYPICAL WORKFLOW COMMENTS

SRC or Recording Setup Quick Assign Flex / Static Track Track Recorder Audio Editor [AED] is available by pressing
Track recorder selected. Static or Flex Sample List. Directly from a track. Track with recorder buffer [AED] or directly from within the context
[FUNC] + [BANK] [FUNC] + [BANK] [AED] [T1] - [T8] + [BANK] [REC1] or [REC2] + [BANK] shown here during the workflow.

Throughout the editing process, use TRIM Press [SRC] Select the trim function within the audio editor.
[FUNC] + [YES] to audition the edited 1
Navigate the waveform with the (LEVEL)
sample at the main outputs. or [RIGHT] [LEFT] functions.
Alternatively [CUE] + [YES] to audition the
edited sample at the cue outputs.
2 TRIM editor Trim the start, end and loop points.
Adjust the Start ‘S’ with (A), End ‘E’ with
(C) and required loop position ‘L’ with (B)
An optional trim edit menu is available to set Sub-menu is accessible by [FUNC] + [BANK]
start, end, loop and reset based on current within some functions.
position. Access in Trim page [FUNC] + [BANK]
3

4 SLICE Press [AMP] For slices to operate the SLIC option in the SRC
page needs to be set to ON. Slicing operates at a
sample slot level for static and flex samples.
The slice editor allows slices to be created from
current position and laid out across a defined SLICE editor
grid. Slices can be created, deleted, normalised
5 To edit, open the slice edit menu, press
and locked within this menu. [FUNC] + [BANK] within the slice page.

EDIT Press [LFO] Additional elements of the sample can be edited

6 in more finite detail. Parts or all of the waveform
Additional editing options. Adjust the
selection to edit with (A) and (C). can be selected and edits performed within the
The editor allows further modifications to the edit menu. Trim and Slice edit settings are
sample. Fades, gain adjustments, copy/paste as EDIT editor maintained and the selection carried over into the
well as intricate editing options. Edits are lost on 7 To edit, open the edit menu, press EDIT page.
power down - save the sample to retain the [FUNC] + [BANK] within the edit page.
edited version.

Attributes are embedded in the sample and ATTR Press [FX1] Embedded attributes for the selected sample.
should be saved to retain any edited states. 8 These can be permanently set for the sample
Embedded sample attributes, scroll using
[UP] [DOWN] when saved.

FILE Press [FX2] Edits can be saved as new samples or the trim,
9 slice and attributes can be saved as a linked
Sample management options.
settings file. Saves can be made at each edit
stage which is good practice.

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12.7 Audio Routing Effect Chains. NOTES

The Octatrack can be used as an effects box where the internal effects are
used as part of a wider setup with external gear such as synths. Equally
external effects can also be integrated into an Octatrack set up. Some
example useful routing configurations are shown here.

Example: Octatrack as an Effects Processor

OP-Z

A B C D

Audio Inputs

Track 1
Thru Machine
SRC INAB = A
FX1 FX2
MIXER AB DIR = 0
Play sequencer with trig 1 set to ‘trigger’ audio in

Track 2
Neighbor Machine
FX1 FX2

Track 8
Master Track
FX1 FX2
Track 8 can optional be set as the master track.

Audio can be routed to main output Audio can be routed to cue outputs
and ‘mixed’ with other tracks. and can be configured independently
to ‘isolate’ from main.
L R L R

Main Cue Audio Outputs

Main are the [CUE] + [T1] - [T8]

default outputs to route to cue outputs

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NOTES
Example: Octatrack with Send / Return Routing

Audio can be routed to main output Audio can be routed to cue outputs as
and ‘mixed’ with other tracks. ‘Sends’ isolated from main.

Main are the [CUE] + [T1] - [T8]

default outputs to route to cue outputs

-64 +63
CUE
Output Level

L R L R

Main Cue Audio Outputs

External Device
OTO BAM
Desktop Reverb
MIDI

C D

Audio Inputs

Track 7 (Return)
Thru Machine
FX1 SRC INCD = CD
MIXER CD DIR = 0
An alternative is to route
Octatrack Functions incoming audio directly to
the main outs using the
FX2 mixer DIR setting.

Play sequencer with trig 1 set on to ‘trigger’ audio in

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12.8 Trim - Audio Editor.
Audio recorded or imported can easily be trimmed both at the start and end. In addition the Trim
editor allows the setting of the loop position. The current sample can be edited in the audio editor
which is accessed depending on the current workflow location.

The Trim options are available within the Audio Editor. To audition the audio sample
Press [FUNC] + [YES] to audition to the main outputs or
[FUNC] + [CUE] to audition to the cue outputs.
Audio Editor [AED]

Sample Slot 1 - Sample Name: MiracleWorker Sample Slot 2 - Sample Name: MiracleWorker
Trim settings are linked to a sample slot, not the sample
itself. So the same sample can have different trim settings
for each slot it is loaded into.

Data Entry (F) or

[UP] [DOWN]
Zoom Horizontal

Data Entry Data Entry

(B) (C)
L E
Audio Editor
Trim Editor Function [SRC]
Zoom Vertical

Data Entry
(D)

462902 T:118.33 B:4.00

S
Data Entry Sample Position Tempo BPM Bar Length
(A)
Parameter values will be displayed
when adjustments are made.
Loop From

Play From Play To

Scroll Horizontal
Data Entry
(E)

(LEVEL) or [RIGHT] [LEFT] To snap the edit marker, start, end and loop position to
to navigate edit marker zero crossing points, use [FUNC] + with the respective
functions [RIGHT] [LEFT], or (A), (B), (C).

Marker indicator shows a ‘box’ symbol when on a zero crossing point.

To open the secondary Trim Edit Pop Up Menu Press [YES] or [FUNC] + [BANK] +

The timestretch or original BPM settings in the attributes may need to be adjusted to achieve the desired results. Loop in the SRC setup would
need to be on for looping to be recognised. Also ensure the sample length allows looping in the sequence.

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A series of secondary, additional options are available in the trim pop-up

menu. These offer trim edit features with respect to the edit marker. The
secondary Trim Edit menu is available from within the TRIM page by
pressing [YES] or [FUNC] + [BANK].

Audio Editor [AED]

TRIM Page Command Reference

Menu Function Control Description

Turn (LEVEL) or Locate the edit marker position within in the
Main Move marker
Press [RIGHT] or [LEFT] waveform. Position is displayed in samples.
Plays and previews the edited audio at the main
Main Preview to Main Press [FUNC] or [YES]
audio outputs.
Plays and previews the edited audio at the cue
Main Preview to Cue Press [CUE] or [YES]
audio outputs.
Scrolls the bounding selection box across the
Main Scroll Waveform Turn (E) waveform horizontally. White box indicates
position with respect to the full waveform.
Zooms in or out of the waveform horizontally on
Turn (F) or
Main Zoom X-Axis the X-Axis. Display indicates zoom level on the
Press [UP] or [DOWN]
top white bar with respect to the full length.
Zooms in or out of the waveform vertically on the
Main Zoom Y-Axis Turn (D) Y-Axis. Display indicates zoom level on the right
slider with respect to the full size.
Adjust and set the sample start playback position
labelled as ‘S’. End position will adjust relative to
Main Start Position Turn (A)
start. Sample position, BPM and Bar Length are
displayed when adjusting.
Adjust and set the sample end / stop position
Main End Position Turn (C) labelled as ‘E’. Changes to the sample position,
BPM and bars are displayed when adjusting.
Adjust and set the sample loop start position
Main Loop Position Turn (B) labelled as ‘L’. Changes to the loop point and loop
length in bars are displayed when adjusting.
Will set the start position ‘S’ based on the current
Trim Edit Set Start Here Menu Selection location of the edit marker. Can be adjusted by
turning (A).
Will set the start position ‘E’ based on the current
Trim Edit Set End Here Menu Selection location of the edit marker. Can be adjusted by
turning (C).
Will set the loop position ‘L’ based on the current
Trim Edit Set Loop Here Menu Selection location of the edit marker. Can be adjusted by
turning (B).
Will reset the start and loop to the absolute
Trim Edit Reset to Default Menu Selection sample start position and end to the absolute
sample end, restoring default marker positions.
Will enable a left, right or stereo waveform to be
Trim Edit Change View Menu Selection displayed as CH L View, CH R View or Stereo
View waveforms on the display.

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NOTES

▌TRIMMING A WAVEFORM

1. Press [AED] to open the audio editor. Alternatively, on a sample from

within the sample list, or in the SRC or recording setup page, press
[FUNC] + [BANK] to directly open the audio editor for the sample.

2. The TRIM page should be open by default, if not, Press [SRC] to open
the TRIM page.

3. To navigate the waveform; Turn (E) - Scroll, Turn (F) - Zoom X-Axis,
Turn (D) - Zoom Y-Axis. It is useful to zoom in close to allow precise
positioning of the trim positions or of the edit marker.

4. To set trim positions; Turn (A) - Start ‘S’, the end position will move
relatively. End will move relatively to the start. Turn (C) - End ‘E’, to
adjust location where the sample playback will stop.

5. To set loop position; Turn (B) - Loop ‘L’. Playback will comments start ‘S’
and then at the end ‘E’ it will loop back to restart at the ‘L’ position and
continue the cycle. The SRC pages will affect loop. Loop would need to
be on. If RATE is set negative the loop will play from ‘E’ to ‘L’.

6. For precise settings at positioning a marker on a wave zero crossing

and to avoid audio ‘clicks’ use [FUNC] + function to adjust. A box
symbol appears on the marker when it is on a zero crossing.

7. Samples have an ‘original’ calculated tempo BPM and bar length. When
trimming a sample, these may be impacted and may not give the
desired results. For example the bar length when truncating a sample
may remain at the original length and therefore stretch the audio.
Parameters in the attributes page will allow adjustments to correct.

8. In the FILE page, saving the settings allows the trim stat to be retained.
The settings are linked to a sample slot, not the sample itself. This
allows the same sample to be used in multiple sound slots, each with its
own trim settings.

9. The Trim edit pop-up menu is accessed by pressing [YES] or [FUNC] +

[BANK]. More trim options are available including changing the wave
view or resetting to defaults. Stereo wave view is advised to set zero
crossings to the L/R waves.

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NOTES

▌TRIMMING A WAVEFORM AT THE EDIT MARKER

1. Press [AED] to open the audio editor. Alternatively, on a sample from

within the sample list, or in the SRC or recording setup page, press
[FUNC] + [BANK] to directly open the audio editor for the sample.

2. The TRIM page should be open by default, if not, Press [SRC] to open
the TRIM page.

3. Navigate and position the edit marker to a start position in the

waveform; Turn (LEVEL) or press [RIGHT] [LEFT]. Use [FUNC] +
(LEVEL) or press [RIGHT] [LEFT] to set at a zero crossing position.

4. Press [YES] or [FUNC] + [BANK] to open the Trim Edit pop-up menu.

5. Select ‘SET START HERE’ to set the ‘S’ Start position at the edit
location.

6. Repeat step 3 - 4 for the End ‘E’ - SET END HERE and Loop ‘L’ SET
LOOP HERE.

7. Samples have an ‘original’ calculated tempo BPM and bar length. When
trimming a sample, these may be impacted and may not give the
desired results. For example the bar length when truncating a sample
may remain at the original length and therefore stretch the audio.
Parameters in the attributes page will allow adjustments to correct.

8. In the FILE page, saving the settings allows the trim stat to be retained.
The settings are linked to a sample slot, not the sample itself. This
allows the same sample to be used in multiple sound slots, each with its
own trim settings.

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12.9 Slice - Audio Editor.
Audio samples can be sliced and divided in a number of ways from within the audio editor. A
maximum of 64 slices are possible each can be triggered by the trig keys. This is useful for using
sample snippets or creating drum kits.

The Slice options are available within the Audio Editor. To audition the active slice audio
Press [FUNC] + [YES] to audition to the main outputs or
[FUNC] + [CUE] to audition to the cue outputs.
Audio Editor [AED] Slice Grid +

Sample Slot 1 - Sample Name: MiracleWorker Sample Slot 2 - Sample Name: MiracleWorker
Slice settings are linked to a sample slot, not the sample
itself. So the same sample can have different slice settings
for each slot it is loaded into.

Data Entry (F) or

[UP] [DOWN]
Zoom Horizontal
Slice must be selected, shown [RIGHT] [LEFT]
inverted, to edit the positions; to select slices
Start (A), End (C) and Loop (B)

S E
L Audio Editor
Slice Editor Function [AMP]
Zoom Vertical

Data Entry
(D)

ATTR

S1 462902 0.15s B:0.22

Slices played by Trigs. Slices can be added manually or equally Slice Sample Duration Bar
Sliced can be looped. spaced to grid. Slices can overlap. Number Position (Secs) Length
Parameter values will be displayed
when adjustments are made.

Scroll Horizontal
Data Entry
(E)

(LEVEL) To step the edit marker, start, end and loop position to
to navigate edit marker will zero crossing points, use [FUNC] + (LEVEL) or [RIGHT]
also select slices if available [LEFT], or (A), (B), (C) respectively.

Marker indicator shows a ‘box’ symbol when on a zero crossing position

To open the Slice Edit Pop Up Menu Press [YES] or [FUNC] + [BANK] +

When sequencing slices, ensure the SRC parameters are set correctly. SLIC would need to be on and the LEN would need to be set correctly
Each trig set to a slice. A good start is to set loop off, Setup Page; SLIC = ON, LEN = TIME, Main Page; LEN = 127, STRT to the Slice SL1 …
etc.

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NOTES

Slice Sub Menu - Slice Edit

The slice pop-up menu is available in AED. A slice must already exist in
order to edit it’s start, end and loop points. This menu offers automatic grid
as well as manual slicing to the edit marker. The slice edit menu is available
from within the SLICE page by pressing [YES] or [FUNC] + [BANK].

Slice playback will depend on the settings in the SRC Page. The SLIC -
Slice setting needs to be set ON to play slices and the STRT - Start position
may reflect the sample slice start.

Advanced Slicing Options

Create Slice Grid

(Even slices across the trimmed sample)

Slices are distributed at equal distances apart, starting at

the defined sample start, finishing at the sample end.

Number of slices: 2, 3, 4, 6, 8, 12, 16, 24, 32, 48, 64

Create Slice Grid

(Zero Crossing distributed across trimmed sample)

Slices are distributed at evenly spaced and adjusted to

the nearest zero crossing point, starting at the defined
sample start, finishing at the sample end.
Number of slices: 2, 3, 4, 6, 8, 12, 16, 24, 32, 48, 64

Create Linear Locks

SRC Page SLIC parameter set to ON. Trigs should be

initially set and are automatically locked to the slice start.
Only for Flex and Static Machines. Dependant on number
of existing slices. Slices must already exist.
SL1 SL2 SL3 SL4

Create Linear Locks

SRC Page SLIC parameter set to ON. Trigs that already

exist are automatically locked to random slice start.

Only for Flex and Static Machines. Dependant on number

of existing slices. Slices must already exist.
SL1 SL2 SL3 SL4

Note that the sample start / end is based on any trimmed positions that has been edited in the
‘Trim’ function rather than using the original sample length.

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NOTES

Audio Editor [AED] Direct access to Slice Grid +

SLICE Page Command Reference

Menu Function Control Description
Move edit & Select Turn (LEVEL) or Locate the edit marker position within in the
Main
Slice Press [RIGHT] or [LEFT] waveform and select an existing slice.
Plays and previews the selected slice or from edit
Main Preview to Main Press [FUNC] or [YES]
at the main audio outputs.
Plays and previews the selected slide or from edit
Main Preview to Cue Press [CUE] or [YES]
at the cue audio outputs.
Scrolls the bounding selection box across the
Main Scroll Waveform Turn (E) waveform horizontally. White box indicates
position with respect to the full waveform.

Zooms in or out of the waveform horizontally on

Turn (F) or
Main Zoom X-Axis the X-Axis. Display indicates zoom level on the
Press [UP] or [DOWN]
top white bar with respect to the full length.

Zooms in or out of the waveform vertically on the

Main Zoom Y-Axis Turn (D) Y-Axis. Display indicates zoom level on the right
slider with respect to the full size.

Adjust the active slice start playback position

labelled as ‘S’. End position will adjust relative to
Main Slice Start Pos Turn (A)
start. Sample position, BPM and Bar Length are
displayed when adjusting.
Adjust the active slice end / stop position labelled
Main Slice End Pos Turn (C) as ‘E’. Changes to the sample position, BPM and
bars are displayed when adjusting.
Adjust the active slice loop position labelled as ‘L’.
Main Slice Loop Pos Turn (B)
Changes to the loop start position.
Only available when the marker is located within
Slice Edit Add Slice Here Menu Selection an area that is not sliced. Creates a slice at the
edit marker point.
Only available when the marker is located within a
Slice Edit Disable Loop Menu Selection
slice. Deletes the loop point marker.

Slice Edit Reverse Slice Menu Selection Reverses the audio of the selected slice.

Normalises the audio of the selected slice by

Slice Edit Normalize Slice Menu Selection
maximising the audio level.

Slice Edit Delete All Slices Menu Selection Deletes all existing slices.

Automatically places a chosen number of slices,

equally placed or aligned to zero crossings,
Slice Edit Create Slice Grid Menu Selection
between the sample trimmed start and end. Press
[FUNC] + [AED] to directly access this sub-menu.

Will automatically set SLIC (SRC Page) to ON

Create Linear and lock the STRT parameter of each existing trig
Slice Edit Menu Selection
Locks to the consecutive slices, SL1, SL2 etc. Available
in Flex and Static machine tracks only.

Will automatically set SLIC (SRC Page) to ON

Create Random and lock the STRT parameter of each existing trig
Slice Edit Menu Selection
Locks to random slices. Available in Flex and Static
machine tracks only.

Will enable a left, right or stereo waveform to be

Slice Edit Change View Menu Selection displayed as CH L View, CH R View or Stereo
View waveforms on the display.

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NOTES

▌MANUALLY CREATING NEW SLICES IN A WAVEFORM

1. Press [AED] to open the audio editor or [FUNC] + [AED] to directly

access the slice grid. Alternatively, on a sample from within the sample
list, or in the SRC or recording setup page, press [FUNC] + [BANK] to
directly open the audio editor for the sample.

2. Press [AMP] within AED to open the SLICE page.

3. It may be useful to view the sample as a stereo or mono file. The view
option can be selected using ‘CHANGE VIEW” in the Slice Edit Menu by
pressing [YES] or [FUNC] + [BANK].

4. To navigate the waveform; Turn (E) - Scroll, Turn (F) - Zoom X-Axis,
Turn (D) - Zoom Y-Axis. It is useful to zoom in close to allow precise
positioning of the slice positions or of the edit marker.

5. Turn (LEVEL) to navigate and position the edit marker to a targeted

start position located at a non-sliced part of the waveform. Use [FUNC]
+ (LEVEL) to set at a zero crossing position identified by the box.

6. Press [YES] or [FUNC] + [BANK] to open the Slice Edit pop-up menu.

7. Select ‘ADD SLICE HERE’ to create a slice with the start ‘S’ at the
current edit marker position. This option is only available when the
marker is located at a part of the waveform that is not currently sliced.

8. Press [LEFT] [RIGHT] to navigate samples. The (LEVEL) edit marker

will also automatically select slices when navigating.

9. Once created the slice can be edited. Turn (A) to adjust the slice ‘S’
Start Position, Turn (C) to adjust the slice ‘E’ End Position.

10. Each slice can have its own loop point. Turn (B) to set or adjust a slice
Loop Position.

11. Further editing options are available to normalize, reverse or delete a

slice. Press [YES] or [FUNC] + [BANK] to open the Slice Edit pop-up
menu and to access these options.

12. Repeat steps 4-10 to create more slices.

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NOTES

▌CREATING SLICES TO A DEFINED GRID SPACING

1. Press [AED] to open the audio editor or [FUNC] + [AED] to directly

access the slice grid. Alternatively, on a sample from within the sample
list, or in the SRC or recording setup page, press [FUNC] + [BANK] to
directly open the audio editor for the sample.

2. Press [AMP] within AED to open the SLICE page.

3. Press [YES] or [FUNC] + [BANK] to open the Slice Edit pop-up menu.

4. Select ‘CREATE SLICE GRID’ to create a sequence of slices between

the sample start and end points.

5. The number of slice options box will be displayed. Press [UP] [DOWN]
to navigate the options and highlight the desired number of slices. The
options available are 2, 3, 4, 6, 8, 12, 16, 24, 32, 48 and 64.

6. Press [YES] to select the highlighted number slices or [NO] to cancel,

7. The message, ‘ALIGN MARKERS TO ZERO-CROSSES?’ is presented.

Press [YES] to align sample slices to nearest zero crossing points or
Press [NO] to evenly space the slices between start and end points.

8. The sample is sliced according to the options selected and the slice
point markers displayed. Slices are distributed across the trimmed
sample length not the original sample length.

9. To navigate and select through the slices, Press [LEFT] [RIGHT]. Slices
are also automatically selected based on the edit marker location,
adjusted by turning (LEVEL).

10. Once created the selected slice can be edited. Turn (A) to adjust the
slice ‘S’ Start Position, Turn (C) to adjust the slice ‘E’ End Position.

11. Each slice can have its own loop point. Turn (B) to adjust a slice Loop
Position.

12. Further editing options are available to normalize, reverse or delete a

slice. Press [YES] or [FUNC] + [BANK] to open the Slice Edit pop-up
menu and to access these options.

Note: Press [FUNC] + [AED] to access the slice grid directly from any point in Octatrack. This will
open the audio editor and also open the slice grid pop-up selection options for the number of
slices. This is equivalent to Step 5 above.

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NOTES

▌ AUTOMATICALLY CREATING STRT LOCKS WITH SLICES

This function is available for flex and static machines only and while
creating slices assigns a STRT position lock. It requires slices to exist and
trigs to already be set in the track sequence.

1. If Trigs are not already set, select [REC] to enter step recording mode.
Assign Trig steps by pressing the Trig [1] - [16] as desired. Locks are
automatically applied only to existing Trigs on the track.

2. Press [AED] to open the audio editor or [FUNC] + [AED] to directly

access the slice grid. Alternatively, on a sample from within the sample
list, or in the SRC or recording setup page, press [FUNC] + [BANK] to
directly open the audio editor for the sample.

3. Press [AMP] within AED to open the SLICE page.

4. Press [YES] or [FUNC] + [BANK] to open the Slice Edit pop-up menu.

5. Select ‘CREATE LINEAR LOCKS’ to create a consecutive sequence of

slices between the sample start and end points.

Alternatively

5. Select ‘CREATE RANDOM LOCKS’ to create a random sequence of

slices between the sample start and end points.

6. Press [YES] to confirm ‘ALTER TRIGS?’. This will apply STRT locks for
each slice across the available trigs. Also the SRC Setup SLIC
parameter will be set to ON.

7. The Trigs will flash Yellow to indicate a lock is applied. The slice can be
viewed on the STRT parameter lock on the SRC page when holding the
Trig button.

Linear Slice Examples

Trigs Set Number of Slices STRT Parameter Behaviour
Trig 1 = SL1, Trig 5 = SL2, Trig 9 = SL1
1, 5, 9 2 (SL1, SL2) Slices will be applied in consecutive order across all of the
available Trigs, wrapping back to Slice 1.

Trig 1 = SL1, Trig 5 = SL2, Trig 9 = SL3

1, 5, 9 4 (SL1, SL2, SL3, SL4) Slices will be applied in consecutive order across all of the
available Trigs based on available slices.

Trig 1 = SL1, Trig 5 = SL1, Trig 9 = SL1

1, 5. 9 1 (SL1) When only one sample is available it will be repeatedly
mapped to each available trig.

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12.10 Creative Use of Slices and Start Position. NOTES

While trimming and slicing of a sample appears to be primarily an

administrative task, there are many creative opportunities that arise based
on the these attributes and parameters. Some related comments, topics
and tips to consider:-

• The sample start position ‘S’ will be the playback start.

• It is useful to zoom in close to allow precise positioning of the trim and

slice positions or of the edit marker. To navigate the waveform; Turn (E)
- Scroll, Turn (F) - Zoom X-Axis, Turn (D) - Zoom Y-Axis.

• To set loop position; Turn (B) - Loop ‘L’. Playback will comments start ‘S’
and then at the end ‘E’ it will loop back to restart at the ‘L’ position and
continue the cycle. The SRC Main page RATE setting will affect loop. If
RATE is set negative the loop will play from ‘E’ to ‘L’.

• For precise settings at positioning a marker on a wave zero crossing

and to avoid audio ‘clicks’ use [FUNC] +. For example [FUNC] + (A) for
Start. A box symbol appears centrally on the marker when it is on a
zero crossing.

• Samples have an ‘original’ calculated tempo BPM and bar length. When
trimming a sample, these may be impacted and may not give the
desired results. For example the bar length when truncating a sample
may remain at the original length and therefore stretch the audio.
Parameters in the attributes page will allow adjustments to correct.

• In the FILE page, saving the settings allows the trim and slice state to
be retained. The settings are linked to a sample slot, not the sample
itself. This allows the same sample to be used in multiple sound slots,
each with its own trim settings.

• The trim and slice edit pop-up menus are accessed by pressing [YES]
or [FUNC] + [BANK]. More advanced options are available here.

• Slice audio editor can be directly accessed. Press [FUNC] + [AED].

• SLIC (SRC Setup Page) must be ON for Slice playback from the
sequencer.

• The SRC page SRT parameter is important for slice playback. SLIC
(SRC Setup Page) must be ON for Slice SL1,SL2 etc playback and If
SLIC is OFF approximate sample starts are used.

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▌CREATIVE MODULATING OF SAMPLE START

This creative tip will modulate the start of a sample and therefore create
interesting sound designs. This is great for generating unusual percussive
rhythms.

1. Create a track with a Flex Machine. While this process technically works
with Static Machines, the performance may be limited due to the speed
of streaming from the compact flash.

2. Load a sample into the Flex machine. A good example would be a

percussive sample.

3. Set Trigs to initiate playback of the sample. Example Trig 1, 5, 8, 9, 12,

13. The sample will restart (at the start STRT) playback on each trig
activation.

4. Set locks on the Trigs using the STRT parameter found in the SRC
page. For example Hold Trig 5 + Turn B. Repeat for other Trigs.

5. Why not try experimenting:-

• Try randomising the SRC page as locks on each Trig.

• Set an LFO to control the sample start. Sample and hold is an

interesting LFO to try.

• Also try locking other parameters to say adjust pitch as well as start.

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▌SLICE PLAYBACK MODULATION FOR CREATIVE SOUNDS

This creative tip will modulate sample slice playback. This is ideal for
generating glitchy vocal patterns.

1. Create a track with a Flex Machine. While this process technically works
with Static Machines, the performance may be limited due to the speed
of streaming from the compact flash.

2. Load a sample into the Flex machine. A good example would be a

recorded vocal sentence, speech or spoken word.

3. Set Trigs to initiate playback of the sample. Example Trig 1, 5, 8, 9, 12,

13. The sample will restart (at the start STRT) playback on each trig
activation.

4. Slice the sample to grid. Adjust the slices to capture specific phrases in
the sentence.

5. Set Trigs in the pattern.

6. Select from the Slice Edit menu ‘CREATE LINEAR LOCKS’ to set the
Trigs to activate individual slices. To be even more creative try ‘CREATE
RANDOM LOCKS’

7. Experiment with Trig patterns and generate new random locks to

develop patterns of phrases. Try modulating other parameters such as
pitch or add and modulate filters.

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12.11 Edit Toolkit - Audio Editor.
The Edit function located within the audio editor provides a comprehensive set of tools for alternate
and more in depth sample editing. The available options are machine dependant. A flex sample,
presents many edit options and a static sample have a limited set of edit options.

The Edit options are available within the Audio Editor. To audition the active slice audio
Press [FUNC] + [YES] to audition to the main outputs or
[FUNC] + [CUE] to audition to the cue outputs.
Audio Editor [AED]

Sample Slot 1 - Sample Name: MiracleWorker

Edits can be made to the part of the sample selected in the bounding box. Zero-crossing points will show as a square icon on the bounding markers.

Data Entry (F) or

[UP] [DOWN] The visible sample span view will be
Zoom Horizontal retained between trim, slice and edit
pages to make editing seamless
Sample Selection Bounding Box
Start (A) Does NOT affect Trim / Slice Settings End (C) Trim Slice

Audio Editor
Edit Function [LFO]
Zoom Vertical

Data Entry
(D)

462902 0.04s B:0.02

Sample Position Position Sec Bar Position

Scroll Horizontal
Parameter values will be displayed
Data Entry when adjustments are made.
(E)

Save the sample to retain the edits. Unsaved edits

will be lost if powered down. Unsaved samples with
edits applied will show starred in the sample lists. X
X

To open the Edit Pop Up Menu Press [YES] or [FUNC] + [BANK] +

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Audio Editor [AED]

EDIT Page Command Reference

Menu Function Control Description

Position the start of the selection bounding box by
Turn (LEVEL) or (A) or
Main Start Marker adjusting the start edit marker position. End
Press [RIGHT] or [LEFT]
moves relatively.
Position the end of the selection bounding box by
Main End Marker Turn (C)
adjusting the end edit marker position.
Plays and previews the selected slice or from edit
Main Preview to Main Press [FUNC] or [YES]
at the main audio outputs.
Plays and previews the selected slide or from
Main Preview to Cue Press [CUE] or [YES]
marker at the cue audio outputs.
Scrolls the bounding selection box across the
Main Scroll Waveform Turn (E) waveform horizontally. White box indicates
position with respect to the full waveform.

Zooms in or out of the waveform horizontally on

Turn (F) or
Main Zoom X-Axis the X-Axis. Display indicates zoom level on the
Press [UP] or [DOWN]
top white bar with respect to the full length.

Zooms in or out of the waveform vertically on the

Main Zoom Y-Axis Turn (D) Y-Axis. Display indicates zoom level on the right
slider with respect to the full size.

Selects the entire sample. Edit functions will apply

Edit * Select All Menu Selection
to the sample selection.
Will set the trim start and end points based on the
sample selection - all or by the bounding box.
Edit Crop to Selection Menu Selection Slices outside the selection will be incorporated
within the selection. To perform the actual trim use
the TRIM menu where these settings appear.
Removes audio within the selection. This can only
Edit Delete Selection Menu Selection be applied when deleting audio at the start or end
of the sample.
Saves the audio within the selection as a new
Edit Save Selection Menu Selection audio sample. This is saved in the same format as
the original sample.

Edit Reverse Selection Menu Selection Reverses the audio of the selected part.

Edit Fade In Selection Menu Selection Applies a linear fade in of the selected part.

Edit Fade Out Selection Menu Selection Applies a linear fade out of the selected part.

Normalises the audio of the selected part by

Edit Normalize Selection Menu Selection
maximising the audio level at the peak to 0dBfs.

Increased the audio of the selected part by 3dB. If

Edit Selection +3dB Menu Selection
the audio is already high, clipping can occur.
Attenuates / decreases the audio of the selected
Edit Selection -3dB Menu Selection
part by 3dB.

Silences the audio of the selected part. Also can

Edit Selection To Silence Menu Selection
be applied using [FUNC] + [PLAY] - Clear.

* Note: For static machines only the Select All, Calc BPM from Sel, Change Preview Mode and
Change View are available. All options are available for Flex machines.

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EDIT Page Command Reference (Continued)

Menu Function Control Description

Copies the audio of the selected part. Also can be
Edit Copy Selection Menu Selection
applied using [FUNC] + [REC] - Copy.

Pastes the audio of the copied part, same length to

the position set with start (A). Note, cannot paste into
Edit Paste Selection Menu Selection
audio currently copied. Also can be applied using
[FUNC] + [STOP] - Paste.
Copies the selected audio part and automatically
pastes it after the end selection point, retaining the
Edit Duplicate Selection → Menu Selection
existing sample length. The ‘Paste Mode’ setting will
also affect this function.
Copies the selected audio part and automatically
pastes it before the start selection point, retaining the
Edit Duplicate Selection ← Menu Selection
existing sample length. The ‘Paste Mode’ setting will
also affect this function.
Behaviour of the paste and duplicate options:-
Paste 0dB, Pastes by replacing existing audio.
Edit Change Paste Mode Menu Selection Paste -6dB, Pastes by attenuating pasted audio.
Mix 0dB, Pastes by mixing with existing audio.
Mix -6dB, Pastes by attenuating mixed audio.
Rotates the audio around the cursor marker. Audio
Edit Rotate Pos to Start Menu Selection after the marker is rotated to start at the front. Audio
ahead of the marker slides to later.
Performs various functions on the audio selection:-
Add CH L+R, Merge L/R and distributes to both L/R.
Subtract CH L-R, Subtract right from left. Distributes
Edit Mix Channels Menu Selection result to both L/R channels.
Subtract CH R-L, Subtract left from right. Distributes
result to both L/R channels.
Swap CH L+R, Swaps the L/R audio selection.
Performs phase inversion on the audio selection:-
Invert CH L&R, Applies phase inversion to both L/R of
the selected part.
Edit Invert Channels Menu Selection Invert CH L, Applies phase inversion to left channel of
the selected part.
Invert CH R, Applies phase inversion to right channel
of the selected part.
Calculated the tempo BPM from the sample selection.
The selecting sample size is assumed to be a musical
Edit * Cal BPM from Selection Menu Selection
length such as 0.5, 1, 2 bars etc. The ‘original tempo’
found in the attributes is assigned the new value.
Sets how the audio preview behaves when using
[FUNC] + [YES] and [CUE] + [YES].
Edit * Change Preview Mode Menu Selection
Play Once will playback the selection once.
Loop Selection will continuously playback
Selects how the audio is displayed.
CH L View will only show the left channel.
Edit * Change View Menu Selection
CH R View will only show the right channel.
Stereo View displays both L/R channels.

* Note: For static machines only the Select All, Calc BPM from Sel, Change Preview Mode and
Change View are available. All are options are available for Flex machines.

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▌FUNCTIONAL EDITING EXAMPLES

1. Press [AED] to open the audio editor on a selected track sample.

2. Press [LFO] to open the EDIT page.

3. Adjust the start of the selection box by turning (A) or (LEVEL). The end
point, if present, will move respectively to the start.

4. Adjust the end of the selection box by turning (C) until the desired part
of the sample is selected.

5. Press [YES] or [FUNC] + [BANK] to open the Edit pop-up menu.

6. A number of practical editing tools are available which can help correct,
adjust or edit the audio. Some examples are:

• Use the +/-3dB to affect parts of the audio to fix level variations.
Normalise can maximise the level based on the highest point.

• Use the bounding selection box to set the crop range. Trim can be
used to edit. The switch between the Edit and Trim functions offers
seamless workflow and views are matched up.

• Create a fade in and out on the sample start and end. Silence can
also be applied to selected parts. These are useful when preparing
and saving samples for future use.

• Establish a track tempo based on the sample selection. Ideally

select a 1 bar section and use ‘calculate BPM from selection’. The
original tempo is set in the attributes. Useful to match samples to a
defined tempo.

• Save selection to create new samples and loops. This can be useful
to create precise snapshots for example, isolating a kick, a snare
etc from a longer sample loop to create individual hits.

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▌CREATIVE EDITING EXAMPLES

1. Press [AED] to open the audio editor on a selected track sample.

2. Press [LFO] to open the EDIT page.

3. Adjust the start of the selection box by turning (A) or (LEVEL). The end
point, if present, will move respectively to the start.

4. Adjust the end of the selection box by turning (C) until the desired part
of the sample is selected.

5. Press [YES] or [FUNC] + [BANK] to open the Edit pop-up menu.

6. A number of creative editing tools can help create glitchy or crazy

designs, build unusual loops and mangle audio. Some examples are:-

• Select snippets of the audio and reverse it in the loop or mix 0db
audio together.

• Try repositioning parts of the audio using the copy and paste
commands. Use the duplicate selection options to move parts of the
audio. Keep mangling up audio to create interesting sounds.

• Use rotate position to start to move the audio selections. Multiple

iterations of this function with the marker repositioned can create
more interesting sounds.

• Save selection to create new samples and loops. This can be useful
to capture new samples and loops from the mangled creations.

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12.12 Attributes - Audio Editor. NOTES

A sample or a sample slice has a number of settings and parameters that

are presented in the attributes page. The attributes are linked to a sample
and can be edited and then saved from within the file menu. Attributes for
the loaded sample are accessed by pressing the [FX1] when in the AED -
Audio Editor.

▌CHANGING ATTRIBUTES

1. Press [AED] to open the audio editor on a selected track sample.

2. Ensure a sample is loaded and a selection is made. The selection can

be made in the Trim, Slice or Edit pages.

3. Press [FX1] to open the ATTR - Attributes page.

4. Press [UP] [DOWN] to navigate the options list. The selected option will
be highlighted. The page will scroll to reveal other parameters.

5. Turn (LEVEL) or Press [RIGHT] [ LEFT] to edit the currently highlighted

selection.

6. Some parameters such as original tempo, trim length and loop length
have an interdependent relationship and will change automatically when
the other parameters change. When editing one of these three, the last
edited parameter will also set this option as priority. This is indicated as
an arrow tag alongside the parameter value.

7. Press [NO] to exit.

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ATTR Attributes Main Page Parameter Reference

Function Description
Amplification or attenuation of the sample, applied at the point of triggering. Range is
Gain +24dB to -24dB. Default is 0dB with a setting of +12dB for recorder buffers for audio
engine compensation.

Selects the loop behaviour of the sample or slice from 3 available options:-
OFF - Ignores any loop settings. Does not loop.
ON - Will loop based on the applied loop point.
`Loop Mode PINGPONG - Will play in a loop to the end point, then reverse play back to the loop
point, then play forwards to end and so on continuously.
The Flex / Static machine SRC Setup AUTO setting also affects looping and allows
different loop settings for samples in a track

Selects the timestretch algorithm which is applied to the sample:-

OFF - Does not apply timestretch to the sample.
NORMAL - Timestretch algorithm suitable for general use.
Timestretch
BEAT - Algorithm used for rhythmic material such as drum loops.
The Flex / Static machine SRC Setup TSTR setting also affects timestretching and
allows different settings for samples in a track

The analysed and Octatrack calculated BPM (Beats per Minute) tempo defined for the
Original Tempo sample. This can be changed and will affect the sound. Changes to the original tempo
will also change the TRIM LEN (Bars) and LOOP LEN (Bars) attributes. The normal
(Arrow indicates this
parameter has priority) objective is to play the sample at the correct, original tempo. Octatrack calculates this
but it may need be adjusted to a more accurate value.

Trim Len (Bars) Shows the sample length in bars. This can be changed but will also automatically
change the LOOP LEN (Bars) and ORIGINAL TEMPO. Recommended that this takes
(Arrow indicates this
parameter has priority) priority if a clear bar length is defined in complete unit measures i.e. 1 bar, 2 bar.

Loop Len (Bars)

Shows the sample loop section length in bars. This can be changed but will also
(Arrow indicates this automatically change the TRIM LEN (Bars) and ORIGINAL TEMPO.
parameter has priority)

Quantizes manual (not sequenced) triggering of samples to maintain a sync with

other patterns. Used for Flex, Static samples, Recording Buffers, Pickup Machines
and sample slices. Manual triggering is applied with [TRACK] + [PLAY] or Trig [9] -
[16]. The QPL Parameter (Recording buffer - Recording Setup 2) mirrors this setting.
DIRECT - Normal default operation, sample plays immediately a trigger is initiated.
Quantized Trig PAT.LEN - Will start playback upon completion of the pattern length, after a trigger
has been initiated.
1/16 - Will start playback upon completion of the defined number of steps, after a
trigger has been initiated. Options 1/16, 2/16, 3/16, 4/16, 8/16, 12/16, 16/16, 24/16,
32/16, 48/16, 64/16, 96/16, 128/16, 192/16, 256/16. Option will flash if pattern length
is shorter than the option selected.

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12.13 Time Stretching and Tempo
Timestretching has over many years become and integral part of the art of audio production. At its
fundamental level, timestretching is the process of adjusting an audio sample’s speed or length
without effecting its pitch or tonal character. Of course this opens up many creative possibilities and
variants such as pitch shifting, the opposite of timestretching where the pitch is scaled without
affecting speed. A common use is to ensure all samples in a project align to the same tempo. While
many avenues (and rabbit holes) can be explored on this topic, it is good firstly to understand
Octatracks implementation and tools for timestretching, mainly found in the Audio Editor.

Example: Sample Slot 1 - Sample Name: MiracleWorker To audition the active slice audio
Press [FUNC] + [YES] to audition to the main outputs or
[FUNC] + [CUE] to audition to the cue outputs.

1 Bar

L 0.5 Bar

Original Tempo
Original Sample Octatrack will automatically calculate the
Plays to the original pitch, time tempo of recorded audio. This can be
and speed edited and fine tuned in the AED attributes.
Remember that this is the tempo of the
Example 118 BPM
sample and not the track tempo, although
it may initially reflect track tempo.

Trim Len
Sample length in bars. Using this as a priority is
recommended if the original and new length of the
sample has clearly defined unit intervals ie 1 bar
(illustrated in this example), 1.5 bar 2 bar etc.
Interdependent
parameters
Loop Len
Sample loop section length in bars. This can be set as
a priority but Trim Len and Original Tempo are typically
used more often. Illustration shows 0.5 bar.

1.5 Bar

Extended Sample Length

Would play slower, lower pitch
without processing.

0.5 Bar
Timestretch
Reduced Sample Length
Would play faster, higher pitch
The application of timestretching algorithms
without processing. can be set or timestretching turned off. The
algorithm will apply the stretch while aiming
to maintain pitch and tonal character.

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Tempo Alignment of Samples.

A common application of timestretching is to align the sample tempo used

in the various tracks to the project / pattern tempo. Flex machines provide
the most flexibility for editing and have the full Octatrack tool kit available
although this example can be applied to a static sample. Octatrack
calculates the BPM of recorded and imported samples but this may not be
fully accurate and manual adjustments may be needed. The example
shown here aims to edit to a 1 bar loop to match a 120 BPM project tempo.

2 Bars
Recording Buffer
Unknown BPM

4 Bars
Sample from Library
110 BPM

Samples can be prepared for the project. For example they can be trimmed (Trim & Edit Tools) to select
the audio start. The tempo adjusted (tametretched) to 120 BPM and trimmed to one bar loops.

1 Bar
Recording Buffer
120 BPM

1 Bar
Sample from Library
120 BPM

Main Project
Project Tempo 120 BPM

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▌TEMPO ‘BY EAR’ ALIGNMENT OF BEAT SAMPLES TO A PROJECT

1. It is useful when editing sample tempo to a project or pattern to use the

metronome click as a reference. Pressing [FUNC] + [MIX] to toggle
On/Off. Metronome volume is changed in the project settings: PROJ >
CONTROL > METRONOME - MAIN VOLUME, which is by default at 0.

2. In order to play and work on the sample, set the pattern length, for
example 1 Bar -16 steps, and in step recording mode, set the first Trig
[1] to ON in order to trigger the sample playback when the sequencer is
running. This example aims to edit to a 1 bar loop.

3. Check or set the project tempo, indicated on the top left of any main
track parameter page. Press [TEMPO] and Turn (LEVEL) to change.
The 120 BPM tempo in this example is referring to project tempo but
pattern tempo’s can be set independently in Octatrack.

4. Open the sample list to load a sample or record in the audio to capture
to a track. In this example Track 1, Flex Machine. Samples loaded will
automatically be calculated within Octatrack and aligned to the project
and try to match project tempo. However this may not be fully accurate
or for recorded samples, the tempo may be less distinguishable.

5. Press [AED] and select the TRIM Tool - [SRC]. Set a precise start point
at the desired sample position. The end is less relevant at this stage but
should be somewhere near the natural sample end.

6. Press [PLAY] to hear the sample triggered at the edited start point and
run for its duration, until re-triggered. The metronome can also be heard
an audible alignment evaluated.

7. Press [AED] and select the ATTR Options - [FX1]. Set the
‘TIMESTRETCH’ Option to BEAT. The NORMAL option can be used for
general less rhythmic material. This will ensure tonal and pitch
characteristics are retained. Note: the SRC Setup Page TSTR is also a
timestretch relevant parameter and set to AUTO is advised.

8. Press [AED] and select the ATTR Options - [FX1]. Adjustments to the
‘ORIGINAL TEMPO’ can now be applied by ear to ensure the
metronome clicks and audio of the sample beat matches.

9. Optionally the TRIM LEN can be adjusted instead of tempo. This may
be better for less rhythmic material or where sample lengths are better
known. Also if a loop position is set or important this can also be
adjusted.

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10. It is possible to circle back to the sample and edit the length. Press
[AED] to open the Audio editor. Playback of a loop can be seen on the
editor screen and the playback will cover the 1 bar of the sequencer.

11. Press [SRC] to select the Trim tool. Adjust the end to match the loop
that is played. The Bar length is shown on the right hand figures when
adjusting the end parameter (C). This example sets the length to 1 bar.

12. Switch to the editor, Press [LFO]. The settings will be available in the
editors too and pressing [YES] will access the options. Selecting ‘CROP
TO SELECTION’ will destructively crop the sample.

13. This now produces a 1 bar sample applied at the desired tempo and
which can then be saved for future use in the AED File menu using
‘SAVE SAMPLE COPY’.

14. The sample edits are saved as configuration data. Turning off TSTR in
the SRC Setup page will therefore remove any timestretching at
playback.

15. Re-sampling is also an option that can be performed to capture edited

samples to the library.

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12.14 File Management - Audio Editor. NOTES

The final function in the AED Audio Editor is the File option menu. The
available options will depend on whether a static or flex sample. The
application of file options is made by selecting the menu option.

▌INITIATING A FILE COMMAND

1. Press [AED] to open the audio editor on a selected track sample.

2. Ensure a sample is loaded.

3. Press [FX2] to open the FILE page.

4. Press [UP] [DOWN] to navigate the options list. The selected option will
be highlighted.

5. When the required option is highlighted and in focus, press [YES].

6. Follow the on screen instructions respective to the option selected.

7. Press [NO] to exit.

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FILE Page Function Reference

Function Description

Opens the file browser and presents the opportunity to load a new sample into the
Load New Sample
current track machine.

Saves the settings associated with the sample and based on the edits made in the
trim, slice and attribute tools. These are saved in a separate settings file linked to
`Save Sample Settings
the current sample. Loading the sample will therefore also load the linked settings
such as slices and edits.

Saves the current edited sample to the compact flash as a new file in a format
based on the original file format - 16bit / 24bit, Mono, Stereo, or if a recording buffer
Save Sample Copy
file then it is saved as stereo and bit depth as per ‘Memory’ settings. Also saves
sample settings automatically when using this command.

This saves the sample as per the ‘Save Sample Copy’ command. In addition it will
Save and Assign Sample* present the opportunity to assign the sample to the current or another freely
available static or flex sample slot. Only available for saving flex samples.

Clear the flex or static machine sample slot. The same function can be applied in
Clear Slot
the slot list using [FUNC] + [PLAY] to clear.

Reverts to the saved file original state. All edits such as fades, reverse, etc will be
Revert to Saved File removed unless edits are saved to a settings file. The settings file is also reloaded
with this command.

* Note: For static machines the Save and Assign Sample option is not available. All options are
available for Flex machines.

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12.15 Saving Samples. NOTES

There are several ways and at various stages to save samples. A summary
for completeness is provided here.

▌SAVING SAMPLES FROM THE AED FILE MENU

1. Press [AED] to open the audio editor on a selected track sample.

2. Ensure a sample is loaded. Any edits made will be saved.

3. Press [FX2] to open the FILE page.

4. Press [UP] [DOWN] to navigate the options list.

• Select ‘SAVE SAMPLE SETTINGS’ to only save the associated edit

data. This is important to retain the sample’s edited information such
as trim settings, slices and attribute information.

• Select ‘SAVE SAMPLE COPY’ to save an additional, newly named

version of the current file along it’s edited settings.

• Select ‘SAVE AND ASSIGN SAMPLE ’ to save an additional, newly

named version of the current file along with it’s edited settings. In
addition this will assign the sample to a static or flex sample slot.
Flex samples only.

5. When the required option is highlighted and in focus, press [YES].

6. Follow the on screen instructions respective to the specific option

selected to complete the save. This may include renaming options and
confirmation prompts.

7. Press [NO] to exit.

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▌SAVING SAMPLES FROM THE RECORDING SETUP MENU

1. Once a recording has been made into a recorder buffer it can be saved
in the setup menu.

2. Press [FUNC] + [REC3] to open the recording setup menu.

3. A sub menu pop-up will appear that offers options for selection:-

• EDIT THIS RECORDING. To open the sample in the audio editor.

• SAVE THIS RECORDING. To save the recording. Will offer a ‘save

as’ option to rename the sample.

• SAVE ALL RECORDINGS. To save recording buffer recordings. Will

offer ‘save as’ options to rename the samples.

• GO TO MEMORY CONFIG. To open the memory config options,

same as selecting the PROJ > CONTROL > MEMORY option.

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Effects
Most samplers have a number of integrated Octatrack can also be used as purely an effects
effects and in this case Octatrack also has a box, for example using the thru machine to route
comprehensive effect library. In total there are external audio through Octatracks effect chains.
fourteen effects available to be allocated to each External effects can also be used by configuring
of the two track FX slots. FX1 is the first effect the cue output as a send / return set up. This will
slot which can host one of nine (from the total enable external devices such as delays or
14) available effects. FX2 is the second effect reverbs etc to be integrated into an Octatrack
slot and can host one of the total fourteen setup and workflow. FX Assignments are stored
effects. Effect types include reverb, delay, filter, with the part. Also FX parameters can be
EQ as well as phaser, distortion and flanger. parameter locked. This offers a great way to
Effects can be modulated and locked and when change and modulate these in a creative
coupled with LFO’s can offer a wide variety of manner, either in live scenarios or on the fly
creative options. The 2 effects per track are the during studio sessions.
default, however this is not the limitation of
effects that can be used. More effect chains can
be built into the FX slots of neighbour tracks
which also has two effects. FX chains can be
created with following neighbour tracks and the
additional 2 effects and so on. Of course while
this can create elaborate effect chains it does
limit the track count for other functions.

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13.1 Effect Summary. NOTES

A number of effects are available for each of the two slots per track. A quick
reference is provided here.

Effect Slots What does it do?

None FX1 FX2 A blank effect. Used when removing an effect from a slot

Low, High and Bandpass filter with two slope settings of 12dB
12/24dB Multi Mode Filter FX1 FX2
(2 Pole) or 24db (4 Pole). Ideal for frequency cutoff control.

Equalization effect that allows two variable frequency bands to

2 Band Parametric EQ FX1 FX2
be adjusted (Attenuated or amplified).

Equalization effect with allows control of three frequency bands

DJ Style Kill EQ FX1 FX2
with specific focus on the filter style adjustments.

Phaser particularly useful for sweeping style and width

2-10 Stage Phaser FX1 FX2
perception effects.

Flanging effect similar to the phaser but with more equally

Flanger FX1 FX2
defined notch positioning

Stereo chorus effect used for width and smooth style harmony
2-10 Tap Chorus FX1 FX2
applications.

Stereo effects focusing on the width and narrow adjustments.

Spatializer FX1 FX2
Ideal for giving stereo perception to mono sounds.

Comb filter is a resonant sounding filter with a metallic

Comb Filter FX1 FX2
harshness and pitch tuned overtones.

Compressor used for adjusting the perceived loudness and to

Dynamix Compressor FX1 FX2
control transients.

A collection of effects that add distortion and gritty, bit reduction

Lo-Fi Collection FX1 FX2
type effects into a mix.

Delay effect which introduces echo into the audio with the
Echo Freeze Delay FX2
freeze function introducing repeated sections.

Classic style plate reverb with the additional gating function for
Gatebox Plate Reverb FX2
enhancing the reverb feature set.

Spring Reverb FX2 Classic spring reverb with a more gritty twang to the audio.

Wide stereo reverb which is better suited to long decay times

Dark Reverb FX2
and ambient sound design.

Note that the individual track effects chain FX1 - FX2 will not be applied to DIR audio routing but
the FX1 - FX2 chain on the master track (if track 8 is set as a master and with installed effects) will
be applied to the DIR audio.

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▌QUICK EFFECT ASSIGNMENT

1. Press [FUNC] + [FX1] or quickly double press [FX1] to load an effect

into FX Slot 1.

2. Press [FUNC] + [FX2] or quickly double press [FX2] to load an effect

into FX Slot 2.

3. The FX Setup page will open. Press [UP] [DOWN] to navigate the left
side effect browser and to highlight to the desired effect. Note that some
effects are not available for loading into slot FX1.

4. Press [YES] with the effect highlighted to load it into the selected slot.

5. To set a slot to blank, select ‘NONE’ as the effect to load. This will
effectively create a blank slot with no effect applied.

6. The FX Main page will reflect the parameters specifically associated

with loaded effect as will the FX Setup Page.

▌RESETTING A LOADED EFFECT TO DEFAULT STATE

1. Press [FX1] or [FX2] + [PLAY] to clear the effect slot and reset to the
default state.

2. A CLEAR PAGE message will be displayed to confirm. The loaded

effect will remain and its parameters reset to the default state.

3. Press [FX1] or [FX2] + [PLAY] again to undo the clear command.

▌COPYING AND PASTING EFFECT SLOTS ACROSS TRACKS

1. Select a track with the effects to copy.

2. Press [FX1] or [FX2] + [REC] to copy the effect page.

3. A COPY PAGE message will confirm copy.

4. Select a destination track to paste the effect page.

5. Press [FX1] or [FX2] + [STOP] to paste the effect page. The effect along
with its copied parameter states is pasted into the FX slot.

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NOTES

When previewing a sample the effects in the track will be also

previewed. This behaviour can be changed in the personalize options
in the project menu.

▌SETTING THE DEFAULT FX PREVIEW STATE

1. Press [PROJ] to open the project settings.

2. Press [UP] [DOWN] to scroll the options and highlight SYSTEM.

3. Press [RIGHT] to access the sub menu options.

4. Press [UP] [DOWN] to scroll the options and highlight PERSONALIZE.

5. Press [YES] to select.

6. Press [UP] [DOWN] to scroll the options and highlight the ‘PREVIEW
WITHOUT EFFECTS’ Option.

7. Press [YES] to toggle the option On / Checked or Off / Unchecked.

8. When On the selected sample will preview and play without any of the
current track FX1 or FX2 applied. When Off the FX1 and FX2 will be
heard when the sample is previewed.

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NOTES 13.2 12/24dB Multi Mode Filter
In audio sound design a filter is a function that can reduce (attenuate) or
remove the frequency content within the audio range of a sound. A filter
also allows certain frequencies to pass through. Normal human hearing
spans a range of 20Hz to 20kHz and a filter therefore operates by removing
content at various points across this frequency range. In practical terms this
is usually to change and shape the sonic character and tone of the sound,
but can also be used manually or with modulation to create movement and
points of interest in an arrangement. Multi mode refers to the filter having a
variety of integral types while the 12/24dB refers to how steep or
aggressive the filter cutoff point will attenuate the frequencies.

Definitions: Example High Pass Filter

Gain reduction at the frequency defined.

Resonance
A boost at the point of cutoff which
adds resonance to affect the sound.
ATTENUATION

Cut Off Frequency

Point at which the filter starts to affect
and attenuate the audio frequencies.

Stop Transition Pass

Band Band Band

FREQUENCY
Typically 20Hz to 20kHz range

2 Pole filter has a slope of 12dB per octave.

2-Pole Smoother sound shape.

4-Pole 4 Pole has 24dB per octave cutoff slope.

More aggressive.

For a more buzzy, aggressive filter sweeps with prominent resonance in the audio set the resonance Q high and a 24dB
Slope. For more smoother, gentle filter sweeps, with a more subtle sound reduce the Q resonance and use a 12dB slope.

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13 Effects
Octatrack introduces a multi-mode filter through use of the FX slots. The NOTES
adjustment of the base and width can apply band-pass, when both filters are
in play, high pass, with width at max or low pass when base is set to
minimum. The filter also has an Attack - Decay envelope with a depth
parameter to adjust how much of the envelope is applied.

Base MULTI MODE FILTER

0 127
ATTENUATION

Roll off of back to back low pass and high

pass filters. The FX main page base (0-127)
and the width (0-127) parameters together set
0 Width 127 its frequency range.
Base = 0 and Width = 127 : No filter applied
Base = 0 and Width < 127 : Low Pass Filter
Base > 0 and Width = 127 : High Pass Filter
FREQUENCY Base > 0 and Width < 127 : Band-pass Filter

Base Cutoff Width

0 127
HIGH PASS FILTER - HP
ATTENUATION

127 Gentle 2-Pole 12dB/Oct roll off. The

Q - Resonance resonance range Q (0-127) sets it’s amplitude
HP 0 gain and Q can be applied to HP/LP or both in
the Setup Page. A more aggressive 4-Pole
24dB/Octave can also be applied.

FREQUENCY

Base Width Cutoff

0 127
LOW PASS FILTER - LP
ATTENUATION

127 Gentle 2-Pole 12dB/Oct roll off. The

Q - Resonance resonance range Q (0-127) sets it’s amplitude
0 LP gain and Q can be applied to HP/LP or both in
the Setup Page. A more aggressive 4-Pole
24dB/Octave can also be applied.

FREQUENCY

Optional
HOLD
+63
FILTER ENVELOPE

The filter envelope can be applied to various

DPTH Depth

ATK DEC
Attack Decay filter parameters. The AMP page HOLD
LEVEL

parameter can also be optionally applied to the

envelope. Assign the envelope to Base or
Width using the ENV Setup Page option.
DEPTH controls the amount of envelope
-64 applied and inverted with negative values.
TIME

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NOTES
Filter Setup Page

The 12/24dB Multi Mode Filter can be applied into either FX1 or FX2
depending on the application required. Parameters will be found in the Main
and Setup Pages of the FX Slots.

Setup Menu [FUNC] + [FX1] or [FX2]

(A) (B) (C)

+ or

Also double pressing

[FX1] or [FX2]

(D) (E) (F)

(A) HP (B) LP (C) ENV

Data Entry Data Entry Data Entry

Base Frequency Slope Width Frequency Slope Envelope Destination

Sets the high pass filter slope. Sets the low pass filter slope. 12dB Determines the destination where
12dB is a gentle slope while 24dB is a gentle slope while 24dB is a the envelope is applied. This is
is a sharper, more aggressive sharper, more aggressive slope. either to the base cutoff frequency
slope. or the width cutoff frequency.

12dB, 24dB 12dB, 24dB Base, Width

(D) HOLD (E) Q (F) DIST

Data Entry Data Entry Data Entry

Envelope Hold from AMP Resonance Destination Filter Headroom

Selects whether or not the AMP Selects how the FX main page Q Headroom of filter. The higher the
main page HOLD parameter will be resonance will affect the filter. This value the lower the headroom.
applied to the filter envelope. can be applied to only the LP The lower the value the higher the
cutoff, HP cutoff or to both. headroom.

On, Off None, HP, LP, Both 0 - 127

Note: The AMP page also contains envelope settings, which effect how the multi-mode filter
envelope is applied are explained in detail in the AMP settings.

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NOTES
Filter Main Page

The main page of the filter offers more of the dynamic settings, typically
used for modulation and performing filter sweeps. The filter envelope is also
controlled from the main page.

Main Menu [FX1] or [FX2]

(A) (B) (C)

or

(D) (E) (F)

(A) BASE (B) WDTH (C) Q

Data Entry Data Entry Data Entry

Base Frequency Width Frequency Resonance Amount

Sets the base cutoff frequency for Sets the width cutoff frequency for Amount of resonance applied to
the filter. This would be set to 0 for the filter. This would be set to 127 the filter cutoff frequency. The filter
a low pass filter and any >0 value for a high pass filter and any <127 affected is set by Q in the Setup
for high or band pass filter. value for low or band pass filter. page option.

0-127 0-127 0-127

(D) DPTH (E) ATK (F) DEC

Data Entry Data Entry Data Entry

Envelope Depth Envelope Attack Time Envelope Decay Time

Sets the amount of envelope is Sets the attack time duration of the Sets the decay time of the filter
applied to the cutoff frequency. filter envelope. envelope. Is triggered at the end
Destination is set by ENV found in of the attack time or, if applicable
the setup page. The envelope is after the hold time.
inverted with negative values.

-64 to +63 0-127 0-127

Note: The AMP page also contains the envelope which effects the multi-mode filter. These settings,
which effect how the multi-mode filter envelope is applied are explained in the AMP settings.

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NOTES 13.3 EQ Effects
Octatrack has two equalization effects available for slot FX1 and FX2. The
first is the 2 Band Parametric EQ for tonal adjustments and the other is the
DJ Style Kill EQ, more suited for live and improvisation and more akin to a
live filter effect more so than an EQ effect.

Terminology: Equalisation.

Equalisation or EQ as its better known is used to shape the frequency

profile of the audio sound by attenuating or boosting specific frequency
bands. A parametric EQ provides precise control in selecting the specific
bands that will be affected. This can be used in mixing for example to clean
up areas such as removing low frequency rumble. EQ can also be applied
in more creative applications for example to add tonal character changes to
a sound.

Specific frequencies can be cut or boosted to effect a tonal change. It is advised to used narrow
surgical cuts to correct any audio problems. Boosts can add presence in the highs.

Sub Bass Bass Lower Mids Upper Mids Highs

Freq
Freq Freq
Freq Freq

High Shelf
Q Gain
Low Cut Width of Range Boost or Cut at the
to adjust selected frequency

20Hz 60Hz 300Hz 2KHz 5KHz 20KHz

FREQUENCY
Human Hearing 20Hz to 20kHz Range

EQ Tips.

Some areas can have a defined effect on the audio. Creating a low cut may
remove some inaudible energy and allow more headroom in the mix.
Thicken the sound in the bass area but avoid the muddiness with a cut
around 250-350Hz. Honkiness may appear around the 500Hz-1KHz range.
Consider boosting vocals around 3KHz to cut through the mix. Sibilance
can occur around 5-10KHz and may be helped by a cut. A high shelf at
6KHz and above will add air and presence.

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NOTES
2-Band Parametric EQ - Setup Page

The 2-Band parametric EQ effect offers the option to set the type for each
band between low shelf or high shelf shelving filter or full parametric EQ
where frequency and it’s width range can be set specifically. The type is
found on the setup page.

Setup Menu [FUNC] + [FX1] or [FX2]

(A) (B) (C)

+ or

Also double pressing

[FX1] or [FX2]

(D) (E) (F)

(A) TYP1 (B) (C)

Data Entry Data Entry Data Entry

Type of Filter for 1st Band

Selects the type of EQ. Option
available are high shelf, low shelf
and standard parametric EQ.

LOW, PEQ, HIGH

(D) TYP2 (E) (F)

Data Entry Data Entry Data Entry

Type of Filter for 2nd Band

Selects the type of EQ. Option
available are high shelf, low shelf
and standard parametric EQ.

LOW, PEQ, HIGH

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NOTES
2-Band Parametric EQ - Main Page

The main page of the 2-Band Parametric EQ provides control over the
frequency, gain and frequency band range for each of the two available
equalization bands.

Main Menu [FX1] or [FX2]

(A) (B) (C)

or

(D) (E) (F)

(A) FRQ1 (B) GN1 (C) Q1

Data Entry Data Entry Data Entry

Frequency Band 1 Gain Adjustment Band 1 Frequency Range Band 1

Sets the target frequency for Adjusts the gain at the target Sets the width / range of the band
adjustment of the selected band frequency by boosting or cutting. to adjust from its central target
type EQ. This applies to the first This applies to the first band. frequency point. This applies to
band. the first band.

0-127 0-127 0-127

(D) FRQ2 (E) GN2 (F) Q2

Data Entry Data Entry Data Entry

Frequency Band 2 Gain Adjustment Band 2 Frequency Range Band 2

Sets the target frequency for Adjusts the gain at the target Sets the width / range of the band
adjustment of the selected band frequency by boosting or cutting. to adjust from its central target
type EQ. This applies to the This applies to the second band. frequency point. This applies to
second band. the second band.

0-127 0-127 0-127

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NOTES
DJ Style Kill EQ - Setup & Main Page

The DJ Equalizer is a 3 band EQ and is a cross between a filter and an EQ,

used in more creative, often live applications. There are no adjustable
parameters on the setup page of the DJ Style Kill EQ. All parameters that
can be edited exist on the main page. The 2-Band Parametric EQ provides
control over the frequency, gain and frequency band range for each of the
two available equalization bands.

Main Menu [FX1] or [FX2]

(A) (B) (C)

or

(D) (E) (F)

(A) LS F (B) (C) HS F

Data Entry Data Entry Data Entry

Low Shelf Frequency High Shelf Frequency

Sets the target frequency for the Sets the target frequency for the
low shelf filter. high shelf filter.

0-127 0-127 0-127

(D) LOWG (E) MIDG (F) HI G

Data Entry Data Entry Data Entry

Gain Adjustment Band 1 Gain Adjustment Band 2 Gain Adjustment Band 3

Boosts or cuts the first frequency Boosts or cuts the second Boosts or cuts the third frequency
band of the EQ. A maximum 127 frequency band of the EQ. A band of the EQ. A maximum 127
value will boost by +12db. A maximum 127 value will boost by value will boost by +12db. A
minimum 0 setting will kill the +12db. A minimum 0 setting will kill minimum 0 setting will kill the
frequency band fully. the frequency band fully. frequency band fully.

0-127 0-127 0-127

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 Effects 13
NOTES 13.4 Phaser & Flanger Effects
Traditional Phasers and Flangers are closely related effects perhaps
considered part of the same family and which apply changes to the audio to
give a more electronic sound with movement. Both effects will filter in a
series of peaks and notches in the frequency spectrum where the Phaser
affects phase delay. A Flanger however operates more on the time delay
and is based on replicating and doubling the input audio. The modulation of
the phase and speed is where the audio becomes more interesting when
applying these effects.

2-10 Stage Phaser - Setup Page

In Octatrack the Phaser will give a wider sweep style effect. The frequency
spectrum is divided into stages.

Setup Menu [FUNC] + [FX1] or [FX2]

(A) (B) (C)

+ or

Also double pressing

[FX1] or [FX2]

(D) (E) (F)

(A) (B) NUM (C)

Data Entry Data Entry Data Entry

Number of Stages
Number of stages used in the
phaser.

2, 4, 6, 8, 10

(D) (E) (F)

Data Entry Data Entry Data Entry

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NOTES
2-10 Stage Phaser - Main Page

The dynamic parameters are available on the main page which affect the
modulation and configuration. These are interesting when considering
parameter locks.

Main Menu [FX1] or [FX2]

(A) (B) (C)

or

(D) (E) (F)

(A) CNTR (B) DEP (C) SPD

Data Entry Data Entry Data Entry

Centre Phase Depth Speed

Sets the central phase used for Sets the depth of phase modulation Sets the speed of the phase depth
phase modulation modulation

-64 to +63 0-127 0-127

(D) FB (E) WID (F) MIX

Data Entry Data Entry Data Entry

Feedback Width Dry / Wet Mix

Feedback amount of the original Stereo width control of the affected Dry / wet mix of the original and
signal signal phased signal output.

-64 to +63 0-127 0-127

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NOTES
Flanger - Setup & Main Page

The flanger has no setup page options. All parameters can be found on the
main parameter page.

Main Menu [FX1] or [FX2]

(A) (B) (C)

or

(D) (E) (F)

(A) DEL (B) DEP (C) SPD

Data Entry Data Entry Data Entry

Delay Depth Speed

Sets the amount of delay in the Sets the depth of the flanger. Sets the speed of the flanger.
flanged signal .

0-127 0-127 0-127

(D) FB (E) WID (F) MIX

Data Entry Data Entry Data Entry

Feedback Width Dry / Wet Mix

Feedback amount of the original Stereo width control of the affected Dry / wet mix of the original and
signal signal flanged signal output.

-64 to +63 0-127 0-127

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13 Effects
13.5 Stereo Effects - Tap Chorus & Spatializer NOTES

Tap Chorus and Spatializer are both effects that operate on the stereo
image of the audio. The left / right position is normally adjusted with pan,
but with these effects the perceived width can be affected with Spatializer
using mid / side control, stereo filtering and spread. Chorus uses delay
techniques to bring a smooth feel to the stereo image.

Tap Chorus - Setup Page

Setup Menu [FUNC] + [FX1] or [FX2]

(A) (B) (C)

+ or

Also double pressing

[FX1] or [FX2]

(D) (E) (F)

(A) TAPS (B) (C)

Data Entry Data Entry Data Entry

Chorus Delay Taps

Number of delay taps applied to
the chorus effect.

2, 4, 6, 8, 10

(D) FBLP (E) (F)

Data Entry Data Entry Data Entry

Low Pass Feedback

Controls the chorus feedback low
pass filter.

0-127

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NOTES
Tap Chorus - Main Page

A chorus works on the principle of widening a signal by detuning a copy of

the signal. The delays are very close together which thickens the sound.
Often used on vocals

Main Menu [FX1] or [FX2]

(A) (B) (C)

or

(D) (E) (F)

(A) DEL (B) DEP (C) SPD

Data Entry Data Entry Data Entry

Delay Time Depth Modulation Speed

Delay time of the chorus taps. Depth of modulation applied to the Sets the low frequency modulation
chorus taps. speed of the taps.

0-127 0-127 0-127

(D) FB (E) WID (F) MIX

Data Entry Data Entry Data Entry

Feedback Width Dry / Wet Mix

Feedback control of the delay taps Stereo width control of the chorus. Adjust the dry / wet mix of the
output between unaffected audio
to the wet where chorus is fully
applied.

0-127 0-127 0-127

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NOTES

Spatializer - Setup Page

A spatializer is ideal for developing a more stereo, wider sound for example
from a mono signal.

Setup Menu [FUNC] + [FX1] or [FX2]

(A) (B) (C)

+ or

Also double pressing

[FX1] or [FX2]

(D) (E) (F)

(A) (B) PHSE (C)

Data Entry Data Entry Data Entry

Phase Reversal
Reverses the phase of the wet
signal channels.
None - No channel reversal.
L - Reverses the left channel
R - Reverses the right channel

None, L, R

(D) M/S (E) MG (F) SG

Data Entry Data Entry Data Entry

Mid / Side Selection Mid Gain Side Gain

Selects the MG and SG option on Adjusts the gain of the mid range of Adjusts the gain of the sides of the
or off. the audio image audio image

On, Off 0-127 0-127

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NOTES

Spatializer - Main Page

Main Menu [FX1] or [FX2]

(A) (B) (C)

or

(D) (E) (F)

(A) INP (B) DPTH (C) WDTH

Data Entry Data Entry Data Entry

Gain Input Depth Width

Adjust the dry signal gain Depth of the widened signal. Adjusts the amount of stereo
Operates in conjunction with the spread. Operates in conjunction
WDTH parameter. with the DPTH parameter.

-64 to +63 0-127 0-127

(D) HP (E) LP (F) SEND

Data Entry Data Entry Data Entry

High Pass Filter Low Pass Filter Send Level

Adjust the high pass cutoff Adjust the low pass cutoff Adjust the level of the widened
frequency of the widened signal. frequency of the widened signal. signal

0-127 0-127 0-127

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13 Effects
13.6 Comb Filter NOTES

Comb filtering works on the principle of delays in audio signals that create
peaks and troughs due to phase differences. This gives a unique metallic,
pitched and resonant sound. The Comb filter effect has no setup
parameters and all settings are on the main page.

Comb Filter - Main Page

Main Menu [FX1] or [FX2]

(A) (B) (C)

or

(D) (E) (F)

(A) PTCH (B) TUNE (C) LP

Data Entry Data Entry Data Entry

Resonant Frequencies Tuning Feedback Low Pass

Controls the resonant frequencies Changes the pitch up or down, Adjust the low pass filter cutoff
of the comb filter. maximum 2 Semitones either frequency of the feedback signal
direction.

0-127 0-127

(D) FB (E) (F) MIX

Data Entry Data Entry Data Entry

Feedback Gain Dry / Wet Mix

Controls the feedback gain Adjust the dry / wet mix of the
output between unaffected audio
to the wet where comb filtering is
fully applied.

0-127 0-127

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NOTES 13.7 Dynamix Compressor
A compressors main purpose is to create the ability to control the overall
level of a signal. Think of it as an automatic volume control. This is handled
by reducing the peaks in a signal and creating headroom for the overall
signal to be increased. Compressors are useful for peak reduction and
levelling of a sound and can control this based either on an audio average
RMS level or based on audio peaks.

Definitions: Traditional Compression

Gain
Reduction

Threshold
Signal is attenuated when
crossing the threshold.
Dynamic
Range

Make Up
Gain

Audio over Time

Gain reduction is made using a ratio. Ratio attenuates signals above the
threshold by an amount based on the ratio setting. A 2:1 ratio (gentle)
attenuates the signal to 1dB above the threshold for each 2dB that exceeds
the threshold. With a 4:1 ratio (medium) , if the signal exceeds by 8dB then
reduction will be down to 2dB above threshold. 20:1 ratio (strong) would be
considered limiting

. 1:1
Threshold

2:1

4:1
Output (dB)

8:1

∞ Limiting

Input (dB)

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NOTES

Dynamix Compressor - Setup Page

The compressor is normally considered more of an audio utility rather than

a creative effect.

Setup Menu [FUNC] + [FX1] or [FX2]

(A) (B) (C)

+ or

Also double pressing

[FX1] or [FX2]

(D) (E) (F)

(A) RMS (B) Data Entry

(C)
Data Entry Data Entry

Compression Base
The measure used for controlling
the compressor. RMS at Max is the
overall average audio level while a
setting at Min controls based on
peak audio levels.

0-127

(D) (E) (F)

Data Entry Data Entry Data Entry

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NOTES

Compressor - Main Page

Main Menu [FX1] or [FX2]

(A) (B) (C)

or

(D) (E) (F)

(A) ATK (B) REL (C) THRS

Data Entry Data Entry Data Entry

Attack Time Release Time Threshold

Adjust the compressor attack time, Adjust the compressor release Adjusts the compressor threshold
how aggressive the compressor time, how fast / slow the and knee point at which the
kicks in. The range represents compressor stops. The range compressor will act on the level.
0.5ms to 100ms. represents 50ms to 5s.

0-127 0-127 0-127

(D) RAT (E) GAIN (F) MIX

Data Entry Data Entry Data Entry

Ratio Make Up Gain Dry / Wet Mix

Adjust the compressor ratio and Adjust the output gain of the Adjust the dry level of
how aggressive the gain is compressor uncompressed audio between wet
reduced. Range represents 1:1 to fully compressed audio.
1:255.

0-127 0-127 0-127

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13 Effects
13.8 Lo-Fi Collection NOTES

The Lo-Fi collection effect is a variety of gritty and aggressive distortion

type effects available within one slot. Bit rate and sample rate reduction
plus amplitude modulation is build in.

Lo-Fi Setup Menu [FUNC] + [FX1] or [FX2]

(A) (B) (C)

+ or

Also double pressing

[FX1] or [FX2]

(D) (E) (F)

(A) (C) AMPH

(B) Data Entry
Data Entry Data Entry

Modulation Start Phase

Sets the amplitude modulation
start phase for the Lo-Fi effect.
Starts high at 90 Deg and 270
Deg starts low.

Off, 0-354 Deg

(D) (E) (F)

Data Entry Data Entry Data Entry

Note: The AMP page also contains the envelope which effects amplitude modulation. These
settings, which effect how the envelope is applied are explained in the AMP settings.

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NOTES

Lo-Fi Collection - Main Page

Main Menu [FX1] or [FX2]

(A) (B) (C)

or

(D) (E) (F)

(A) DIST (B) (C) AMF

Data Entry Data Entry Data Entry

Overload Distortion Amplitude Modulation Freq

Controls the overload distortion of Adjusts the amplitude modulation
the audio signal frequency. This is an LFO type
modulation of the volume. The
higher the setting the more
aggressive the sound.

0-127 0-127

(D) SRR (E) BRR (F) AMD

Data Entry Data Entry Data Entry

Sample Rate Reduction Bit Rate Reduction Modulation Depth

Adjusts the amount of sample rate Adjusts the amount of bit rate Controls the amount of amplitude
reduction. reduction. modulation applied to the effect.

0-127 0-127 0-127

Note: The AMP page also contains the envelope which effects amplitude modulation. These
settings, which effect how the envelope is applied are explained in the AMP settings.

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13 Effects
13.9 Delay NOTES

A delay is a classic audio effect which delays the audio signal by a defined
amount. When feedback is applied this can create repetitive echo like
effects and is great for time based sounds. Different types of delay exist
such as ping-pong, tape delay. Delays are used to add interest, thicken
sounds, blend a mix and fill space in an arrangement. They are also
commonly used to thicken vocals in a mix.

Definitions: Basic Delay

Time Synchronization
As this is time based, sync to the track is
important to ensure musical alignment.

Delay Time
Time delay between input and output.

Input Delay Line Output

Feedback
Connecting the output to the input creates feedback and increases the
delays and creates and echo effects. Filter options are also available in the
feedback loop in the Octatrack Freeze Delay.

Delay Time Chart

Time Divide Ratio Time Divide Ratio

1 1/128 16 1/8

2 1/64 24 1/8 dotted

3 1/64 dotted 32 1/4

4 1/32 48 1/4 dotted

6 1/32 dotted 64 1/2

8 1/16 96 1/2 dotted

12 1/16 dotted 128 1

Dotted delay values add 1/2 of the note value to its delay repeat timing rather than just
repeats of the ‘on beat’ standard values.

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 Effects 13
NOTES
The Octatrack Freeze Delay brings a wide range of features into a classic
delay. The Freeze Delay can only be applied into an FX2 Slot. This effect
also has dedicated controls within the Trig Mode.

Delay Setup Menu [FUNC] + [FX2]

(A) (B) (C)

Also double pressing

[FX2]

(D) (E) (F)

(A) X (B) TAPE (C) DIR

Data Entry Data Entry Data Entry

Ping Pong Delay Mode Dry Mix

Sets the delay state to ping pong Sets the delay mode between Sets how much of the dry signal is
(on) or normal (off). Ping-Pong will interpolation of delay times (on) mixed into the delay. Minimum
behave with the delays left to right and no interpolation (off). These setting will play purely the delay.
in the stereo image. operate in conjunction with TIME
changes in the main page.

Off, On Off, On 0-127

(D) SYNC (E) LOCK (F) PASS

Data Entry Data Entry Data Entry

Sync to Tempo Repeat Dry Signal Routing

Sets the delay state to synchronise Sets the delay to repeat (on). If Sets how the dry signal is routed
to tempo (on) or unsynchronised main page FB = 127, SEND = 0 will when LOCK = On which will mix in
(off). repeat infinitely. Lower FB to fade the dry signal. When Off, only
the echoes. SEND >0 wont repeat. delay buffer is heard. DIR controls
Repeat lengths controlled by TIME. dry signal level. When PASS =
On, delay buffer level controlled
by VOL, when set to Off, VOL
does not affect level.

Off, On Off, On Off, On

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NOTES

Delay - Main Page

Delay Main Menu [FX2]

(A) (B) (C)

(D) (E) (F)

(A) TIME (B) FB (C) VOL

Data Entry Data Entry Data Entry

Delay Time Feedback Delay Output Volume

Controls the delay time of the audio Controls how much of the delay Adjusts the main volume output of
loop. Will synchronise to tempo if output is fed back into the signal the delay effect.
SYNC is on. See timing chart for input. This creates echo effects.
reference.

0-127 0-127 0-127

(D) BASE (E) WDTH (F) SEND

Data Entry Data Entry Data Entry

High Pass Filter Low Pass Filter Audio Send

Adjusts the high pass filter Adjusts the low pass filter Controls the amount of audio
frequency of the delay feedback frequency, relative to BASE, of the signal sent to the delay line.
audio delay feedback audio

0-127 0-127 0-127

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NOTES 13.10 Reverb
Reverb or reverberation is essentially how the behaviour of an audio signal
acts in its defined space. Audio will bounce and reflect from walls and
objects in the room before it arrives, at different points in time, to the
hearing point. In basic terms a human will also hear the reflected audio
delayed from any direct audio.The reverb dynamics are therefore
represented by the shape and space in which it is generated.

Definitions: Basic Reverb

50-80ms
Initial original direct signal.

Subsequent reflections.
May be dampened from softer
impacts and late reflections.

Diffusion.
Time between reflections.

The sound will represent the room or space in which Pre-Delay. Reverb Tail.
it is generated. Reflections will also be heard, at Early reflections typically Time for sound to fully
different times from that of the direct audio. 80-100ms from the initial signal. dissipate.

Reverbs normally come equipped with some sort of filtering either on the
input audio, output wet audio or both. This is particularly useful given that
the overlaid harmonics and audio can become congested.

While electronic music replicates reverb as traditional effects, they were

originally developed using physical real world formats. Metal plates and
springs were commonly used to replicate room space as well as tape
machines.

Octatrack has 3 reverb types to choose from. all available only in FX2 slot.

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NOTES

Gatebox Plate Reverb - Setup Page

The gatebox reverb represents the classic plate reverb and includes
integrated gating features. Only available as FX2.

Gatebox Reverb Setup Menu [FUNC] + [FX2]

(A) (B) (C)

Also double pressing

[FX2]

(D) (E) (F)

(A) GVOL (B) BAL (C) MONO

Data Entry Data Entry Data Entry

Threshold Balance Mono

Sets the threshold volume level for Adjusts the left / right balance of Adjusts the reverb signal from
the gated signal the reverb audio signal mono to stereo continuously

0-127 -64 to +63 0-127

(D) (E) (F) MIXF

Data Entry Data Entry Data Entry

Main Mix Function

Sets the functionality of the main
MIX on the reverb main page. Can
be either MIX or SEND

Mix, Send

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 Effects 13
NOTES

Gatebox Plate Reverb - Main Page

Gatebox Reverb Main Menu [FX2]

(A) (B) (C)

(D) (E) (F)

(A) TIME (B) DAMP (C) GATE

Data Entry Data Entry Data Entry

Decay Time Damping Gate Time

Determines how long the reverb Represents the softer reverb. The Sets the gate time at which point
will be present. higher the value the faster the the reverb signal is gated. Max
reverb signal will reduce. Simulates setting is infinite gate time i.e. gate
absorbed audio in a room. off. Also based on threshold.

0-127 0-127 0-127

(D) HP (E) LP (F) MIX

Data Entry Data Entry Data Entry

High Pass Filter Low Pass Filter Dry / Wet Mix

Adjusts the high pass filter Adjusts the low pass filter Adjust between the dry level of
frequency of the reverb audio frequency of the reverb audio audio and wet reverb audio. Also
affected by the MIXF parameter
on the setup page where it can be
assigned to function as an
auxiliary send control.

0-127 0-127 0-127

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NOTES

Spring Reverb - Setup Page

The spring reverb represents the classic spring reverb with a more grungy
natural variable sound. Only available as FX2.

Spring Reverb Setup Menu [FUNC] + [FX2]

(A) (B) (C)

Also double pressing

[FX2]

(D) (E) (F)

(A) TYPE (B) BAL (C)

Data Entry Data Entry Data Entry

Spring Type Balance

Sets the type of spring from 3 Adjusts the left / right balance of
settings. Adjusts the sound from a the reverb audio signal
subtle spring to a more twangy
sound.

1, 2, 3 -64 to +63

(D) (E) (F)

Data Entry Data Entry Data Entry

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 Effects 13
NOTES

Spring Reverb - Main Page

Spring Reverb Main Menu [FX2]

(A) (B) (C)

(D) (E) (F)

(A) TIME (B) (C)

Data Entry Data Entry Data Entry

Decay Time
Determines how long the reverb
will be present.

0-127

(D) HP (E) LP (F) MIX

Data Entry Data Entry Data Entry

High Pass Filter Low Pass Filter Dry / Wet Mix

Adjusts the high pass filter Adjusts the low pass filter Adjust between the dry level of
frequency of the reverb audio frequency of the reverb audio audio and wet reverb audio.

0-127 0-127 0-127

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NOTES

Dark Reverb - Setup Page

The dark reverb represents a more wide ranging expansive reverb sound.
Only available as FX2.

Dark Reverb Setup Menu [FUNC] + [FX2]

(A) (B) (C)

Also double pressing

[FX2]

(D) (E) (F)

(A) PRE (B) BAL (C) MONO

Data Entry Data Entry Data Entry

Pre Delay Balance Stereo Width

Length of the short delay before Adjusts the left / right balance of Adjusts the width of the stereo
the signal reverberates the reverb audio signal signal between stereo and mono.

0 - 127 -64 to +63 0 - 127

(D) (E) (F) MIXF

Data Entry Data Entry Data Entry

Mix Function
Determines the role of the MIX
control found in the main page.
This can be mix or send.

Mix, Send

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 Effects 13
NOTES

Dark Reverb - Main Page

Dark Reverb Main Menu [FX2]

(A) (B) (C)

(D) (E) (F)

(A) TIME (B) SHVG (C) SHVF

Data Entry Data Entry Data Entry

Decay Time Shelving Damping Shelving Frequency

Determines how long the reverb Sets the shelving filter damping Sets the shelving filter frequency
will be present. applied. Max value includes treble at which the SHVG damping will
ranges into the reverb and min be applied. Can adjust the tone of
value dampens the signal. the reverb to a dark or lighter
sound.

0-127 0-127 0-127

(D) HP (E) LP (F) MIX

Data Entry Data Entry Data Entry

High Pass Filter Low Pass Filter Dry / Wet Mix

Adjusts the high pass filter Adjusts the low pass filter Adjust between the dry level of
frequency of the reverb audio frequency of the reverb audio audio and wet reverb audio. Also
affected by the MIXF parameter
on the setup page where it can be
assigned to function as an
auxiliary send control.

0-127 0-127 0-127

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 NOTES

360 The Octatrack Notebook : Reference & Guide

 14
MIDI
Octatrack has a powerful feature set to support operate with parameter locks and modulation.
8 Audio tracks but in addition also has the ability The set up of most equivalent parameters on
to sequence 8 MIDI tracks. This allows control MIDI tracks are the same as for audio tracks.
of externally connected equipment in sync with The parameter pages of interest other than
the Octatrack sequencer. An external MIDI setup pages are SRC, FLTR and AMP. Trigs
keyboard controller can also be connected. also have specific MIDI settings for MIDI tracks.
Octatrack has MIDI IN, MIDI OUT and also a MIDI communications have the Elektron turbo
MIDI Thru. All 3 use 5 Pin midi cables. A USB speed option when communicating with other
2.0 connector also enables external connection compatible Elektron gear and can communicate
to a PC / MAC and has the ability to also control on the Sysex protocol for transferring data
MIDI. Octatrack is not however a USB class between devices and PC/MAC. Transfer is a
compliant host nor does it support Elektron’s bespoke utility for communicating with
Overbridge functions. MIDI and USB can be Octatrack but features are limited to updates.
configured in the GLOBAL Settings menu, found MIDI of course relies on more than just
within the System, Audio Routing and MIDI Octatrack to operate correctly. It is strongly
Config sub-menus respectively. Output to USB advised to read the manufacturers
is recommended instead of both MIDI+USB if documentation to ensure compatibility and
only USB is required as this avoids speed smooth operation of connected devices.
limitations of the MIDI+USB output. Control of
MIDI CC, chords, and general control of external
MIDI equipment is possible. MIDI Tracks also

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14 MIDI
14.1 MIDI Definitions NOTES

To clarify some of the terminology and technology around MIDI with respect
to Octatrack a summary of key definitions is provided.

5 PIN MIDI

MIDI DIN 24 MIDI DIN 48 MIDI

This is available from MIDI This is available from MIDI Musical Instrument Digital
Out and Thru and enables Out and Thru and enables Interface. A protocol for
syncing of classic devices. syncing of classic devices. communicating between
This uses 0v & 5v messages This uses 0v & 5v messages electronic musical gear.
as sync signals at 24 pulses as sync signals at 48 pulses Never connect MIDI gear to
per quarter note (PPQN). per quarter note (PPQN). incompatible DIN signals.
When set to DIN 24 in the When set to DIN 48 in the
settings MIDI sync pulses are settings MIDI sync pulses are
available but no MIDI data is available but no MIDI data is
transmitted. transmitted.

MIDI CC MSB & LSB MIDI STANDARDS

MIDI Control and Note Most Significant Byte and While there are MIDI
change messages are used Least Significant Byte. MSB standards defined, many
to communicate messages provides the 128 data synth developers interpret
across MIDI values of 0-127. resolution which is ok for this in slightly different ways.
Control Changes (CC) affect most MIDI applications. More Its always worth reviewing
parameter values while note advanced devices use MSB the documentation with each
data triggers notes or tracks. and LSB values increasing to fully understand each
resolution to 16,384 steps. device level implementation.

NRPN SYSEX SDS

Non-Registered Parameter System Exclusive. This is an Sample Dump Standard. This

Number is part of the MIDI expansion of the normal MIDI is an older transfer protocol
standard. CC and NRPN are communications set up and is used for transferring data to
technically very similar but typically used for transferring and from devices. Elektron
NRPN is less well defined in data such as back ups, used the obsolete C6
the standards. NRPN uses patches, presets and Software in the past, however
more data and can give firmware updates to and from elektron Transfer software is
better control. devices. more current.

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 MIDI 14
NOTES 14.2 MIDI Input & Output Settings Overview
Octatrack communicates between external devices using the MIDI protocol.
Typically applications include using an external keyboard, pads or control
knobs to trigger notes or functions and / or to control parameter values
remotely. Equally Octatrack can also control and trigger external devices.

What can MIDI Control in the Octatrack?

• All parameters found on the track main pages (i.e. SRC, AMP, LFO,
FX1, FX2) can be controlled by Control Change (CC) messages.

• Triggering of tracks, samples and track recorders.

• Triggering of samples chromatically from an external keyboard.

In order to operate correctly with MIDI its important to have a clear view of
what you intend to achieve. There are several considerations when setting
up MIDI with other devices, some of which are clearly under the control of
the external device and its parameters. At a minimum, it is important to
consider the following topics:-

1. The base MIDI configuration settings found in the PROJ menu.

2. The external device to connect. Setting up a MIDI rig is about

mapping devices and matching up settings. Establish answers to
questions like, which device will lead and which will follow?

3. STANDARD Note Mapping. This is the default mapping using the

Standard MIDI mapping of defined parameters.

Or

3. TRIG mode. This will affect how MIDI behaves as each mode sets
the interface for different control environments. For example
chromatic trig mode is aimed at playing musical notes.

4. MIDI Map configuration reference. This should be a choice based on

the objective of your setup and whether Standard or a Trig Mode is
used. MIDI mapping reference tables are documented which will
guide on what message controls what function.

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14 MIDI
NOTES

The MIDI Settings are found under the Project [PROJ] settings options.
These should be checked or changed first to suit the configuration needed.

▌CHANGING THE MIDI SETTINGS

1. Press [PROJ] to open the project settings menu.

2. Navigate using [UP] [DOWN] to the MIDI option.

3. Press [RIGHT] or [YES] to select the right side MIDI Submenu.

4. Navigate using [UP] [DOWN] to the desired option. The available

submenu options include CONTROL, SYNC, CHANNELS and TURBO
Settings.

5. Press [YES] to select the desired submenu and view the parameters
and settings. These can be adjusted to align to the MIDI set up desired.
Defaults should be used as the starting point.

6. Press [NO] to exit the menu.

Out In Out

Octatrack External
Physical Connections
Device 1
In Out

External
Device 2
In

The MIDI settings in [PROJ] should be reviewed MIDI needs a minimum of two connected devices. The
(Default may be a good start) and if needed edited to settings and configuration should be checked for
suit the setup. This covers channels, audio track compatibility of parameter settings in the
behaviour, synchronisation and Elektron’s Turbo mode. manufacturers manual and documentation.

In this manual the single main controlling device will be called the ‘primary lead’ and any
secondary devices that are being controlled by the lead will be referred to as the
‘follower’. Alternative terminology may be used elsewhere.

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 MIDI 14

MIDI CONTROL - Project Settings Menu

Defines the behaviour of audio tracks when responding to external keyboards, pad notes or CC
knob changes and internal functions from the Octatrack knobs and trig keys affect external gear.
Navigate with [UP] [DOWN] and Press [LEFT] [RIGHT] to change the setting.

Context Function Options What does it do?

Main Sub Menu Parameters

MIDI CONTROL AUDIO CC IN ON / Checked (Default) - The audio tracks will react to any incoming MIDI
Control Change (CC) messages. This is how parameters are adjusted remotely.
Refers to audio tracks only OFF / Unchecked - The audio tracks will NOT react to any incoming MIDI
Control Change (CC) messages.

MIDI CONTROL AUDIO CC OUT INT - Internal control only. The audio tracks will NOT send any MIDI control
change messages out when the knobs are changed in Octatrack.
Refers to audio tracks only EXT - External control only. The audio tracks will send MIDI out but will NOT
affect any internal parameters. Consider this ‘local off’.

INT+EXT (Default) - Allows audio track knobs to control both internal

parameters and externally communicate MIDI control change messages.

MIDI CONTROL AUDIO NOTE IN OFF / Unchecked - The audio tracks will NOT react to any incoming MIDI Note
messages. For example tracks cant be triggered from an external keyboard.
Refers to audio tracks only STANDARD (Default) - The audio tracks will react to any incoming MIDI note
messages. Octatrack will respond based on the STANDARD MIDI mapping.

FOLLOW TM - The audio tracks will react to any incoming MIDI note
messages. Octatrack will respond based on the active TRIG Mode’s note
mapping.

MAP / TRACK - The audio tracks will react to any incoming MIDI note
messages. Octatrack will respond based on the active TRIG Mode’s note
mapping. The difference from FOLLOW TM is that this function allows for a
separate MIDI Note mapping per individual track using [MIDI] + [UP][DOWN]

MIDI CONTROL AUDIO NOTE OUT INT - Internal control only. The audio tracks will NOT send any MIDI messages
out when Trig [1] - [16] keys are pressed in Octatrack.
Refers to audio tracks only EXT - External control only. The audio tracks will send MIDI out but will NOT
trigger any internal machines or tracks when Trig [1] - [16] keys are pressed in
Octatrack.. Consider Trig keys as ‘local off’.

INT+EXT (Default) - Allows audio Trig [1] - [16] keys to trigger both internal
machines and tracks and also externally communicate MIDI notes

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14 MIDI

MIDI SYNC - Project Settings Menu

Defines the synchronisation behaviour of sequencer related functions such as clock, transport
controls as well as program changes when communicating to / from external gear. Access by
[FUNC] + [MIDI] and navigate with [LEFT] [RIGHT] and adjust the setting by turning (LEVEL) or
toggle with [YES].

Also within PROJ

Settings, MIDI Options

Context Function Options What does it do?

Main Sub Menu Parameters

MIDI SYNC TRANSP SEND - OFF / Unchecked (Default) - Realtime MIDI messages are NOT sent
out for the transport functions play, stop, continue and song pointer.
Transport SEND - ON / Checked - Realtime MIDI messages are sent out for the transport
functions play, stop, continue and song pointer. This allows the sequencer
commands to also trigger external playback etc.

RECV - OFF / Unchecked (Default) - Ignores realtime MIDI messages that are
received for the transport functions play, stop, continue and song pointer.

RECV - ON / Checked - Realtime MIDI messages that are received will be

applied to the transport functions play, stop, continue and song pointer. This
allows external sequencer commands to also trigger Octatrack playback etc.

MIDI SYNC CLOCk SEND - OFF / Unchecked (Default) - Realtime messages are NOT sent out for
the MIDI clock.
MIDI Clock SEND - ON / Checked - Realtime messages are sent out for the MIDI Clock.

RECV - OFF / Unchecked (Default) - Ignores incoming clock messages.

RECV - ON / Checked - Realtime messages are received from external devices

for sync of Octatrack’s MIDI Clock.

MIDI SYNC PROG CH SEND - OFF / Unchecked (Default) - Program change messages are NOT sent
out to the external device when a pattern is changed on the Octatrack.
Program Change SEND - ON / Checked - Program change messages are sent out when a
pattern is changed on Octatrack. In turn this will message a control to change a
program on the external device.

Ch (Located under the SEND function) - Channel on which a program change

Program Change Notes: message will be sent. AUTO (default) means first MIDI channel used by audio
Ch set to AUTO does not refer to ‘auto channel’. tracks but not one used in MIDI tracks. Alternatively a defined channel can be
Program change messages are ignored on the auto selected.
channel if in MIDI mode. Program change will be
remapped to the active MIDI Track NOTE SETUP.
RECV - OFF / Unchecked (Default) - Program change messages from an
If Transport and Clock receive are set to active, then
external device are ignored in the Octatrack.
the Octatrack will wait for a MIDI clock for 16 secs after
start or continue message to determine if external sync
RECV - ON / Checked - Program change messages are received from an
is lost. This allows for synchronisation between devices
external device which will initiate an Octatrack a pattern change.
when pre-roll start vs clock start is managed differently.
Ch (Located under the RECV function) - Channel on which a program change
message will be received. AUTO (default) means any channel in CHANNELS
menu option list. Alternatively a defined channel can be selected.

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 MIDI 14

MIDI CHANNELS - Project Settings Menu

Defines the audio track assignment of channels for communicating to and from external MIDI
devices. Navigate with the [LEFT] [RIGHT] buttons and adjust the setting by turning (LEVEL) or by
pressing [UP] [DOWN].

Context Function Options What does it do?

Main Sub Menu Parameters

MIDI CHANNELS AUTO Ch Options - OFF / 1-16 (11 Default) - Allows communication to be automatically
connected to the currently active track.
Auto Channel Any CC messages can be recorded in Live Recording mode. Note messages
on this channel can play chromatically.

The behaviour of the auto channel is also associated with the MIDI Mode
(On/Off) and CC DIRECT CONTROL (Enabled / disabled). If both are enabled
the auto channel CC are automatically routed to MIDI Out.

MIDI CHANNELS TRIG CH 1 - Refers to Audio Track 1. MIDI Channel assignment 1-16 directly to the track.
2 - Refers to Audio Track 2. MIDI Channel assignment 1-16 directly to the track.
3 - Refers to Audio Track 3. MIDI Channel assignment 1-16 directly to the track.
Individual track channel 4 - Refers to Audio Track 4. MIDI Channel assignment 1-16 directly to the track.
5 - Refers to Audio Track 5. MIDI Channel assignment 1-16 directly to the track.
6 - Refers to Audio Track 6. MIDI Channel assignment 1-16 directly to the track.
7 - Refers to Audio Track 7. MIDI Channel assignment 1-16 directly to the track.
8 - Refers to Audio Track 8. MIDI Channel assignment 1-16 directly to the track

MIDI responds based on MIDI CONTROL Mapping and can send MIDI on
same channel from Trigs and Knobs. Off will ignore any MIDI In and Out.

If the Audio and MIDI tracks share the same MIDI channel the following applies. The MIDI Track will block the Audio track from
sending MIDI. The Audio track will block the MIDI track from receiving MIDI. As such it is recommended to set Audio and MIDI
tracks to different channels or turn off Audio Channels when using MIDI. The Auto Channel may be the simplest option to ensure
easy communications set ups.

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14 MIDI

MIDI TURBO STATUS - Project Settings Menu

Turbo mode is an Elektron specific protocol that can increase bandwidth which improves accuracy
for MIDI communications of clock signals and CC timing between other Turbo compatible devices.
Select the negotiation option with the [LEFT] [RIGHT] buttons and press [YES] to start negotiation.

Context Function Options What does it do?

Main Sub Menu Parameters

MIDI TURBO MODE CURRENT SPEED Shows the currently active multiplier when connected to a turbo compatible
device. Normally this is x1.0.
Indicator Only

MIDI TURBO MODE NEGOTIATE Negotiate - Selects the turbo speed MIDI transfer speed multiplier to be used.
Press [YES] to initiate negotiation.
Individual track channel

Note:
Only Turbo Speed compatible devices can communicate together using the Turbo Protocol. Given that this is an Elektron protocol,
then most compatible devices are part of the Elektron family.

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 MIDI 14
NOTES 14.3 MIDI Channels.
Octatrack applies some MIDI channel concepts that on first sight may be
confusing. It is therefore important to consider and note the following.

Auto Channel vs Track Channels

Octatrack can communicate on a per track basis, with manually assigned

MIDI channels to control tracks individually. Also, one channel is allocated
as the ‘Auto Channel’. Auto Channel automatically connects external
devices that are assigned to this MIDI channel, directly to the currently
selected track. The Octatrack default for the auto channel is channel 11.
Live recording of CC and Note data can therefore be performed on any
currently active track using an external MIDI device.

MIDI Track vs Audio Track Channels.

The Audio and MIDI tracks can share the same MIDI channel. If they are
communicating on the same channel, the MIDI Track will block the Audio
track from sending MIDI. Equally the Audio track will block the MIDI track
from receiving MIDI. It is therefore advised to set MIDI track and Audio
channels to different ones. Also it may be worth setting audio track
channels to off when using MIDI Mode. Using the Auto Channel may be a
better option in these scenarios.

What are Ctrl 1 and Ctrl 2?

These pages include 10 parameter control settings that are available in

MIDI tracks (MIDI Mode). These also allow configuration of MIDI to control
external gear from Octatrack. These have a relationship with the Auto
Channel and overall MIDI configuration.

What is CC DIRECT CONNECT?

This is a MIDI Sequencer mode found in the Project Control settings. This
applies one of two operating modes when working with MIDI CC In and the
Auto Channel.

1. When CC DIRECT CONNECT is ON / Checked (Default), and MIDI

Mode is ON, specific Ctrl 1 / 2 Page CC messages (i.e. knob changes) can
be played and live recorded from an external MIDI controller. Also CC
messages will be directly routed from MIDI In to MIDI Out.

2. When CC DIRECT CONNECT is OFF / Unchecked, then the Auto

Channel is used based on the MIDI Mappings. Only defined CC controls
(CC 16 - 45) are available to be recorded. CC 36 - 45 are always linked to
the Ctrl 1 / Ctrl 2 parameters.

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14 MIDI
NOTES
The first step in creating a MIDI set up is to ensure the channels are
configured to suit the application. For most applications the default value
may be good enough. Understanding the concepts applied is useful.

Example: Auto Channel Set Up with Audio Tracks

The auto channel will enable the currently active audio track to be automatically connected
to incoming MIDI on this channel. MIDI can be played and recorded to the selected track.
It is recommended to turn all other Track Channel assignments off if not needed.

T1 T2 T3 T4 T5 T6 T7 T8

MIDI IN

OFF OFF OFF OFF

OFF OFF OFF OFF

MIDI OUT

MIDI IN MIDI OUT

Channel 11 Channel 11

A keyboard connected for chromatic note data input will require the MIDI Settings ‘Audio Note In’ to be setup.
A MIDI controller for parameter changes will require the MIDI Settings ‘Audio CC In’ to be setup.

Keyboard and CC Controller can be connected by 5 Pin MIDI or USB. The example shows the Faderfox EC4 (The
EC4 use TRS MIDI Dongles) into the KeyStep (Set as MIDI Thru = On) and one single MIDI connection to Octatrack.
Connected devices for this application, should be set to the Auto Channel as defined in Octatrack.

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 MIDI 14
NOTES

Example: Dedicated MIDI Channel Set Up for Audio Tracks

Dedicated MIDI channels will be assigned to each individual audio track meaning MIDI can be played
and recorded to the track from the equivalent external device channel. Channels in Octatrack are by
default aligned to tracks i.e. Track 1 = Channel 1. Messages are based on the MIDI Control Mappings.

Track 1 Track 7
KeyStep Deluge

T1 T2 T3 T4 T5 T6 T7 T8

Ch 1 Ch 2 Ch 3 Ch 4 Ch 5 Ch 6 Ch 7 Ch 8

Track 8 would typically be

set as master track

OFF

Tracks can send Data Entry MIDI OUT

and Trig MIDI out on the
same channel
MIDI OUT

MIDI OUT MIDI IN

KeyStep - MIDI Channel 1 will control Octatrack Track 1. Deluge Sequencer MIDI Channel 7 - Track 7.
Set Octatrack ‘Audio Note In’ to On / Enabled. Set Octatrack ‘Audio Note In’ to On / enabled.

Keyboard and sequencer can be connected by 5 Pin MIDI or USB. The example shows the KeyStep into the Deluge
and a single MIDI connection to Octatrack. Each device is set on a different MIDI Channel to access individual tracks.

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14 MIDI
NOTES
MIDI Channels for the audio tracks are configured in the PROJ Settings
under the MIDI Channels section.

▌EDITING THE MIDI CHANNEL CONFIGURATION

1. Press [PROJ] to access the global settings.

2. Navigate to highlight the MIDI option, Press [UP] [DOWN].

3. Press [YES] or [RIGHT] to select the MIDI submenu.

4. Press [YES] to select MIDI CONFIG and reach the sub menu’s.

5. Navigate to highlight the CHANNELS option, Press [UP] [DOWN].

6. Press [YES] to select CHANNELS and reach the setup options

7. Press [LEFT] [RIGHT] to navigate to the desired option to change. The

selection will be highlighted.

8. On the highlighted and selected option, Press [UP] [DOWN] or Turn

(LEVEL) to change the parameter value.

9. Channels can be set between 1-16 or Off. Auto Channel default is 11

and channels are by default assigned per track, i.e. Track 1 = Channel
1, Track 2 = Channel 2 etc. The defined control messages will then be
transmitted across these channels. Off means messages will be
ignored. Defaults can be changed.

10. Press [NO] to back up and exit the menu.

Auto Channel.
Sets the auto channel.

Trig Ch.
Sets how the audio tracks will respond and send to
MIDI channels and the defined control messages
(control reference).

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 MIDI 14
NOTES
MIDI Input - Output Application

MIDI that is received can also be routed directly to the MIDI out depending
on the setup applied. The MIDI thru output will simply reflect the MIDI in
messages but MIDI In can also be transmitted on the MIDI Out. An example
is shown for Track 1.

Example Auto Channel CC Routing

Auto Channel gives direct access to the active track

which can then be live recorded

T1

In MIDI MODE and CC DIRECT CONNECT enabled, The ‘Audio CC In option should be
the MIDI input on the Auto Channel is directly sent out. enabled in the MIDI CONTROL settings.

MIDI IN MIDI OUT

MID CC (Control Change) Messages sent

on the Auto Channel can be live recorded
in Octatrack on the active track.

A keyboard can be connected to control note data and the Octatrack MIDI Settings ‘Audio Note In’ should be setup.
The MIDI controller for parameter changes will require the Octatrack MIDI Settings ‘Audio CC In’ to be setup.

The Octatrack Notebook : Reference & Guide 373

14 MIDI
14.4 MIDI Mapping of Incoming Note Control NOTES

The audio track main page parameters can be controlled by CC messages

and audio tracks, samples and track recorders can be triggered by external
MIDI gear. The convention employed in Octatrack is by assignment of a set
of defined MIDI messages directly to specific parameters and functions.
This is called MIDI Mapping and various Note and CC Mappings are
available. The behaviour on how these are applied depends on the current
Trig Mode and MIDI settings. There are some differences when working
with MIDI tracks. Standard mapping is the default.

MIDI Note & CC Mapping Modes

Mapping Mode Trig Mode Audio Note In Comments

Incoming MIDI notes from external devices do

None - Off NOT affect or trigger audio tracks and machines.

Triggers various functions including samples

All Standard playback, tracks and recording.
Standard Mapping Hold Trig + Play Notes / Turn CC in LIVE
Tracks Follow TM RECORDING Mode on the auto channel or track
channel to record locked PTCH or CC.

Trigger samples chromatically.

Chromatic Mapping Chromatic Follow TM Audio tracks play over 2-Octave range. MIDI
tracks play over the full 128 note range.

Slots Mapping Slots Follow TM Trigger the sample slots for flex and machines.

Trigger the sample slices for a track. The track

Slice Slices Follow TM must created slices available.

Mute Quick Mute Follow TM Allows MIDI and Audio tracks to be muted

Allows control of a echo freeze delay assigned to

Delay Delay Control Follow TM the effect. Triggered by sending both a note plus
the timing from the controller.

Control Change (CC) Parameter mapping for

Control Change All - modifying parameters.

Control Change (CC) Parameter mapping for

MIDI Mode CC All - modifying parameters in MIDI Mode.

374 The Octatrack Notebook : Reference & Guide

 MIDI 14
MIDI Note Mapping

The default settings in Octatrack are a good starting point for working with external MIDI Note inputs
to the Octatrack Audio tracks. The MIDI control input behaviour can be configured to adjust to the
Trig Mode by automatically switching to a different MIDI map than the STANDARD default.

▌CHANGING THE MIDI NOTE MAP SETTINGS FOR AUDIO TRACKS

1. Press [PROJ] to open the project settings menu.

2. Navigate using [UP] [DOWN] to the MIDI option.

3. Press [RIGHT] or [YES] to select the left side MIDI Submenu.

4. Navigate using [UP] [DOWN] to the CONTROL option.

5. Press [YES] to select.

6. To set the tracks to respond based on the Trig Mode selected and its appropriate map set:-

• AUDIO NOTE IN from STANDARD to FOLLOW TM. This will allow the MIDI mapping to
‘follow the trig mode’ when a change in Trig Mode is applied.

6. Press [NO] to back up and exit the menu.

Octatrack
MIDI Map will define how the incoming MIDI Notes controls the functions for the audio tracks.
Default

Standard Chromatic Slices Quick Delay

MIDI Map Map Map
Slots Map
Map Mute Map Control
Map

Trig Mode
[FUNC] + [UP] [DOWN]
Tracks Chromatic Slots Slices Quick Mute Delay Control

STANDARD FOLLOW TM Option to set the mode per

track is also available
Audio Note In Setting

The Octatrack Notebook : Reference & Guide 375

14 MIDI
NOTES
The Trig Mode Mapping can also be set on a track by track basis for
incoming MIDI Note messages.

▌SETTING A MIDI NOTE MAP PER AUDIO TRACKS

1. Press [PROJ] to open the project settings menu.

2. Navigate using [UP] [DOWN] to the MIDI option.

3. Press [RIGHT] or [YES] to select the right side MIDI Submenu.

4. Navigate using [UP] [DOWN] to the CONTROL option.

5. To set the individual tracks to respond based on the Trig Mode selected
and a selected map set:-

• AUDIO NOTE IN from STANDARD to MAP / TRACK. This will allow

the MIDI mapping to be assigned per track when Trig Mode is
applied.

6. Press [NO] to back up and exit the menu.

7. Select each track to assign a map. When a track is selected, Press

[FUNC] + [UP] [DOWN] to scroll through the maps available.

8. Release the buttons when the desired map is selected.

376 The Octatrack Notebook : Reference & Guide

 MIDI 14
NOTES
Standard Note Mapping (Default).
Plays / Triggers sample, track playback and pitch adjustments.
TRIG Mode MIDI Map Configuration - Audio Note In
How 16 Trig keys are used. How MIDI IN affects audio tracks

All or Tracks Standard or Follow TM

Press [FUNC] + [UP] [DOWN] to change mode. Press [PROJ] then select: MIDI > CONTROL

MIDI Note Behaviour

Note CC Function Note CC Function
C1 24 Audio Track 1 Play C4 60 Combo Record
C#1 25 Audio Track 2 Play C#4 61 INAB Record
D1 26 Audio Track 3 Play D4 62 INCD Record
D#1 27 Audio Track 4 Play D#4 63 SRC3 Record
E1 28 Audio Track 5 Play E4 64 Pickup Play / Stop
F1 29 Audio Track 6 Play F4 65 Multiply
F#1 30 Audio Track 7 Play F#4 66 Mute Active Track
G1 31 Audio Track 8 Play G4 67 Cue Active Track
G#1 32 G#4 68 Active Track Up (Auto Chan)
A1 33 Sequencer Stop A4 69 Active Track Down (Auto Chan)
A#1 34 Sequencer Start A#4 70 Toggle Sequence Sync
B1 35 Sequencer Restart B4 71 Toggle Sequence Sync + Start
C2 36 Audio Track 1 Sample Trigger C5 72 Track Sample Pitch -12
C#2 37 Audio Track 2 Sample Trigger C#5 73 Track Sample Pitch -11
D2 38 Audio Track 3 Sample Trigger D5 74 Track Sample Pitch -10
D#2 39 Audio Track 4 Sample Trigger D#5 75 Track Sample Pitch -9
E2 40 Audio Track 5 Sample Trigger E5 76 Track Sample Pitch -8
F2 41 Audio Track 6 Sample Trigger F5 77 Track Sample Pitch -7
F#2 42 Audio Track 7 Sample Trigger F#5 78 Track Sample Pitch -6
G2 43 Audio Track 8 Sample Trigger G5 79 Track Sample Pitch -5
G#2 44 G#5 80 Track Sample Pitch -4
A2 45 A5 81 Track Sample Pitch -3
A#2 46 A#5 82 Track Sample Pitch -2
B2 47 B5 83 Track Sample Pitch -1
C3 48 MIDI Track 1 Play C6 84 Track Sample Pitch 0
C#3 49 MIDI Track 2 Play C#6 85 Track Sample Pitch +1
D3 50 MIDI Track 3 Play D6 86 Track Sample Pitch +2
D#3 51 MIDI Track 4 Play D#6 87 Track Sample Pitch +3
E3 52 MIDI Track 5 Play E6 88 Track Sample Pitch +4
F3 53 MIDI Track 6 Play F6 89 Track Sample Pitch +5
F#3 54 MIDI Track 7 Play F#6 90 Track Sample Pitch +6
G3 55 MIDI Track 8 Play G6 91 Track Sample Pitch +7
G#3 56 G#6 92 Track Sample Pitch +8
A3 57 A6 93 Track Sample Pitch +9
A#3 58 A#6 94 Track Sample Pitch +10
B3 59 B6 95 Track Sample Pitch +11
C7 96 Track Sample Pitch +12

The Octatrack Notebook : Reference & Guide 377

14 MIDI
NOTES
Chromatic Note Mapping.
Incoming MIDI notes trigger the sample playback chromatically
TRIG Mode MIDI Map Configuration - Audio Note In
How 16 Trig keys are used. How MIDI IN affects audio tracks

Chromatic Follow TM
Press [FUNC] + [UP] [DOWN] to change mode. Press [PROJ] then select: MIDI > CONTROL

MIDI Note Behaviour

Note CC Function Note CC Function
C5 72 Track Sample Pitch -12
C#5 73 Track Sample Pitch -11
D5 74 Track Sample Pitch -10
D#5 75 Track Sample Pitch -9
E5 76 Track Sample Pitch -8
F5 77 Track Sample Pitch -7
F#5 78 Track Sample Pitch -6
G5 79 Track Sample Pitch -5
G#5 80 Track Sample Pitch -4
A5 81 Track Sample Pitch -3
A#5 82 Track Sample Pitch -2
B5 83 Track Sample Pitch -1
C6 84 Track Sample Pitch 0
C#6 85 Track Sample Pitch +1
D6 86 Track Sample Pitch +2
D#6 87 Track Sample Pitch +3
E6 88 Track Sample Pitch +4
F6 89 Track Sample Pitch +5
F#6 90 Track Sample Pitch +6
G6 91 Track Sample Pitch +7
G#6 92 Track Sample Pitch +8
A6 93 Track Sample Pitch +9
A#6 94 Track Sample Pitch +10
B6 95 Track Sample Pitch +11
C7 96 Track Sample Pitch +12

NOTE: Audio tracks play over a 2 Octave range. MIDI Tracks will span the full MIDI range of 128 Notes

378 The Octatrack Notebook : Reference & Guide

 MIDI 14
NOTES
Slot Note Mapping.
Plays / Triggers samples in the flex and static sample slot list.
TRIG Mode MIDI Map Configuration - Audio Note In
How 16 Trig keys are used. How MIDI IN affects audio tracks

Slot Follow TM
Press [FUNC] + [UP] [DOWN] to change mode. Press [PROJ] then select: MIDI > CONTROL

MIDI Note Behaviour

Note CC Function Note CC Function
C-1 0 Sample Slot 0 C2 36 Sample Slot 36

C#-1 1 Sample Slot 1 C#2 37 Sample Slot 37

D-1 2 Sample Slot 2 D2 38 Sample Slot 38

D#-1 3 Sample Slot 3 D#2 39 Sample Slot 39

E-1 4 Sample Slot 4 E2 40 Sample Slot 40

F-1 5 Sample Slot 5 F2 41 Sample Slot 41

F#-1 6 Sample Slot 6 F#2 42 Sample Slot 42

G-1 7 Sample Slot 7 G2 43 Sample Slot 43

G#-1 8 Sample Slot 8 G#2 44 Sample Slot 44

A-1 9 Sample Slot 9 A2 45 Sample Slot 45

A#-1 10 Sample Slot 10 A#2 46 Sample Slot 46

B-1 11 Sample Slot 11 B2 47 Sample Slot 47

C0 12 Sample Slot 12 C3 48 Sample Slot 48

C#0 13 Sample Slot 13 C#3 49 Sample Slot 49

D0 14 Sample Slot 14 D3 50 Sample Slot 50

D#0 15 Sample Slot 15 D#3 51 Sample Slot 51

E0 16 Sample Slot 16 E3 52 Sample Slot 52

F0 17 Sample Slot 17 F3 53 Sample Slot 53

F#0 18 Sample Slot 18 F#3 54 Sample Slot 54

G0 19 Sample Slot 19 G3 55 Sample Slot 55

G#0 20 Sample Slot 20 G#3 56 Sample Slot 56

A0 21 Sample Slot 21 A3 57 Sample Slot 57

A#0 22 Sample Slot 22 A#3 58 Sample Slot 58

B0 23 Sample Slot 23 B3 59 Sample Slot 59

C1 24 Sample Slot 24 C4 60 Sample Slot 60
C#1 25 Sample Slot 25 C#4 61 Sample Slot 61
D1 26 Sample Slot 26 D4 62 Sample Slot 62
D#1 27 Sample Slot 27 D#4 63 Sample Slot 63
E1 28 Sample Slot 28 E4 64 Sample Slot 64
F1 29 Sample Slot 29 F4 65 Sample Slot 65
F#1 30 Sample Slot 30 F#4 66 Sample Slot 66
G1 31 Sample Slot 31 G4 67 Sample Slot 67
G#1 32 Sample Slot 32 G#4 68 Sample Slot 68
A1 33 Sample Slot 33 A4 69 Sample Slot 69
A#1 34 Sample Slot 34 A#4 70 Sample Slot 70
B1 35 Sample Slot 35 B4 71 Sample Slot 71

The Octatrack Notebook : Reference & Guide 379

14 MIDI
NOTES
Slot Note Mapping (Cont).

MIDI Note Behaviour

Note CC Function Note CC Function
C5 72 Sample Slot 72 C8 108 Sample Slot 108

C#5 73 Sample Slot 73 C#8 109 Sample Slot 109

D5 74 Sample Slot 74 D8 110 Sample Slot 110

D#5 75 Sample Slot 75 D#8 111 Sample Slot 111

E5 76 Sample Slot 76 E8 112 Sample Slot 112
F5 77 Sample Slot 77 F8 113 Sample Slot 113
F#5 78 Sample Slot 78 F#8 114 Sample Slot 114
G5 79 Sample Slot 79 G8 115 Sample Slot 115
G#5 80 Sample Slot 80 G#8 116 Sample Slot 116
A5 81 Sample Slot 81 A8 117 Sample Slot 117
A#5 82 Sample Slot 82 A#8 118 Sample Slot 118
B5 83 Sample Slot 83 B8 119 Sample Slot 119
C6 84 Sample Slot 84 C9 120 Sample Slot 120
C#6 85 Sample Slot 85 C#9 121 Sample Slot 121
D6 86 Sample Slot 86 D9 122 Sample Slot 122
D#6 87 Sample Slot 87 D#9 123 Sample Slot 123
E6 88 Sample Slot 88 E9 124 Sample Slot 124
F6 89 Sample Slot 89 F9 125 Sample Slot 125
F#6 90 Sample Slot 90 F#9 126 Sample Slot 126
G6 91 Sample Slot 91 G9 127 Sample Slot 127
G#6 92 Sample Slot 92
A6 93 Sample Slot 93
A#6 94 Sample Slot 94
B6 95 Sample Slot 95
C7 96 Sample Slot 96
C#7 97 Sample Slot 97
D7 98 Sample Slot 98
D#7 99 Sample Slot 99
E7 100 Sample Slot 100
F7 101 Sample Slot 101
F#7 102 Sample Slot 102
G7 103 Sample Slot 103
G#7 104 Sample Slot 104
A7 105 Sample Slot 105
A#7 106 Sample Slot 106
B7 107 Sample Slot 107

380 The Octatrack Notebook : Reference & Guide

 MIDI 14
NOTES
Slice Note Mapping.
Plays / Triggers the slices that have been created in the tracks sample.
TRIG Mode MIDI Map Configuration - Audio Note In
How 16 Trig keys are used. How MIDI IN affects audio tracks

Slices Follow TM
Press [FUNC] + [UP] [DOWN] to change mode. Press [PROJ] then select: MIDI > CONTROL

MIDI Note Behaviour

Note CC Function Note CC Function
C0 12 Slice 1 A2 45 Slice 34

C#0 13 Slice 2 A#2 46 Slice 35

D0 14 Slice 3 B2 47 Slice 36

D#0 15 Slice 4 C3 48 Slice 37

E0 16 Slice 5 C#3 49 Slice 38

F0 17 Slice 6 D3 50 Slice 39

F#0 18 Slice 7 D#3 51 Slice 40

G0 19 Slice 8 E3 52 Slice 41

G#0 20 Slice 9 F3 53 Slice 42

A0 21 Slice 10 F#3 54 Slice 43

A#0 22 Slice 11 G3 55 Slice 44

B0 23 Slice 12 G#3 56 Slice 45

C1 24 Slice 13 A3 57 Slice 46

C#1 25 Slice 14 A#3 58 Slice 47

D1 26 Slice 15 B3 59 Slice 48

D#1 27 Slice 16 C4 60 Slice 49

E1 28 Slice 17 C#4 61 Slice 50

F1 29 Slice 18 D4 62 Slice 51

F#1 30 Slice 19 D#4 63 Slice 52

G1 31 Slice 20 E4 64 Slice 53

G#1 32 Slice 21 F4 65 Slice 54

A1 33 Slice 22 F#4 66 Slice 55

A#1 34 Slice 23 G4 67 Slice 56

B1 35 Slice 24 G#4 68 Slice 57

C2 36 Slice 25 A4 69 Slice 58
C#2 37 Slice 26 A#4 70 Slice 59
D2 38 Slice 27 B4 71 Slice 60
D#2 39 Slice 28 C5 72 Slice 61
E2 40 Slice 29 C#5 73 Slice 62
F2 41 Slice 30 D5 74 Slice 63
F#2 42 Slice 31 D#5 75 Slice 64
G2 43 Slice 32
G#2 44 Slice 33

NOTE: The SRC Setup Page SLIC Parameter must be on in order to play the slices.

The Octatrack Notebook : Reference & Guide 381

14 MIDI
NOTES
Quick Mute Note Mapping.
Mutes and unmutes audio and MIDI tracks
TRIG Mode MIDI Map Configuration - Audio Note In
How 16 Trig keys are used. How MIDI IN affects audio tracks

Quick Mute Follow TM

Press [FUNC] + [UP] [DOWN] to change mode. Press [PROJ] then select: MIDI > CONTROL

MIDI Note Behaviour

Note CC Function Note CC Function
C0 12 Audio Track 1 Mute / Unmute

C#0 13 Audio Track 2 Mute / Unmute

D0 14 Audio Track 3 Mute / Unmute

D#0 15 Audio Track 4 Mute / Unmute

E0 16 Audio Track 5 Mute / Unmute

F0 17 Audio Track 6 Mute / Unmute

F#0 18 Audio Track 7 Mute / Unmute

G0 19 Audio Track 8 Mute / Unmute

G#0 20 MIDI Track 1 Mute / Unmute

A0 21 MIDI Track 2 Mute / Unmute

A#0 22 MIDI Track 3 Mute / Unmute

B0 23 MIDI Track 4 Mute / Unmute

C1 24 MIDI Track 5 Mute / Unmute

C#1 25 MIDI Track 6 Mute / Unmute

D1 26 MIDI Track 7 Mute / Unmute

D#1 27 MIDI Track 8 Mute / Unmute

382 The Octatrack Notebook : Reference & Guide

 MIDI 14
NOTES
Delay Control Note Mapping.
Activates a track + the delay timing of the echo freeze delay
TRIG Mode MIDI Map Configuration - Audio Note In
How 16 Trig keys are used. How MIDI IN affects audio tracks

Delay Control Follow TM

Press [FUNC] + [UP] [DOWN] to change mode. Press [PROJ] then select: MIDI > CONTROL

MIDI Note Behaviour

Note CC Function Note CC Function
C0 12 Delay Time - Value 1 C2 36 Delay Time - Value 1

C#0 13 Delay Time - Value 2 C#2 37 Delay Time - Value 3

D0 14 Delay Time - Value 4 D2 38 Delay Time - Value 6

D#0 15 Delay Time - Value 8 D#2 39 Delay Time - Value 12

E0 16 Delay Time - Value 16 E2 40 Delay Time - Value 24

F0 17 Delay Time - Value 32 F2 41 Delay Time - Value 48

F#0 18 Delay Time - Value 64 F#2 42 Delay Time - Value 96

G0 19 Delay Time - Value 128 G2 43 Delay Time - Value 128

G#0 20 Track 1 for Delay Time (CC12-19) G#2 44 Track 1 for Delay Time (CC36-43)

A0 21 Track 2 for Delay Time (CC12-19) A2 45 Track 2 for Delay Time (CC36-43)

A#0 22 Track 3 for Delay Time (CC12-19) A#2 46 Track 3 for Delay Time (CC36-43)

B0 23 Track 4 for Delay Time (CC12-19) B2 47 Track 4 for Delay Time (CC36-43)

C1 24 Track 5 for Delay Time (CC12-19) C4 48 Track 5 for Delay Time (CC36-43)

C#1 25 Track 6 for Delay Time (CC12-19) C#4 49 Track 6 for Delay Time (CC36-43)

D1 26 Track 7 for Delay Time (CC12-19) D4 50 Track 7 for Delay Time (CC36-43)

D#1 27 Track 8 for Delay Time (CC12-19) D#4 51 Track 8 for Delay Time (CC36-43)

NOTE: Will be applied on the tracks where an Echo Freeze Delay is assigned. Firstly the track should be
selected (hold the keyboard note) and then select the timing )press second keyboard note simultaneously)

The Octatrack Notebook : Reference & Guide 383

14 MIDI
14.5 MIDI Mapping of Incoming CC Control
MIDI CC Mapping

The default settings in Octatrack are a good starting point for working with external MIDI CC inputs
to the Octatrack Audio tracks. The Control Change (CC) messages can be applied to audio track
main parameters and defined MIDI CC controls. The MIDI CC Mappings are applied based on the
defined parameter CC which would need to be set on the external controller. The Auto Channel and
CC DIRECT CONNECT also affect the MIDI CC behaviour.

Octatrack

Controls Track Main Page and CC is received on the Auto Channel CC as defined in the Ctrl 1
Parameters as per CC Map (1) based on the CC MIDI Map (1) & 2 Setup pages (1)

CC 36 - 45 Remapped to the
Ctrl 1 & 2 Setup

Ctrl 1 Ctrl 2

Control Control
Change Map MIDI Map Change Map
(Audio) (MIDI Mode)

MIDI Mode MIDI Mode CC DIRECT CONNECT

OFF ON ON

MIDI In (2) MIDI Out

Non CTRL Page messages sent directly

out when CC Direct Connect is on.
MIDI Out (2)

Notes:
(1) When in LIVE RECORDING Mode, recording is
also possible into the sequencer.
(2) If the Audio and MIDI tracks share the same MIDI
channel the following applies. The MIDI Track will
block the Audio track from sending MIDI. The Audio
track will block the MIDI track from receiving MIDI.

384 The Octatrack Notebook : Reference & Guide

 MIDI 14
NOTES
The MIDI sequencer CC DIRECT CONTROL setting can affect the
behaviour of CC messages received by Octatrack.

▌SETTING CC DIRECT CONTROL

1. Press [PROJ] to open the project settings menu.

2. Navigate using [UP] [DOWN] to the CONTROL option.

3. Press [RIGHT] or [YES] to select the left side MIDI Submenu.

4. Navigate using [UP] [DOWN] to the MIDI SEQUENCER option.

5. Press [YES] to select.

6. The CC DIRECT CONTROL option is presented. To toggle between

activate / checked or deactivate / unchecked, Press [YES]. Default is
active / checked.

7. Press [NO] to back up and exit the menu.

The Octatrack Notebook : Reference & Guide 385

14 MIDI
NOTES
Control Change Mapping.

MIDI CC Message Control

Hex # Dec Function Transmit Receive
07 07 Track Level Yes
08 08 Track Balance Yes
10 16 Playback Parameter 1 Yes Yes
11 17 Playback Parameter 2 Yes Yes
12 18 Playback Parameter 3 Yes Yes
13 19 Playback Parameter 4 Yes Yes
14 20 Playback Parameter 5 Yes Yes
15 21 Playback Parameter 6 Yes Yes
16 22 Amp Parameter 1 - Attack Yes Yes
17 23 Amp Parameter 2 - Hold Yes Yes
18 24 Amp Parameter 3 - Release Yes Yes
19 25 Amp Parameter 4 - Volume Yes Yes
1A 26 Amp Parameter 5 - Balance Yes Yes
1B 27 Amp Parameter 6 - N/A Yes Yes
1C 28 LFO Parameter 1 - Speed 1 Yes Yes
1D 29 LFO Parameter 2 - Speed 2 Yes Yes
1E 30 LFO Parameter 3 - Speed 3 Yes Yes
1F 31 LFO Parameter 4 - Depth 1 Yes Yes
20 32 LFO Parameter 5 - Depth 2 Yes Yes
21 33 LFO Parameter 6 - Depth 3 Yes Yes
22 34 FX1 Parameter 1 Yes Yes
23 35 FX1 Parameter 2 Yes Yes
24 36 FX1 Parameter 3 Yes Yes
25 37 FX1 Parameter 4 Yes Yes
26 38 FX1 Parameter 5 Yes Yes
27 39 FX1 Parameter 6 Yes Yes
28 40 FX2 Parameter 1 Yes Yes
29 41 FX2 Parameter 2 Yes Yes
2A 42 FX2 Parameter 3 Yes Yes
2B 43 FX2 Parameter 4 Yes Yes
2C 44 FX2 Parameter 5 Yes Yes
2D 45 FX2 Parameter 6 Yes Yes
2E 46 Track Level Yes Yes
2F 47 Cue Level Yes Yes
30 48 Crossfader Yes Yes
31 49 Track Mute; Unmuted = 0, Mute = 1-127 Yes Yes
32 50 Track Solo; No Solo = 0, Soloed = 1-127 Yes Yes
33 51 Track Cue; Note Cued = 0, Cued = 1-127 Yes Yes

386 The Octatrack Notebook : Reference & Guide

 MIDI 14
NOTES
Control Change Mapping (cont).

MIDI CC Message Control

Hex # Dec Function Transmit Receive
34 52 Track Arm; Disarm = 0, Armed = 1-127 Yes Yes
35 53 Recorder Arm; Disarm = 0, Armed = 1-127 Yes Yes
36 54 All Arm; Disarm All = 0, Arm All = 1-127 Yes Yes
37 55 Scene A Select Yes Yes
38 56 Scene B Select Yes Yes
39 57 Pickup SRC AB Level Yes
3A 58 Pickup SRC CD Level Yes
3B 59 Note On 0 = C1, 127 = G9 Yes
3C 60 Note Off 0 = C1, 127 = G9 Yes
3D 61 Send request 0 = All Audio CC Yes
70 112 MIDI Track 1 Mute; Unmuted = 0, Mute = 1-127 Yes Yes
71 113 MIDI Track 2 Mute; Unmuted = 0, Mute = 1-127 Yes Yes
72 114 MIDI Track 3 Mute; Unmuted = 0, Mute = 1-127 Yes Yes
73 115 MIDI Track 4 Mute; Unmuted = 0, Mute = 1-127 Yes Yes
74 116 MIDI Track 5 Mute; Unmuted = 0, Mute = 1-127 Yes Yes
75 117 MIDI Track 6 Mute; Unmuted = 0, Mute = 1-127 Yes Yes
76 118 MIDI Track 7 Mute; Unmuted = 0, Mute = 1-127 Yes Yes
77 119 MIDI Track 8 Mute; Unmuted = 0, Mute = 1-127 Yes Yes
78 120 MIDI Track 1 Solo; No Solo = 0, Soloed = 1-127 Yes Yes
79 121 MIDI Track 2 Solo; No Solo = 0, Soloed = 1-127 Yes Yes
7A 122 MIDI Track 3 Solo; No Solo = 0, Soloed = 1-127 Yes Yes
7B 123 MIDI Track 4 Solo; No Solo = 0, Soloed = 1-127 Yes Yes
7C 124 MIDI Track 5 Solo; No Solo = 0, Soloed = 1-127 Yes Yes
7D 125 MIDI Track 6 Solo; No Solo = 0, Soloed = 1-127 Yes Yes
7E 126 MIDI Track 7 Solo; No Solo = 0, Soloed = 1-127 Yes Yes
7F 127 MIDI Track 8 Solo; No Solo = 0, Soloed = 1-127 Yes Yes

The Octatrack Notebook : Reference & Guide 387

14 MIDI
NOTES
MIDI Mode Control Change Mapping.

MIDI Mode = Active / On, CC DIRECT CONNECT = Deactivated / Off, the Auto
Channel responds to the following CC messages.

MIDI CC Message Control

Hex # Dec Function Transmit Receive
10 16 Playback Parameter 1 - Note Yes
11 17 Playback Parameter 2 - Velocity Yes
12 18 Playback Parameter 3 - Length Yes
13 19 Playback Parameter 4 - Note 2 Yes
14 20 Playback Parameter 5 - Note 3 Yes
15 21 Playback Parameter 6 - Note 4 Yes
16 22 Amp Parameter 1 - Transpose Yes
17 23 Amp Parameter 2 - Legato Yes
18 24 Amp Parameter 3 - Mode Yes
19 25 Amp Parameter 4 - Speed Yes
1A 26 Amp Parameter 5 - Octave Range Yes
1B 27 Amp Parameter 6 - Arp Note Length Yes
1C 28 MIDI LFO Parameter 1 - Speed 1 Yes
1D 29 MIDI LFO Parameter 2 - Speed 2 Yes
1E 30 MIDI LFO Parameter 3 - Speed 3 Yes
1F 31 MIDI LFO Parameter 4 - Depth 1 Yes
20 32 MIDI LFO Parameter 5 - Depth 2 Yes
21 33 MIDI LFO Parameter 6 - Depth 3 Yes
22 34 Pitch Bend Yes
23 35 Aftertouch Yes
24 36 CC1 Parameter Yes
25 37 CC2 Parameter Yes
26 38 CC3 Parameter Yes
27 39 CC4 Parameter Yes
28 40 CC5 Parameter Yes
29 41 CC6 Parameter Yes
2A 42 CC7 Parameter Yes
2B 43 CC8 Parameter Yes
2C 44 CC9 Parameter Yes
2D 45 CC10 Parameter Yes
31 49 MIDI Track Mute; Unmuted = 0, Mute = 1-127 Yes
32 50 MIDI Track Solo; No Solo = 0, Soloed = 1-127 Yes
36 54 All Arm; Disarm All = 0, Arm All = 1-127 Yes
37 55 Scene A Select Yes
38 56 Scene B Select Yes

388 The Octatrack Notebook : Reference & Guide

 MIDI 14
NOTES
MIDI Mode Control Change Mapping (cont).

MIDI Mode = Active / On, CC DIRECT CONNECT = Deactivated / Off, the Auto
Channel responds to the following CC messages.

MIDI CC Message Control

Hex # Dec Function Transmit Receive
70 112 MIDI Track 1 Mute; Unmuted = 0, Mute = 1-127 Yes
71 113 MIDI Track 2 Mute; Unmuted = 0, Mute = 1-127 Yes
72 114 MIDI Track 3 Mute; Unmuted = 0, Mute = 1-127 Yes
73 115 MIDI Track 4 Mute; Unmuted = 0, Mute = 1-127 Yes
74 116 MIDI Track 5 Mute; Unmuted = 0, Mute = 1-127 Yes
75 117 MIDI Track 6 Mute; Unmuted = 0, Mute = 1-127 Yes
76 118 MIDI Track 7 Mute; Unmuted = 0, Mute = 1-127 Yes
77 119 MIDI Track 8 Mute; Unmuted = 0, Mute = 1-127 Yes
78 120 MIDI Track 1 Solo; No Solo = 0, Soloed = 1-127 Yes
79 121 MIDI Track 2 Solo; No Solo = 0, Soloed = 1-127 Yes
7A 122 MIDI Track 3 Solo; No Solo = 0, Soloed = 1-127 Yes
7B 123 MIDI Track 4 Solo; No Solo = 0, Soloed = 1-127 Yes
7C 124 MIDI Track 5 Solo; No Solo = 0, Soloed = 1-127 Yes
7D 125 MIDI Track 6 Solo; No Solo = 0, Soloed = 1-127 Yes
7E 126 MIDI Track 7 Solo; No Solo = 0, Soloed = 1-127 Yes
7F 127 MIDI Track 8 Solo; No Solo = 0, Soloed = 1-127 Yes

The Octatrack Notebook : Reference & Guide 389

14 MIDI
14.6 Recording MIDI Notes and CC. NOTES

Recording incoming MIDI control is possible as parameter locks. Note that

the term ‘recording’ here, means capturing the MIDI messages into the
sequencer pattern. This process does not record audio which would need
to be applied based on the audio recording and sampling process.

▌LIVE RECORDING PARAMETER LOCKS FROM MIDI IN

1. Ensure the MIDI in settings and channel are configured and mapped to
enable communication from the external device.

2. When recording to audio track parameter changes the Trig Ch for the
track or Auto Channel can be used. It is recommended to use the Auto
Channel and set Trig Ch 1-8 to off for recording the 10 CTRL
parameters in MIDI Mode.

3. Press [MIDI], to toggle MIDI Mode to ON. MIDI Mode is on when the
button is lit yellow. The tracks in the display also indicate an ‘x’ instead
of the track machine type when a channel isn't assigned.

4. Select LIVE RECORDING Mode, Press [REC] + [PLAY].

5. Play the notes to be recorded into the track sequencer. Chords can be
recorded with up to 4 notes. Note length, velocity and aftertouch will
also be recorded. The recording process will effectively parameter lock
the values.

6. Recording CC knob control value changes when using the Auto

Channel will be dependant on the configuration employed.

Option 1:
Auto Channel: is Used, CC Direct Control: Enabled.
Only Ctrl 1 and Ctrl 2 Assigned parameters can be recorded.

Option 2:
Auto Channel: is Used, CC Direct Control: Disabled.
Messages on CC 16-45 can be recorded.

Note: Messages 36-45 are, by design, linked to the 10 parameters on the Ctrl 1 & 2 pages.

Example:

Control Change
CC#1 See the MIDI Mode
CC 36
CC Mapping Table
Control Change for full details
CC#2
CC 37

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MIDI Notes and MIDI CC messages can also be recorded on an individual

Trig basis as parameter locks.

▌RECORDING TRIG PARAMETER LOCKS FROM MIDI IN

1. Ensure the MIDI in settings including channels are configured and

mapped to enable communication from the external device.

2. When recording to audio track parameter changes the Trig Ch for the
track or Auto Channel can be used. It is recommended to use the Auto
Channel and set Trig Ch 1-8 to off for recording the 10 CTRL
parameters in MIDI Mode. Only the active track will record if multiple
tracks have the same MIDI channel. This active track will also behave
as if CC DIRECT CONNECT is activated.

3. Press [MIDI], to toggle MIDI Mode to ON. MIDI Mode is on when the
button is lit yellow. The tracks in the display also indicate an ‘x’ instead
of the track machine type when a channel isn't assigned.

4. Select GRID RECORDING Mode, Press [REC].

5. Hold Trig [1] - [16] + Play the notes or adjust the CC to be recorded into
the selected Trig. Chords can be recorded with up to 4 notes. Note
length, velocity and aftertouch will also be recorded. The recording
process will effectively parameter lock the values.

6. As with Live Recording, CC knob control value changes when using the
Auto Channel will be dependant on the configuration employed.

Option 1:
Auto Channel: is Used, CC Direct Control: Enabled.
Only Ctrl 1 and Ctrl 2 Assigned parameters can be recorded.

Option 2:
Auto Channel: is Used, CC Direct Control: Disabled.
Messages on CC 16-45 can be recorded.

Notes:

Messages 36-45 are, by design, linked to the 10 parameters on the Ctrl 1 & 2 pages.

A personalise menu option can affect the length of the notes recorded when Grid Recording.

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Practical MIDI & Audio Example.

MIDI OUT AUDIO OUT

(Mono)
MIDI IN
Novation Bass Station II
Midi Channel = 1

Distortion is set to CC94 in the Bass Station II with

a 0-127 range.

Set Bass Station II to MIDI Local Off to only allow

parameter control from Octatrack.

0 - 127

Volume 100
An external MIDI keyboard or synth keyboard can be
used to play and record Note data into Octatrack. Up to
4 MIDI notes are available in Octatrack’s MIDI Tracks.

Record In Play Out

MIDI Learn / Setup and Sequenced trigs and / or
optionally record to sequence manual knob changes

MIDI IN AUDIO IN
5 Pin MIDI Input ‘A’

MIDI OUT
5 Pin MIDI

C 100

0 - 127

1 94
CHAN CC7 CC7
SRC FX2 FX2
Note Setup Ctrl 2 Main Ctrl 2 Setup

Elektron Octatrack MkII

Midi Channel = 1 (Track 1)

Set the MIDI Note Setup for Channel 1 control

with the configurable parameter CC7 in Ctrl 2
page to control CC94, Bass Station II Distortion.

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NOTES

Octatrack has a MIDI Learn function for CC when operating in Ctrl 1 and
Ctrl 2 Setup pages. This allows the selected parameter to ‘listen’ for any
changes in incoming MIDI CC i.e. changing in a knob. When this is
detected it registers the CC for the specific parameter. This makes it easy to
set up external controllers or synths to the 10 CTRL parameters.

▌LEARNING INCOMING MIDI CC TO CTRL PAGE PARAMETERS

1. Ensure the MIDI in settings including channels are configured and

mapped to enable communication from the external device.

2. When recording parameter changes the track channel or Auto Channel

can be used. It is recommended to use the Auto Channel or set Trig Ch
1-8 to off for recording the MIDI 10 CTRL parameters in MIDI Mode or
use different channels than those used for Trig Ch Audio tracks.

3. Press [MIDI], to toggle MIDI Mode to ON. MIDI Mode is on when the
button is lit yellow.

4. Select the CTRL Setup page in which to learn the parameter. Example,
Ctrl 2. Ensure this is the setup and not the main page as this function
only works in setup pages.

5. Press [FUNC] + Press, Data Entry (A) - (F) for the control to learn.
Example, CC7 - Press [FUNC] + (C).

6. A display message will indicate it is ‘listening’ to the incoming MIDI in

order to learn the message received.

7. Turn the control that will be automatically learnt and mapped to the
control. It is advised that for an external synth, set the global ‘MIDI Local
mode’ to OFF. This should allow messages to be sent out when the
control knob is physically adjusted but the control wont affect the
internal parameters of the synth. Example, set Bass Station II to MIDI
Local = Off and turn the distortion control (CC 9) on Bass Station II.

8. The message will disappear and the CC parameter will be automatically

be assigned to the control. In this example CC7, Data Entry (C) will be
mapped to CC94 - Bass Station Distortion.

9. In the CTRL Main page, the set parameter now will control the external
device i.e. synth or controller. In addition the external device will also
control this parameter in Octatrack. In this example distortion CC can be
learnt, recorded into a sequence then controlled directly from Octatrack.

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14.7 Overview of MIDI Tracks in MIDI Mode NOTES

Octatrack has 8 tracks dedicated to MIDI which allows the control of

external devices from within Octatrack and especially using its sequencer.
These generally use the same basic command convention as audio tracks.
Press the [MIDI] button to select MIDI Mode - access to 8 MIDI tracks.

Typical basic configuration example.

MIDI Mode ON - Button will be lit Yellow, Tracks with unassigned channels displays as ‘x’.

Patterns can be sequenced to control notes and CC on external gear.

A03 Data Entry

T1 T2 T3 T4 T5 T6 T7 T8

Tracks can share MIDI

Ch 1 Ch 2 Ch 3 Ch 4 Ch 5 Ch 6 Ch 7 Ch 8 Channels. Data priority goes
to lowest numbered track.

MIDI tracks can play and record:

MIDI OUT
- Chords (Max 4 notes)
- Velocity and Length
- Pitch Bend & Aftertouch
- The 10 Assignable CC Controls

MIDI tracks cannot;

- Send audio out, only data
- Have parameters assigned to scenes.

MIDI IN

MIDI THRU

Digitone Synth for example BassStation II Synth for example

controlled by Track 1, Channel 1 controlled by Track 2, Channel 2

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MIDI Mode.

MIDI Track Operation.

Not in GRID RECORDING or LIVE RECORDING Mode: [REC] Button unlit.

MIDI Mode: Trigger Notes for Tracks 1- 8 MIDI Mode: Trigger Disconnected Tracks 1- 8

Audio: Trigger disconnected Tracks 1- 8 Audio: Trigger Track 1- 8 Machines

Disconnected Tracks Audio Tracks Sample & Trigless Trigs Audio Tracks
Trig [1] - [8] controls any ‘disconnected’ tracks Trig [9] - [16] represents the samples that are
1-8. Ideal for manual playback. Disconnected triggered within the machines assigned to tracks
means these tracks are not controlled by the 1 - 8. Also Track [Tx] + [PLAY] and [Tx] + [STOP]
sequencer and play free. Option to play free is plays and stops track machines. If the
found in the Pattern Settings menu. sequencer is running these will indicate activity
for the relevant track. Trigless Trigs can also be
played, [FUNC] + Trig [9] - [16]

Note Trigs MIDI Tracks Disconnected Trigs MIDI Tracks

Trig [1] - [8] represents the MIDI assigned to Trig [9] - [16] represents the ‘disconnected’ MIDI
tracks 1 - 8. If the sequencer is running these will tracks 1 - 8, ideal for manual playback.
indicate activity for the relevant track. Disconnected means these MIDI tracks are not
controlled by the sequencer and play free. Option
to play free is found in the Pattern Settings menu.

Trigs [1] - [8] initiate C1 to G1 MIDI Notes Out * Trigs [9] - [16] initiate C2 to G2 MIDI Notes Out *

Recording Operation.
In LIVE RECORDING Mode: [REC] Button flashing.

Any of the manual trig operations including sample / note trigs and trigless trigs can be real time recorded in
LIVE RECORDING Mode. This offers the opportunity to improvise and play live to capture performances.

* Assumes Octatrack configuration is set for MIDI Out

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NOTES
MIDI activity can be observed on the display, in any mode with dots
showing MIDI activity top left, above the tempo. The sequencer behaviour
for also outputs MIDI when stopping.

MIDI In Activity indicator MIDI Out Activity indicator

Left Blink = MIDI Receive Right Blink = MIDI Send

MIDI Tracks.
Inactive tracks show an ‘X’ or the MIDI
channel that is assigned to the track.

In MIDI Mode and playing notes in a pattern, pressing STOP will also send
a MIDI ‘Note Off’ command for currently playing notes.

In MIDI Mode and when the sequencer is stopped, pressing STOP &
STOP will send an MIDI ‘All Notes Off’ command, resend CC values and
any program change values for all tracks assigned to a MIDI channel.

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MIDI Mode Page Access.

Octatracks MIDI Mode essentially controls the MIDI sequencer and its 8
MIDI Tracks allowing more precise and specific MIDI application especially
to control external gear such as other synths. The settings exist in the two
track parameter pages - setup and main. These change from the normal
audio functions to the MIDI specific parameters when in MIDI Mode.

The functions labelled under each of the track parameter button represent
the functions when in MIDI Mode. This section will still refer to the main
button name i.e. the MIDI Mode Note page will be referred to as [SRC].

Press [MIDI] to activate MIDI Mode.

Button lit yellow when MIDI Mode is Active

MIDI Channel per Track

‘X’ No Channel assigned

MIDI Channel
for the selected Track

Selected Track

5 main track parameter functions.

Press [Param Page] e.g. [SRC]

Plus 5 set up pages.

+ Press [FUNC] + [Param Page]
or quick double press button

Track Parameter buttons are labelled underneath the button

with the MIDI Mode specific function

The command button operation is almost identical to when working in the

audio tracks and as such a similar process and conventions should
continue to apply when in MIDI Mode. However some parameter changes
require a specific command to change a parameter such as [FUNC] +
Press on some Data Entry controls.

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14.8 Note Page Track Parameters NOTES

MIDI notes and their attributes such as length and velocity are set within
the main page. Also the overall channel configuration is found in the Notes
Setup page. Program and bank changes are useful for changing patches
on external synths and devices.

Notes Setup Menu [SRC] [SRC]

(A) (B) (C)

Or double press [SRC]

(D) (E) (F)

(A) CHAN (B) BANK (C) PROG

Data Entry Data Entry Data Entry

Channel to Send MIDI Bank Change Length of sample

Sets the MIDI channel that MIDI Send a main (MSB) Bank Change Send a PC - Program Change
data will be sent to. Setting of OFF message. This is triggered with a message. This is triggered with a
will send not send across any change to activate a pattern linked change to activate a pattern linked
channel. Channel is shown in to another part. When off no bank to another part. When off no PC
place of machines per track. messages are sent. messages are sent.

Off, 1-16 Off, 0-127 Off, 0-127

(D) (E) SBNK (F)

Data Entry Data Entry Data Entry

Sub-Bank Change
Send a main (LSB) Sub-Bank
Change message. This is triggered
with a change to activate a pattern
linked to another part. When off no
bank messages are sent.

Off, 0-127

Note: Press [YES] or the press the Data Entry knob to confirm the change.

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NOTES

▌CHANGING PARAMETERS ON THE NOTE SETUP PAGE

The controls here need an extra step than normal. Just changing the
parameter does not activate the change. Note that this is applicable in the
setup page only. The note main page parameters can be changed directly.

1. Each of the four setup page parameters is represented by four of the

data entry controls (A), (B), (C), (E).

2. Turn the Data Entry control, (A), (B), (C), or (E). An inverted display for
the parameter will indicate the value, although at this stage it is still
inactive. Turning a Data Entry control alone does not render it active.

3. To activate a change to the parameter, Press the Data Entry, (A), (B),
(C), or (E). This will change to normal, not inverted display of the
parameter to indicate the value displayed is now active.

4. Alternatively, Press [YES] to activate a change in a parameter. As a tip it

is recommended to use [YES] rather than press the data entry encoder.
This is due to the sensitive nature of the encoder rotation which is likely
to change accidentally while pressing.

5. When changing the MIDI channel parameter (A), the surrounding track
indicators either side of the display, change from machines in audio
tracks to the MIDI channel in MIDI Mode. An ‘x’ indicates that channel
assignment for the track if off.

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NOTES

The specific note attributes are adjusted in the Notes Main page. Chords
can also be created. Chords can have a maximum of 4 notes each of
which is an offset from the root note.

Notes Main Menu [SRC]

(A) (B) (C)

(D) (E) (F)

(A) NOTE (B) VEL (C) LEN

Data Entry Data Entry Data Entry

Root Note Velocity Duration of Note

The root note sent to the MIDI Sets the velocity for notes sent on Length of note, a ‘NOTE OFF’
channel for the track. Holding Trig the MIDI channel for the track. A message is sent at the end. Option
in GRID RECORDING will Value = 0 acts like like a ‘NOTE for infinite note length. Also affects
visualise a keyboard for easy note OFF’ message. how the arpeggio cuts off at its end.
adjustment by data entry (A) *.

C-1 to G9, Default C3 0-127, Default 100 See Table Below, default 1/16

(D) NOT2 (E) NOT3 (F) NOT4

Data Entry Data Entry Data Entry

2nd Offset to Root Note 3rd Offset to Root Note 4th Offset to Root Note
A second note which is added and A third note which is added and Final and fourth note which is added
offset from the root note. It is linked offset from the root note. It is linked and offset from the root note. It is
to the root note and will transpose to the root note and will transpose linked to the root note and will
when the root is changed. Allows when the root is changed. Allows transpose when the root is changed.
chords to be created. * chords to be created. * Allows chords to be created. *

-64 C-1 to +63 D#8, Default 0 = Off -64 C-1 to +63 D#8, Default 0 = Off -64 C-1 to +63 D#8, Default 0 = Off

LEN - Length duration options.

Each Trig in the sequencer represents 1/16th by default in the pattern. Scale settings can adjust the pattern attributes.

0 - 2, 1/32, 4 - 5, 1/16, 7 - 8, 3/32, 10 - 11, 1/8, 13 - 14, 5/32, 16 - 17, 3/16, 19 - 20, 7/32, 22 - 23, 1/4, 25 -
26, 9/32, 28 - 29, 6/16, 31 - 35, 3/8, 37 - 41, 7/16, 43 - 47, 1/2, 49 - 53, 9/16, 55 - 59, 5/8, 61 - 71, 3/4, 73 -
83, 7/8, 85 - 95, 1/1, 97 - 107, 9/8, 109 - 119, 11/8, 121 - 125, 6/3, Infinite.

* Holding the Trig in GRID RECORDING Mode will visualise the note on a keyboard for easy adjustment.
This can also be applied to the 3 root offset notes. Enter notes by holding [TRIG] + Turn (A), (D), (E), or (F)

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▌SETTING UP NOTES AND CHORDS IN A MIDI TRACK

1. Ensure the Octatrack and external device (synth) MIDI channel and
settings are configured to communicate together.

2. With MIDI Mode on, select the Notes Main page, Press [SRC].

3. Select GRID RECORDING Mode, Press [REC].

4. Select the track to sequence, Press Track [T1] - [T8] and set the Trigs to
suit the pattern desired. The defaults of the note parameters will be set
on each trig.

5. To adjust a note, Hold Trig [1] - 16] + Turn (A) to set the root note of the
selected trig. While holding the Trig a visual display of the keyboard
notes is shown to make note selection easy.

6. To adjust a note velocity, Hold Trig [1] - 16] + Turn (B) to set the root
note velocity. Creating slight velocity variations can add a natural feel.

7. To adjust a note length, Hold Trig [1] - 16] + Turn (C) to set the root note
duration.

8. To create chords, add further notes by turning the Data Entry controls,
(D), (E), (F). Also holding the Trig will visualise the keyboard for easier
entry. Note that entered values are offsets from the root note and will
also automatically transpose when the root note is changed.

9. Press [PLAY] to hear the results.

Example

1 16
Trigs Set
Default is C3
C

Velocity
Slight variation for a natural feel 100 110 95 105

Length
Duration of Note. 1/4 1/4 1/4 1/8 MIDI Out

Additional Notes NOT2 +4 E

Create a Chord e.g. C Major
NOT2 +7 G

NOT3 0

Tip, setting infinite note lengths for a drone style can be halted by applying a parameter lock to set velocity to
zero and hence apply a note off message.

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14.9 MIDI Arpeggiator NOTES

MIDI Mode also contains a MIDI Arpeggiator, also called Arp. Once
triggered by a sequencer trig, the Arp generates a pattern from the series
of notes in the MIDI Note page. Think of an Arp as a melody generator than
applies a sub-pattern onto individual trigs. The Arp and the MIDI Note trigs
have a symbiotic (yes that is a big word!) relationship. This simply means
both the MIDI Notes and the Arp rely on each other. The parameters
operate together in harmony in order fully function.

MIDI Mode 1
Notes Main Page

2 3 4

▌ARP SETUP CONSIDERATIONS

• The Arp generates a pattern based on the MIDI Notes and Arp Settings.

• Incoming MIDI notes will be arpeggiated based on the Arp settings of

the MIDI Track.

• The Arp is triggered not only by the trig applied into a pattern, but is
also based on the root note in the Notes page. 1

• The Arp Key Scale (Arp Setup Page) also affects the MIDI track note
trig irrespective of whether the Arp Mode is on or off. 1 2 3 4

• The Arp Transpose (Arp Main Page) also affects the MIDI track note
trig behaviour irrespective of whether the Arp Mode is on or off. 1

• The Arp Legato On/Off (Arp Main Page) also affects the MIDI track note
trig behaviour irrespective of whether the Arp Mode is on or off.

• The order of the notes affect the Arp Mode behaviour. For example
‘True’ mode reflects the notes, if played in, in order. 1 2 4

• This is only a MIDI Arp. To replicate an Arp in Audio tracks try using the
LFO designer. Also consider MIDI Loopback (MIDI Out to MIDI In) and
use the MIDI Arp to drive an Audio Track. Be careful with MIDI settings,
on loopback which if incorrect can crash the Octatrack.

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NOTES

How Does the Arp Work?

The Arp will be triggered by a MIDI Mode pattern trig and any set notes. The
Trig length - LEN will determine the duration of how long the Arp plays.

Example: Trig has LEN set to 1/2 which will cover 8 steps of the pattern

With the default Arp pattern, length (16 steps) and speed (x6 = 1/16th) the notes would
match the sequencer. In this example the first 8 steps would trigger on the Arp.

B1 B1 B1 B1 B1 B1 B1 B1

The Arp pattern will trigger the notes as per the MIDI Note Main page. If only the root
note is set it will continuously trigger this single note. Example: Note = B1

G2 B2 G2 B2 G2
B1 B1 B1

Up to 4 notes can be entered in the Notes page, which then will be used in the Arp
cycle. Example: Note = B1, Not2 = G2, Not4 = B2. Only notes entered are played and
if recorded in externally, will reflect the order played. This is where a melodic musical
sequence now starts to develop.

Octave 2

Octave 1

By increasing the Range RNG the pattern can cycle up through the octave ranges
before restarting at the original position.

Up Down

The pattern can be changed using Arp Mode. Instead of playing in the defined note
order (True), other variations such as up, down, etc can be applied to affect which
note is played at what point in the pattern cycle.

The pattern pitch offsets per step can also be edited in the Arp Setup Page as well as
a number of other attributes found in the Main Page to offer more creative options.

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The Arpeggiator setup page allows the length and note steps to be edited.
In addition the defined key scale can be set.

Arp Setup Menu [AMP] [AMP]

(C)

+
Or double press [AMP]

(F)

(A) (B) (C) LEN

Data Entry Data Entry Data Entry

Length of Arp
This is the length of the arpeggiator
up to a maximum of 16 steps. The
Trig keys [1] - [16] also reflect the
length.

0-16

(D) (E) (F) KEY

Data Entry Data Entry Data Entry

Key Scale
Sets the scale for the steps created
in the arpeggiator. Notes will only
play to the scale set or when off, as
placed. Also affects track notes,
irrespective of whether arp mode is
off or on.

See Table Below, Default is Off

KEY - Scale for the track.

Will apply to the Arpeggiator and also will apply to track notes irrespective of whether the Arp Mode is off or on.

C Major, C Minor, C# Major, C# Minor, D Major, D Minor, D# Major, D# Minor, E Major, E Minor, F Major,
F Minor, F# Major, F# Minor, G Major, G Minor, G# Major, G# Minor, A Major, A Minor, A# Major, A# Minor,
B Major, B Minor.

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▌SETTING UP A BASIC MIDI ARP PATTERN

1. Set MIDI Mode On and select the track in which to create the
arpeggiator.

2. Select the Arp Setup page, Press [FUNC] + [AMP].

3. Set the Arp length, Turn Data Entry (C). Maximum steps is 16.

4. Select a key to fix steps to the defined key or retain the key as Off to
allow steps to be applied freely. Turn (F) to change key.

5. Press a Trig [1] - [16] to activate (green) or deactivate (red) the

respective step. The display will also show a box for active and dash for
deactivate steps in the Arp.

6. To change a steps pitch offset, Press Trig [1] - [16] + Turn (LEVEL). The
offset will match the set key or be assigned freely if key is off. It is good
practice to start with defaults (no offset) and tweak with notes only.

7. To rotate the sequence position, Press [FUNC] + [LEFT] [RIGHT]

Press Trig [1] - [16] + Turn (LEVEL)

to adjust the step pitch offset -64 to +63

Press [FUNC] + [LEFT] [RIGHT]

to rotate the Arp step sequence

Each of the Arp Steps represented by the 16 Trig Keys.

Press a Trig [1] - [16]

to toggle it On (Green / Box) or Off (Red / Dash)

To activate steps, Press Trig [1] - [16]. Green / Solid Box = Active, Red Trig / Dash is Inactive.

To adjust step offsets, to set key, Press a Trig [1] - [16] + Turn (LEVEL) or Press [UP] [DOWN].

To rotate the sequence, Press [FUNC] + [RIGHT] [LEFT].

To set the Arp length, Turn (C).

To set the Arp Key, Turn (F).

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NOTES

The MIDI Arpeggiator Main page concentrates more on the precise

behaviour of the Arp and the specific controls.

Arp Main Menu [AMP]

(A) (B) (C)

(D) (E) (F)

(A) TRAN (B) LEG (C) MODE

Data Entry Data Entry Data Entry

Transpose Semitones Legato Arp Mode

Sets the transposition up or down Smoothly connects overlapping Controls how the Arp operates
for arpeggiator in semitones. Also note steps in the arpeggiator. Also specifically around the direction
affects track notes, irrespective of affects track notes, irrespective of and order.
whether arp mode is off or on. whether arp mode is off or on.

Off, True, Up, Down, Cycl, Shfl,

-64 to +63 On, Off
Random

(D) SPD (E) RNGE (F) NLEN

Data Entry Data Entry Data Entry

Speed of Arp Octave Range Note Length

Speed of the Arp synchronised to The range which controls the Defines the length of the arp note
the BPM of the project. 6 equals transposition at the end of each steps.
1/16th notes, 12 equals 1/8th notes. Arp cycle. The Arp will step 1
Divide 96 by the unit value to get octave up per cycle until range is
the note value. reached then resets the cycle.

x1 - x96, x6 Default 1-8 Octaves, 1Oct is Default 0-127

LEN - Length duration options.

Each trig represents 1/16th by default in the pattern. Scale settings can adjust the pattern attributes.

0 - 2, 1/32, 4 - 5, 1/16, 7 - 8, 3/32, 10 - 11, 1/8, 13 - 14, 5/32, 16 - 17, 3/16, 19 - 20, 7/32, 22 - 23, 1/4, 25 -
26, 9/32, 28 - 29, 6/16, 31 - 35, 3/8, 37 - 41, 7/16, 43 - 47, 1/2, 49 - 53, 9/16, 55 - 59, 5/8, 61 - 71, 3/4, 73 -
83, 7/8, 85 - 95, 1/1, 97 - 107, 9/8, 109 - 119, 11/8, 121 - 125, 6/3, Infinite.

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Arpeggiator Deep Dive & Examples

1 NOTE TRIG LEN & SPD

A standard Note trig will activate the step and the Arp (if on). The
LEN
Arp length can be set to up to 16 steps in the setup page. The
SPD Speed parameter is linked to BPM can also determine the
number of cycles that the Arp will play until a trig. For example
Trigs
x24 will span 1/4th, so Arp will cycle 4 times in the 16 step pattern.
x24
Arp SPD x12
x6 Unit values are available in the SPD setting.
To establish a note value from a unit value, divide 96 by the unit.
Examples, 96/6 = 16 = 1/16th, 96/24 = 4 =1/4th, 96/48 = 2 = 1/2.

1 RNGE & KEY

The key sets the scale for the arpeggiated notes. In this example
LEN C Major (C, D, E, F, G, A, B) would be the scale which the Arp
and track trig notes are ‘forced’ into. The Range would allow each
cycle to step up 1 octave each cycle before reseting at the end of
Trigs
the range. This example shows a range of 2 octaves.
Arp

Octave 2
TRAN
The entire group of notes in the arpeggio can be transposed in
semitones up or down. This is a useful and creative feature when
modulated say with an LFO. Transposition also affects the trig
notes of the pattern.
Octave 1

1 NLEN
NLEN refers to the note length of each note in the arpeggio. This
LEN is not the length of the entire arpeggio (which is covered under
the setup page LEN), but refers to all of the actual notes within
the 16 available Arp steps.
Trigs
Arp
LEG
Legato is how the transition from note to note occurs when they
overlap both in the Arp and also the pattern note trigs. Legato
adds a smooth connecting glide between notes.

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14 MIDI
Arpeggiator Modes

Examples show; 2 Cycles, Key Scale C Major, Note = C, Not2 = E, Not3 = B, Not4 = G, Arp Length = 8, No Arp Pitch Offsets.

Mode What Does it Do? Arpeggiated Mode

Main Page

Arpeggiator is off and the Notes will play as chords e.g. CMaj7.
Off Arpeggiator is deactivated. The Arp Transpose, Legato and Key Scale will still be applied to
notes even if Arp Mode is off.

B B B B
Plays the notes in the note page. G G G G
E E E E
True This will reflect the order any external C C C C
keyboard notes are recorded.

B B B B
Plays the notes within the arpeggio G G G G
Up starting with the lowest to the highest E E E E
C C C C
per octave, in ascending order.

B B B B
Plays the notes within the arpeggio G G G G
E E E E
Down starting with the highest to the lowest C C C C
per octave, in descending order.

B B B
Plays the notes within the arpeggio G G G G G
E E E E E
Cycl starting with ascending order then in C C C
descending order.
Octave 2

B B
G G
E E
Plays the notes within the arpeggio C C
randomly over an octave. If range is
Shfl
higher than 1 octave, it will play all
Octave 1

notes of first octave then second etc. B

G G G
E E E
C

B B B
Will randomise the playback of all G G G G G
Random E E E E E
notes in the arpeggio. C C C

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 MIDI 14
NOTES 14.10 MIDI LFO
The MIDI Tracks also have LFOs available. These are almost identical in
nature and functionally to the Audio Track LFO’s. As such refer to the
guidance in for the audio tracks which can also be applied to the MIDI
LFO’s. One thing that is different is the destination options. These are
therefore covered here. Note that the custom made MIDI LFO designer
shapes will only be available to MIDI tracks.

LFO Setup Menu [LFO] [LFO] LFO Main Page [LFO]

(A) (B) (C) (A) (B) (C)

(D) (E) (F) (D) (E) (F)

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NOTES

LFO - MIDI Destination Parameters.

Page Parameter LFO Destination (Audio Tracks)

Note [SRC] NOTE Note
Note [SRC] VEL Velocity
Note [SRC] LEN Length
Note [SRC] NOT2 Note 2 (Chord)
Note [SRC] NOT3 Note 3 (Chord)
Note [SRC] NOT4 Note 4 (Chord)
Arp [AMP] TRAN Transpose
Arp [AMP] LEG Legato On / Off
Arp [AMP] MODE Arpeggiator Mode
Arp [AMP] SPD Speed of Arp
Arp [AMP] RNGE Range in Octaves
Arp [AMP] NLEN Note Length
LFO [LFO] SPD1 Speed LFO 1
LFO [LFO] SPD2 Speed LFO 2
LFO [LFO] SPD3 Speed LFO 3
LFO [LFO] DEP1 Depth of LFO 1
LFO [LFO] DEP2 Depth of LFO 2
LFO [LFO] DEP3 Depth of LFO 3
Ctrl 1 [FX1] PB Pitch Bend
Ctrl 1 [FX1] AT After Touch
Ctrl 1 [FX1] CC1 Control Change Parameter 1
Ctrl 1 [FX1] CC2 Control Change Parameter 2
Ctrl 1 [FX1] CC3 Control Change Parameter 3
Ctrl 1 [FX1] CC4 Control Change Parameter 4
Ctrl 2 [FX2] CC5 Control Change Parameter 5
Ctrl 2 [FX2] CC6 Control Change Parameter 6
Ctrl 2 [FX2] CC7 Control Change Parameter 7
Ctrl 2 [FX2] CC8 Control Change Parameter 8
Ctrl 2 [FX2] CC9 Control Change Parameter 9
Ctrl 2 [FX2] CC10 Control Change Parameter 10

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 MIDI 14
NOTES 14.11 Control Pages Ctrl 1 & Ctrl 2
The control pages enable up to 10 control change (CC) parameters,
numbered CC1-CC10 to be assigned in the CTRL Set Up Pages. The Data
Entry knobs in the Main Page then in turn control the external CC
parameters. In addition, default Pitch Bend (PB) and After Touch (AT)
parameters are also presented for control of external gear. The setup and
control principles apply equally to both Ctrl 1 and Ctrl 2.

Ctrl 1 Setup Menu [FX1]

(A) (B) (C)

(D) (E) (F)

(A) (B) (C) CC1

Data Entry Data Entry Data Entry

Control Change 1 CC#

Sets the CC number that the
adjustable value in the CTRL Page
will be transmitted to.

Various, Default 7

(D) CC2 (E) CC3 (F) CC4

Data Entry Data Entry Data Entry

Control Change 2 CC# Control Change 3 CC# Control Change 4 CC#

Sets the CC number that the Sets the CC number that the Sets the CC number that the
adjustable value in the CTRL Page adjustable value in the CTRL Page adjustable value in the CTRL Page
will be transmitted to. will be transmitted to. will be transmitted to.

Various, Default 1 Various, Default 2 Various, Default 10

Note that when adjusting these settings an acknowledgement is required by pressing the [YES] button - the
recommended option. Alternatively pressing the respective data entry knob will also acknowledge.

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14 MIDI
NOTES

Ctrl 1 Main Menu [FX1]

(A) (B) (C)

(D) (E) (F)

(A) PB (B) AT (C) CC1

Data Entry Data Entry Data Entry

Pitch Bend After Touch Value for CC1

Pre-defined CC control for the Pre-defined CC control for the Adjusts the value that will control or
standard pitch bend message. standard after touch message. be sent to the external MIDI device.
This is used to control the external
CC parameter that has been
defined in the setup page.

0-127 0-127 0-127

(D) CC2 (E) CC3 (F) CC4

Data Entry Data Entry Data Entry

Value for CC2 Value for CC3 Value for CC4

Adjusts the value that will control Adjusts the value that will control Adjusts the value that will control or
or be sent to the external MIDI or be sent to the external MIDI be sent to the external MIDI device.
device. This is used to control the device. This is used to control the This is used to control the external
external CC parameter that has external CC parameter that has CC parameter that has been defined
been defined in the setup page. been defined in the setup page. in the setup page.

0-127 0-127 0-127

Note that when adjusting these settings a [FUNC] + Press data entry is required to activate the control.

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NOTES

The CC Pages.

The Ctrl 2 control setup and main pages operate the same as Ctrl 1. The
difference is that pressing the [FX2] button gives access to the other six CC
controls 5-10. The same functionality can be applied as per Ctrl 1 pages.

Ctrl 2 Setup Menu [FX2] [FX2] Ctrl 2 Main Menu [FX2]

Assigns CC#5 Adjusts the Value

to Control Change 71 Send Out

CC 71

0 127

CC#5

MIDI OUT

MIDI IN

Example: Control from Octatrack

to Digitone Envelope Decay

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14 MIDI
NOTES

The Control Change pages are a simple and convenient way to set up the
data entry knobs to control external gear using MIDI.

▌SETTING UP MIDI CC

1. Ensure a compatible device is connected and the MIDI settings and

channels are configured correctly for the track to edit.

2. Set MIDI Mode On, Press [MIDI].

3. Select a track, Press [T1] - [T8]

4. Select the Ctrl 1 or Ctrl 2 Setup page, Press [FX1] or [FX2].

5. Select the Set Up Page by pressing [FX2] [FX2] for in this example for
Ctrl 2.

6. Choose one of the available CC controls. Example CC#5 in Ctrl 2. To

change the CC number, Turn Data Entry (A) to the desired CC value.
Once selected the title shows inverted. This indicates the value is
changed but not active.

7. Press [YES] or Knob (A) to activate and set the title to display normally.
This could be for example the CC of the Filter Cut Off of a synth.

8. The option of using MIDI Learn is possible if the external synth is

connected to send MIDI IN to Octatrack. Press [FUNC] + (A), will open
the MIDI Learn window for knob A. A knob change message received
from the synth will be learnt and the CC received recorded into the
parameter automatically. MIDI Learn only operates in a setup page.

9. Now that the CC is set, the value to control the parameter, example Cut
Off, can be adjusted in the Ctrl 2 Main page. Press [Ctrl 2] to toggle to
the Main page.

10. Firstly activate the parameter which by default will be set to off.
Hold [FUNC] + Data Entry for the equivalent parameter set in the setup
page i.e. (A) for this example.

11. The values adjusted by the data entry will now be sent on MIDI OUT as
CC messages and will control the respective parameter on the
connected device. The scale 0-127 will represent the full scale of the
parameter connected. Some devices operate with MSB / LSB CC
numbering so take care in using the correct parameter and value.

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 MIDI 14
NOTES 14.12 MIDI PC - Program Change Inputs & Outputs
Program change (PC) messages are special types of MIDI messages that
instead of triggering notes or controls, they activate a change between
presets or patches in synths and in Elektron devices, change patterns. Also
Bank change messages are available. How these work will clearly be
dependant on how the devices are designed. There may be different
implimentations of what constitutes a program or bank in other devices.

MIDI Sync

The first consideration with MIDI Program Change messaging is the setup
in the MIDI Sync, Press [FUNC] + [MIDI] to access. Here the Program
Change settings can be configured.

X
16
X

To control program changes to an external device from Octatrack, firstly

ensure PROG CH - SEND is set to On / Checked. Equally the RECV
should also be set to On / Checked to receive PC messages for pattern
changes in Octatrack.

Standard MIDI and Audio Track Behaviour.

• In the MIDI Sync settings a ‘Ch’ setting of AUTO refers to setting the
MIDI channel for program change messages. AUTO will select the first
available MIDI Channel used by the Audio Tracks but not by any of the
MIDI tracks. This can also be set manually to a fixed MIDI Channel
between 1-16.

• A PC Message is sent when a pattern change occurs. When the

sequencer is stopped it will change immediately. When the sequencer is
playing the change may be delayed until the current pattern cycle ends,
based on the pattern change behaviour.

• Once a PC message is sent, Octatrack will not repeat the same

message in succession.

The problem with this method is that the receiving device must be precisely
configured to match the Octatrack. For example when sending PC change
01 to 02 (0-127) as pattern A02 change to A04 the external device must
have programs 01 and 02 set up to match. The external device needs to be
configured to Octatrack rather than send to an already configured selection.

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14 MIDI
NOTES
Changing Octatrack Patterns from an external device.

Program change (PC) messages received by Octatrack will change the

pattern. Sending a PC Message between 0 - 127 will change through each
of the 128 Patterns, essentially between patterns A01 to H16. To change
patterns I01-P16, a bank change message will be required using a CC 0
message. A CC 0 value of 0 will allow the 127 patterns A01-H16 to be
selected using a PC message and a value of 1 will allow access to the
other 128, I01-P16 patterns.

Octatrack

Bank / Pattern Bank / Pattern

A01-H16 I01-P16

Program Change Program Change

0 1 15 0 1 15
A01 A02 … A16 I01 I02 … I16

B01 B02 … B16 J01 J02 … J16

C01 C02 … C16 K01 K02 … K16

PC Program Change Messages
D01 D02 … D16 L01 L02 … L16
0-127 will select one of the 128
Patterns in the Bank A-H or I-P
E01 E02 … E16 selected group.
M01 M02 … M16

F01 F02 … F16 N01 N02 … N16

G01 G02 … G16 O01 O02 … O16

H01 H02 … H16 P01 P02 … P16

112 113 127 112 113 127

Control Change Control Change

CC 0 = 0 CC 0 = 1

MIDI In

MIDI Out

CC 0 PC

0 1 0 127

Change Group Change Pattern

The Program Change should be set correctly in the PROJ > MIDI > SYNC settings.
Prog Ch - Receive must be set to On / Enabled for Octatrack to receive PC messages.

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 MIDI 14
NOTES
Sending Out Program Change Messages from Octatrack.

A more versatile option when controlling external PC from Octatrack is to

use the MIDI Tracks. Bank and Sub Bank change messages follow same
principles. This doesn't use the MIDI Sync set up but uses the MIDI
sequencer in MIDI Mode to align better to external gear configurations.
Remember track parameters are stored in parts, including the PC and
channel data, meaning one PC message per part. The MIDI Out PC
configuration is found in the MIDI Track Notes Setup page.

A PC message is sent on the defined channel every time a pattern linked to

another part is changed or a manual PROG change. The message is sent
when the pattern or PROG value becomes active.

Example: PC Change of External Device

Changes can be made in the Notes Setup Page. Parameter will display inverted.
Press [YES] to acknowledge and activate any changes made and revert display to normal.

PROG

16 22
Setup Page 0 127

PROG

22 22
Main Page Channel PC Changed, Changed,
16 16 01-127 Inactive Active

PC Message is sent when

PROG is made active. (2)
PC Message is sent when
a pattern in another part is
made active. (1)

MIDI IN

Octatrack PC: 0 - 99 (Max 127)

UNO Drum PC: 00 - 99

UNO Drum Kits: 1 - 100

UNO Drum, Channel 16, has a set of kits numbered 0-100 that will
respond to a PC 00-99 change message from Octatrack.
UNO Drum will only display the active kit when refreshing the display.

(1) PC settings are stored along with other track parameters in parts. Only changing to a pattern in another part will issue a PC
message. The NOTE Setup CHAN and PROG would need to be set in the destination part to send the PC.
(2) Activate by pressing [YES] to enable the changed parameters and hence transmit a PC Message.

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14 MIDI
14.13 MIDI Transport & Clock NOTES

When controlling or being controlled by other gear two sync elements

should be considered. Firstly the MIDI clock ensures connected devices
stay synchronised together, especially with time based functions such as
BPM of sequencers. Octatrack’s SCALE - MASTER SCALE setting affects
clock timing. Secondly the transport messages control how a sequence is
started, stopped etc and which device takes a lead control. The settings are
found in the MIDI Sync - [FUNC] + [MIDI]. Also in the PROJ settings.

A design choice is required when creating a MIDI network of gear. The main
question is which device will be the primary lead that other devices will rely
on and follow. This affects how Octatrack and other gear is setup.

▌SETTING OCTATRACK TRANSPORT AND CLOCK

1. Press [FUNC] + [MIDI] to access MIDI Sync.

2. Press [LEFT] [RIGHT], [UP] [DOWN] to navigate. Press [YES] to Toggle

on or off or Turn (LEVEL).

3. Set the TRANSP, SEND to Checked / On if the device will lead the
control. Set TRANSP, RECV to Checked / On if another device will
control Octatrack.

4. Set the CLOCK, SEND to Checked / On if the device will be the lead
clock. Set CLOCK, RECV to Checked / On if another device will control
Octatracks clock.

5. Press [NO] to Exit.

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 MIDI 14
NOTES

Example: 2 Options for Transport & Clock

Octatrack as the Primary lead control Octatrack as a follower device

X X
X X

MIDI IN

Transport control and clock Transport control and clock

is dictated by the Octatrack. is dictated by the Digitakt.

MIDI IN

MIDI THRU

Digitakt will follow the lead Digitakt will be the primary

of the Octatrack as will other lead with Octatrack and
devices such as UNO Drum. other devices to follow.

UNO Drum for example as part of the MIDI Network.

If both transport and clock are set to receive Octatrack as a 16 Sec wait between a start and clock to allow for
Preroll of other device.

The Octatrack Notebook : Reference & Guide 419

 NOTES

420 The Octatrack Notebook : Reference & Guide

 15
Arrangements
So far the discussions have been around well as jump points. MIDI Song position pointers
creating projects and patterns, either Audio or can also be received and transmitted (MKII
MIDI. The arranger is a utility that enables the Only) allowing external gear to be even more
composition of a series of patterns assembled integrated throughout an entire song
together to create an entire song - an composition. While this section may not appear
arrangement. The Arranger is focussed on deep in the number of pages assigned, it is deep
general song arrangement management but is in the sense of highlighting the powerful features
also helpful when creating variations and and applications of creating full arrangements.
remixes of songs. It is an immensely useful and The arranger is an inspirational, tracker like tool
powerful tool which can also set up defined that should not be overlooked and is fully worthy
arrangements for live performance where on the of its own section in this book. We highly
fly improvisation can be integrated seamlessly. recommend getting to know it intimately and
Arrangements are stored within each project using it in the building of your song library. It will
where a maximum of 8 slots per project are open up many more opportunities on developing
available, each of which can have a unique tracks further than you first think. It seems fitting
name assigned. The Arranger is a that this is therefore the last section which
comprehensive tool in itself and does much guides on the creative aspects of Octatrack.
more than just chaining patterns in series. Bringing everything together into a full song and
Patterns can each have an individual tempo dare we say, one step closer to commercialising
assigned, scene behaviours and mutes can be that elusive new track release.
set and timing and pattern looping managed as

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15 Arrangements
15.1 Arranger Functional Overview
Octatrack’s building blocks are patterns which, once created, are stored in banks and can be played
and edited as individual musical elements. To assemble these into longer more complete song
arrangements the ‘go to’ tool is the Arranger.

Functional Diagram
Pattern
C04

B02

A03

Each pattern row is Attributes per row can be set for the behaviour of the pattern
played in sequence assigned to the row.
EDIT

Row Pattern Repeats Offset Length Scene Transpose Tempo BPM Mutes
Song
Row PAT REP OF LN SCENE T B M

000 A03 1 000 - 016 T B

Play Direction

001 B02 000 - 032 03 04 M

002 C04 4 000 - 032 05 02 M

Comments as remarks can

be added on passive rows. 003 REM: VERSE ONE

004 B04 000 - 032 B

Loops between the row

stated to current loop row. 005 LOOP: 002/ ∞ M

Option to jump forward to

rows or halt at the row. 006 JUMP: 007

007 B06 000 - 032 M

008 END OF ARR.

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 Arrangements 15
NOTES 15.2 Arrangements Menu Page Overview
Arrangements are created and edited in the Arranger tool. The menu is
accessed by pressing [ARR]. Arrangements can be played in Arrangement
Mode, accessed by [FUNC] + [ARR].

Function Description

Edit Edit is the starting point to build an arrangement or to modify the current arrangement

Rename Opens the naming pop-up option in order to change the current arrangements name

Opens the browser to present the list of arrangements in the current project. A new
Change
arrangement can be selected from this menu. 8 Arrangement slots exist per project.

Will cue another arrangement to play after the currently playing arrangement
Chain
completes. Only one arrangement can be chained.

Clear Erases the currently active arrangement.

Will save the current arrangement to one of the 8 slots in the project. Will offer to
Save
rename if this is saved for the first time.

Reload Restores the current arrangement to its previously saved state

▌NAVIGATING THE ARRANGEMENT MENU.

1. Press [ARR] to open the arrangement menu settings.

2. Press [UP] [DOWN] [RIGHT] [LEFT] to move through and highlight the
menu options.

3. Press [YES] to open feature that is currently highlighted. When creating

a new arrangement the ‘EDIT’ option is the starting point.

4. Optionally press [NO] to exit.

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15 Arrangements
15.3 Arrangements Mode NOTES

When playing and performing with arrangements, the Arrangement Mode

should be selected by pressing [FUNC] + [ARR]. Control over the
arrangement playback can be a handled within this page.

Pattern Playback Countdown. Chain.

Counts down for every repeat cycle A chained arrangement will
played of the pattern row to 00. show at the bottom row.

Arrangement. Play Position.

Currently Active Arrangement Bars & Beats Counter

Row Number
Current Row.
Playing Row - Solid Tags
Selected Row - Empty Tags

Pattern / Command. Pattern Repeat.

Selected Pattern or command Followed by scene A & B. Alternatively
to action on the row command instructions.

▌SELECTING ARRANGEMENT MODE.

1. Press [FUNC] + [ARR] to switch to arrangement mode.

2. The ARR button LED will be lit when Arrangement Mode is active and
off when it is inactive. The display will represent arrangement mode.

3. When playing ie [PLAY] in this mode, playback is performed in the

arrangement as opposed to the single pattern playback used normally.

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 Arrangements 15
NOTES

▌PLAYING AN ARRANGEMENT.

1. Press [FUNC] + [ARR] to switch to arrangement mode.

2. Press [PLAY] to start the arrangement playback. Pressing [PLAY] again

will pause playback.

3. Press [STOP] to stop the arrangement playback on the row.

4. Alternatively to stop and reposition playback to the start, Press [STOP]

and Press [STOP] again.

5. Note that tracks with samples set to loop may continue to play once
triggered even at the end of the arrangement.

▌CHANGING A PLAYBACK ROW.

1. Press [FUNC] + [ARR] to switch to arrangement mode.

2. Press [UP] [DOWN] to navigate the arrangement row. The actively

playing row will be tagged with solid arrows either side of the row. The
selected row to cue will be indicated with open arrows either side.

3. On the target row, indicated by the open arrows, Press [YES] to select
and cue the row for playback. Playback will begin once the currently
active row completes playback or is stopped, when [PLAY] is pressed.

▌CREATIVE PLAYBACK CONSIDERATIONS.

• Ensure arrangement mode is on (LED Lit) when needed. If on when not

required or by accident, playback may not work as expected.

• Use a ‘Hold’ function in the arranger to automatically pause playback.

Manually select the next row to continue beyond the held row.

• Create infinite loops where ad libs and on the fly improvisations such as
parameter changes, filter sweeps etc can be performed. Then manually
select the next step to play to continue onwards in the arrangement.

• Create and save a variety of arrangements. Consider the use of

arrangements when creating patterns. For example, create several
pattern variations that can be used in an arrangement.

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15 Arrangements
15.4 Creating an Arrangement NOTES

Arrangements are created in the Arrangement - [ARR] editor. Selecting this

menu alone does not activate the arrangement mode, but just serves as the
editing / creation tool. While its perfectly OK to just dive in and create
pattern changes, its also worth spending time to get to know the intimate
details and hence power of the arranger while developing a workflow.

Example Track - Typical EDM Song Arrangement

Start Intro 1

Starts sparse, maybe kick, snare, a few more

elements added ie bass as intro progresses.
Length allows initial DJ ‘Mix In’ time.

Breakdown 1 Build Up 1 Drop 1

Main ‘verse’ with melody hints or vocal clues to Full on main track. All elements kick in and the
the full production. Leaves space and elements tension built up is released during this section.
to build up the anticipation or tension. First drop doesn't overdo things time wise.

Breakdown 2 Build Up 2 Drop 2

Breakdown pause and chance to reset on Full on main track. All elements kick in and the
energy. Thins some elements out to take a time tension built up is released again. Possibly
out breather until the tension starts to rebuild. repeated after a bridge for continuity.

Bridge Drop 3

Bridge will give one Final full on section which

section for something can optionally repeat.
different.

Outro 1 Outro 2 End

Track breaks-down gradually to the end. Elements

are removed and a section to allow DJ transition to
‘Mix out’ is considered, possibly kick only.

This track illustration will be used as reference in the

4 Bars per ‘block’ following workflow tutorial examples.

426 The Octatrack Notebook : Reference & Guide

 Arrangements 15
NOTES

Ensure you have a clear mental or written view of the banks and patterns in
the project that will contribute to the arrangement. For illustration purposes,
these tutorials follow a process breaking down the workflow into discrete
steps and then circling back after creating the basic arrangement to add
more advanced elements. Creating a row and setting all attributes at the
same time is also a typical workflow.

▌CREATING A NEW ARRANGEMENT - ADDING ROWS.

1. Press [ARR] to open the arrangement tool.

2. Navigate to highlight the ‘EDIT’ option and Press [YES] to select the
arrangement editor.

3. If this is a new empty arrangement, the option to add the first row is
presented. Press [FUNC] + [DOWN] to add the first row. Up to 264
rows, starting at row 0, can be added. Existing row is replicated.

4. Once the row has been created, the attributes can be set firstly with the
pattern to play on this numbered row. Press [PTN] + Trig [1] - [16] to
select a pattern for the current row. To edit the pattern, Turn (LEVEL)
when the pattern is highlighted to change to another. Note, if required
the bank can also be changed, Press [BANK] + Trig [1] - [16].

5. To add another row, Press [FUNC] + [DOWN] to insert a row below the
current row. This command is used to insert subsequent rows.

6. To delete the current row, Press [FUNC] + [UP] to delete.

7. Use [UP] [DOWN] to navigate the rows. The current row which can be
edited is shown between the horizontal dotted lines.

Intro 1 Bars & Beats of current position

Set to play first 16 steps on row 0 when arrangement is playing
with several tracks muted, then the
latter part 16-32 steps.

Breakdown 1
Pattern repeats for the 16 steps

Build Up 1
Pattern plays for the 16 steps

Drop 1
New pattern plays for the 16 steps

Breakdown 2
Pattern 2 plays again but this time
all of the 16 steps for slight variation Selected row for editing

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15 Arrangements
NOTES

▌CREATING A NEW ARRANGEMENT - PATTERN DURATION.

1. While still in the arrangement editor for the arrangement example.

2. Use [UP] [DOWN] to navigate the rows. The current row which can be
edited is shown between the horizontal dotted lines. Select each row
sequentially to edit the attributes.

3. On the row to edit, Press [LEFT] [RIGHT] to navigate across the

attribute columns. The parameter to edit will be highlighted.

4. Select the REP - Repeat column for the row being edited. Turn (LEVEL)
to adjust the number of times the row will repeat. Every row will play a
minimum of one cycle i.e. when no repeats are set. Setting REP 2 will
play a total of 2 cycles, REP 4 will play 4 cycles etc. The Arranger Mode
page will show this as a countdown when playing the arrangement with
0 representing the last repeat cycle.

5. Select the OF - Offset column for the row being edited. Turn (LEVEL) to
adjust the number of steps for the starting playback position of the
selected pattern. Example, Offset 8 will start the pattern on step 9 of the
pattern. Steps will wrap to pattern start.

6. Select the LN - Length column for the row being edited. The original
length is based on the scale setup pattern length and if ‘per track’ is set
this will set the master length. Turn (LEVEL) to adjust the number of
steps for the pattern to playback from its current (i.e. original or offset)
position. Example, if offset is 0, length 16 will play the first 16 steps, if
offset is 16, length is 16 will skip steps 1-16 and start playing for 16
steps from step 17.

7. Once completed other attributes can also be changed as desired.

Number of repeats of the pattern

Offset in steps, before Length in steps that the pattern

pattern starts will play before next pattern starts

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 Arrangements 15
NOTES

Examples

REP - Repeat

First cycle will play before moving to next pattern

REP = Blank

Countdown 00

First cycle will play, then will repeat before moving to next pattern

REP = 2

Countdown 01 to 00

First cycle will play, then repeat twice before moving to next pattern

REP = 3

Countdown 02 to 00

Repeat number will indicate as a countdown on the Arranger Mode Page.

OF - Offset & LN - Length

Starting at the first step (no offset) , play for 32 steps in length

OF = 0, LN = 32
1 8 16 24 32

Starting at the first step on 9 (8 offset), play for 16 steps in length

OF = 8, LN = 16
1 8 16 24 32

Offset 8 Steps Length 16 Steps

First step on 24 (23 offset), play for 16 steps, wrapping the length

OF = 23, LN = 16
1 8 16 24 32

Offset 23 Steps Length 16 Steps

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NOTES

▌CREATING A NEW ARRANGEMENT - SCENE DEFAULTS.

1. While still in the arrangement editor for the arrangement example.

2. Use [UP] [DOWN] to navigate the rows. The current row which can be
edited is shown between the horizontal dotted lines. Select each row
sequentially to edit the attributes.

3. On the row to edit, Press [LEFT] [RIGHT] to navigate across the

attribute columns. The parameter to edit will be highlighted.

4. Select the first SCENE column which will allow a Scene ‘A’ assignment.
Press [A] +Trig [1] - [16] or Turn (LEVEL). The scene ‘A’ number will be
indicated on the row.

5. Select the second SCENE column which will allow a Scene ‘B’
assignment. Press [B] + Trig [1] - [16] or Turn (LEVEL). The scene ‘B’
number will be indicated on the row.

6. Scenes selected will be based on the part loaded.

7. This is useful when playing live and during improvisations where the
parameters to adjust for the specific part of the song are preset to the
scene slots within the arrangement. Changes are applied automatically
as the rows change.

8. Once completed other attributes can also be changed as desired.

Scene A Scene B
The default scene ‘A’ selection can The default scene ‘B’ selection can
be assigned by Trig for the row. be assigned by Trig for the row.

Note: The convention and best practice is to use first column for ‘A’ and second
column for ‘B’, however in practice either column can be used for ‘A’ or ‘B’.

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NOTES

▌CREATING A NEW ARRANGEMENT - MIDI TRANSPOSE.

1. In the arrangement editor a transpose can be assigned to a row that is

applied to MIDI tracks. This is ideal for melody transitions or to add
variety in a drop or bridge when connecting external gear.

2. Set up MIDI tracks as desired. The pitch settings is where the MIDI
transposition will be applied.

3. Use [UP] [DOWN] to navigate the rows. The current row which can be
edited is shown between the horizontal dotted lines. Select each row
sequentially to edit the attributes.

4. On the row to edit, Press [LEFT] [RIGHT] to navigate across the

attribute columns. The parameter to edit will be highlighted.

5. Highlight the T - Transpose column.

6. Press [YES] to open the MIDI Transpose pop-up menu.

7. Press [LEFT] [RIGHT] to navigate to highlight the MIDI Track to edit.

8. On the selected MIDI Track, Turn (LEVEL) to adjust and set the
transposition in semitones.

9. The display will show a ‘T’ symbol in the T - Transpose column where a
transposition is setup. The row, when played will apply the transposition
to the MIDI tracks defined.

10. Press [NO] to exit.

MIDI Transpose Pop-Up

Transpose per track

MIDI Tracks
in semitones

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NOTES

▌CREATING A NEW ARRANGEMENT - TEMPO PER ROW.

1. In the arrangement editor the BPM (Beats per Minute) can be assigned
to a row. This is ideal for transitions or to add variety. Project tempo is
the default unless a specific tempo is assigned to the row.

2. Use [UP] [DOWN] to navigate the rows. The current row which can be
edited is shown between the horizontal dotted lines. Select each row
sequentially to edit the attributes.

3. On the row to edit, Press [LEFT] [RIGHT] to navigate across the

attribute columns. The parameter to edit will be highlighted.

4. Highlight the B - BPM column.

5. Press [YES] to open the BPM pop-up menu.

6. On the selected row:-

• Turn (LEVEL) to adjust the row BPM.

• Press + Turn (LEVEL) for larger changes in BPM.

• Turn (LEVEL) to select PATTERN to revert to the pattern tempo.

7. The display will show a ‘B’ symbol in the B - BPM column where a
tempo change is setup. The row, when played will apply the tempo
change then revert to the tempo defined for the next row.

8. Press [NO] to exit.

Selected row to BPM Column, rows flagged ‘B’

apply the new BPM have a dedicated tempo assigned.

Tempo assigned to row.

Note: If no dedicated tempo BPM is applied for a row, i.e. left blank, then the PROJECT
BPM Tempo will be used. Arranger tempo takes priority over pattern or project tempo so
be careful that the arranger doesn't change tempo incorrectly.

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 Arrangements 15
NOTES

▌CREATING A NEW ARRANGEMENT - MUTE MODE PER ROW

1. Applying a mute state for tracks per row is arguably the most powerful
and useful option in the arranger feature set. Having the ability to mute
tracks per row means a single pattern can contribute to multiple rows
and the muted tracks will form the variation in the arrangement.

2. Identify the patterns that will form the arrangement. For Mute states fully
featured tracks are useful, then mute to silence some as required.

3. Use [UP] [DOWN] to navigate the rows. The current row which can be
edited is shown between the horizontal dotted lines. Select each row
sequentially to edit the attributes.

4. On the row to edit, Press [LEFT] [RIGHT] to navigate across the

attribute columns. The parameter to edit will be highlighted.

5. Highlight the M - Mute column.

6. Press [YES] to open the track mute pop-up menu. This has the same
look and feel as in the mixer mute function.

7. The first 8 squares refer to audio tracks, represented by Trig [1] - [8].
When unmuted, tracks are indicated by unfilled / filled squares and trigs
are lit red.

8. The last 8 squares refer to MIDI tracks, represented by Trig [9] - [16].
When unmuted, tracks are indicated by unfilled / filled squares and trigs
are lit yellow.

9. Press Trig [1] - [16] to mute the respective track for the selected row.
The Trig will be unlit and the display will show a dash for muted tracks.

10. The display will show an ‘M’ symbol in the M - Mute column where
mutes are setup. The row, when played will mute the defined tracks.

Mute States Pop-Up

Audio track mute state MIDI Track Mute State

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NOTES

Examples

In the EDM example the introduction uses pattern A01 over 32 Steps, but
with a length of 16 steps on each of two rows. Rather than create different
patterns the same A01 pattern can have a number of tracks muted to
reduce the first 16 steps to say a kick only.

Pattern A01: Played for first 16 Steps

OF = 0, LN = 16
1 8 16 24 32

ROW 0
MUTE ROW:000
AUDIO MIDI

Mutes all Tracks Except Track 1 - Kick and Track 2 Sparse Snare

A01

ROW 1
MUTE ROW:001
AUDIO MIDI

No mutes applied, equally a longer intro could have tracks unmuted

gradually through different rows of the arrangement.

Pattern A01: Played for last 16 Steps

OF = 16, LN = 16
1 8 16 24 32

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 Arrangements 15
NOTES 15.5 Arrangement Special Commands
Arrangements also have 4 special commands that are used in place of the
rows PAT - Pattern option. These are used for structural and control
purposes when developing arrangements. Each of these apply a clear
process orientated function and are very powerful in use and should be
considered at the outset when building an arrangement.

Special Command Reference

Name Functions Description

This is a automatically applied command that is set at the very

END OF ARR End of Arrangement
last row of any arrangement. The system will apply this by default.

Allows text comments to be added as rows. This will help guide

REM Remark the user on the arrangement structure. Does not affect any
musical or timing input, but only serves as a visual reference.

Once the halt row is triggered in the arrangement playback it will

Stops the
HALT stop and pause on this row. This can set temporary or permanent
arrangement playback
pauses at points in the arrangement structure.

Once the jump row is triggered in the arrangement playback it will

Moves the playback immediately move the playback position to the defined target row
JUMP
position forward later in the arrangement. This will step over and not play any rows
in-between the jump and target rows.
Once the loop row is triggered it will immediately start the
Loop playback playback position to the defined target row earlier in the
LOOP
between defined rows arrangement. This will step through and play any rows in-between
the target and loop rows before looping again from the loop row.

▌ADDING SPECIAL COMMANDS IN A NEW ARRANGEMENT

1. Select the arrangement editor, Press [ARR] and select ‘EDIT’.

2. Use [UP] [DOWN] to navigate the rows. The current row which can be
edited is shown between the horizontal dotted lines. Select each row
sequentially to edit the attributes.

3. On the row to edit, Press [LEFT] [RIGHT] to navigate across the

attribute columns. The parameter to edit will be highlighted.

4. Highlight the PAT column where the pattern is normally set.

5. Turn (LEVEL), anti-clockwise to select special commands:-

• Scroll through A01 and beyond until ‘HALT’ appears and is selected.

• Scroll further anti-clockwise past, ‘HALT’ to reach ‘REM’.

• When on the ‘HALT’, Press [RIGHT] to select the value to the right.
Turn (LEVEL) clockwise to select ‘JUMP’ or turn anti-clockwise to
select ‘LOOP’.

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NOTES

REM - Remark

A remark is simply a text label applied in a row to act as a cue and reminder
of what the following arrangement rows do. This may seem like an easy
step to skip initially but is extremely useful later down the line to avoid
counting rows and patterns to figure out what the arrangement parts do and
where they reside. Investing time for remarks when creating an
arrangement is strongly advised.

▌ADDING A REMARK IN AN ARRANGEMENT

1. Select the arrangement editor, Press [ARR] and select ‘EDIT’.

2. Use [UP] [DOWN] to navigate the rows. The current row which can be
edited is shown between the horizontal dotted lines. Select row where
the jump start position will be applied.

3. On the row to edit, Press [LEFT] [RIGHT] to navigate across the

attribute columns. The parameter to edit will be highlighted.

4. Highlight the PAT column where the pattern is normally set.

5. Turn (LEVEL), anti-clockwise. This will scroll through the patterns and
scroll past A01 until ‘HALT’ appears. Continue to Turn (LEVEL) one
more increment until ‘REM’ appears.

6. Press [RIGHT] to move to the next column on the REM row.

7. Press [YES]. The naming pop-up menu will appear to create text. The
text limit is 15 characters.

REM HALT A01 A02

(LEVEL)

Example EDM Project Remarks:-

Intro 1 INTRO
Breakdown 1 BRKDN 1
Build Up 1 BLD UP 1
Drop 1 DROP 1
Breakdown 2 BRKDN 2
Build Up 2 BLD UP 2
Drop 2 DROP 2
Bridge BRIDGE
Drop 3 DROP 3
Outro 1 OUTRO
Outro 2

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 Arrangements 15
NOTES

HALT - Halt

A Halt will pause on the row that it is triggered This state will remain
indefinitely unless a manual step selection in the arranger mode to the row
below the halt. On the row below, press [YES] to continue playing. Halt is
useful if the arranger is used to organise complete songs DJ style that are
then played back with manual row selections.

▌CREATING A HALT COMMAND IN AN ARRANGEMENT ROW

1. Select the arrangement editor, Press [ARR] and select ‘EDIT’.

2. Use [UP] [DOWN] to navigate the rows. The current row which can be
edited is shown between the horizontal dotted lines. Select an exact row
on which to stop playback.

3. On the row to edit, Press [LEFT] [RIGHT] to navigate across the

attribute columns. The parameter to edit will be highlighted.

4. Highlight the PAT column where the pattern is normally set.

5. Turn (LEVEL), anti-clockwise. This will scroll through the patterns and
past A01, until ‘HALT’ appears along with the row number to halt.

6. Press [NO] to exit

REM HALT A01 A02

(LEVEL)

Play will be halted. To manually commence

playback, in arranger mode, select the next
step down using [UP] [DOWN] and press [YES]

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NOTES

JUMP - Jump

A jump command steps forward a number of rows to continue playback at a

future row position. This will then bypass the rows in-between the jump
positions. This is useful to structure arrangements.

▌CREATING A JUMP COMMAND IN AN ARRANGEMENT ROW

1. Select the arrangement editor, Press [ARR] and select ‘EDIT’.

2. Use [UP] [DOWN] to navigate the rows. The current row which can be
edited is shown between the horizontal dotted lines. Select a row before
elements of a track for example, set a remark before the intro named
‘INTRO’, before the breakdown 1 named ‘BRKDWN1’ etc.

3. On the row to edit, Press [LEFT] [RIGHT] to navigate across the

attribute columns. The parameter to edit will be highlighted.

4. Highlight the PAT column where the pattern is normally set.

5. Turn (LEVEL), anti-clockwise. This will scroll through the patterns and
past A01 until ‘HALT’ appears.

6. Press [RIGHT] to move to the next right column on the HALT row.

7. Turn (LEVEL) clockwise one iteration. This will change the special
command from ‘HALT’ to ‘JUMP’.

8. Continue to Turn (LEVEL) further clockwise to set the jump target row.
Playback will jump from the ‘JUMP’ row to this destination row.

REM HALT A01 A02

(LEVEL)

[RIGHT]

JUMP

Row 3
Row 4
Row 5
Row 6
Row 7
Row 8
Row 9
Destination step is set while selecting jump.

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 Arrangements 15
NOTES

LOOP - Loop

A loop command steps backwards a number of rows whilst continuously

playing back to the loop row at which point it will cycle back again. The
number of cycles that an arrangement section loops is set on the loop row.
This us useful for musical variation and structures and is especially useful
for live performance.

▌CREATING A LOOP SECTION IN AN ARRANGEMENT

1. Select the arrangement editor, Press [ARR] and select ‘EDIT’.

2. Use [UP] [DOWN] to navigate to the loop start row. The current row
which can be edited is shown between the horizontal dotted lines.

3. On the row to edit, Press [LEFT] [RIGHT] to navigate across the

attribute columns. The parameter to edit will be highlighted.

4. Highlight the PAT column where the pattern is normally set.

5. Turn (LEVEL), anti-clockwise. This will scroll through the patterns and
past A01 until ‘HALT’ appears.

6. Press [RIGHT] to move to the next right column on the HALT row.

7. Turn (LEVEL) anti-clockwise one iteration. This will change the special
command from ‘HALT’ to ‘LOOP’.

8. Continue to Turn (LEVEL) further anti-clockwise to set the loop target

row. Playback will cycle from the ‘LOOP’ row to this destination row.

9. The default is to loop infinitely but this can be set to a specific number of
loop cycles. Press [RIGHT] to select and highlight the infinity symbol.

10. Turn (LEVEL) to set the number of loop cycles from infinity to any value
up to a maximum of 64.

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NOTES

Loop

REM HALT A01 A02

(LEVEL)

[RIGHT]

LOOP

[RIGHT]

Destination step is set while selecting loop. Number of loop cycles is set within loop column

Row 0
Row 1
Row 2
Row 3
Row 4
Row 5
Row 6

The loop will cycle in an infinite pattern unless an alternative number of cycles is
set. If a defined number is set, playback will step out of the cycle after the loop
iterations are completed. Alternatively setting the next row manually in the
Arranger Mode and pressing [YES] will move to playing the next row.

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 Arrangements 15
NOTES

Creative Tips for Special Commands

The special commands have many uses both in a studio or live

performance environment. Some tips are given here.

• Create loop sections in an arrangement that will, once triggered allow

live improvisation. An infinite loop for example across the bridge of a
track will allow manual parameter changes and ad libs through the
looped section. Manually releasing the loop on the next non-looped row
to continue.

• Use REM remarks at the start of every section of an arrangement.

While it might seem time consuming at the outset it will save time (and
frustration) later when revisiting an arrangement.

• Use a REM not only to describe sections, but use it also to add things
like date and author at the start or end of the arrangement.

• Create a variety of loops ready for live improvisation. Use a jump

command ahead of each loop to bypass each loop row. Under normal
playback situations the loops therefore will not trigger. Then when
preparing to play live, simply remove the jump or change the jump
destination so that the loop will trigger in the live set.

• Create an arrangement of multiple songs chained. Use a Halt at the end

of each and then manually skip to start on the fly, DJ Style.

• Create an arrangement with alternative sections. For example a longer

bridge, different mutes or extended drop section. Set a jump command
before the sections and set the jump destination to whichever version is
required.

• Use arrangements in general to create remixed versions and save to

the 8 available arrangement slots per project.

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15 Arrangements
15.6 Editing Arrangements NOTES

Once created, arrangements can be revisited to edit further. The edit

function contains most of the features required.

▌DELETING AN ARRANGEMENT ROW

1. Select the arrangement editor, Press [ARR] and select ‘EDIT’.

2. Use [UP] [DOWN] to navigate to the desired row.

3. Press [FUNC] + [UP] to delete the current row. The selection bounding
lines will automatically select the next row available above.

▌COPYING / PASTING AN ARRANGEMENT ROW

1. Select the arrangement editor, Press [ARR] and select ‘EDIT’.

2. Use [UP] [DOWN] to navigate to highlight the desired row to copy.

3. Press [FUNC] + [REC] to copy the current row.

4. Use [UP] [DOWN] to navigate to highlight a target row. If desired, Press

[FUNC] + [DOWN] to create a new row to copy into.

5. Press [FUNC] + [STOP] to paste into the current row the previously
copied row.

6. To move rows use the copy / paste option and delete as required.

▌CLEARING AN ARRANGEMENT ROW

1. Select the arrangement editor, Press [ARR] and select ‘EDIT’.

2. Use [UP] [DOWN] to navigate to highlight the desired row to clear.

3. Press [FUNC] + [PLAY] to clear the current row.

4. The behaviour of the clear will depend on the function of the row:-

• Pattern rows will be reset to default.

• Loop and Jump rows will revert to Halt.

• Remark rows will clear the text.

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 Arrangements 15
NOTES 15.7 Arrangement Management
While the majority of arrangement activities are performed in the edit mode,
other options are available in the arranger help management.

▌SAVING AN ARRANGEMENT

1. Select the arrangement editor, Press [ARR].

2. Use [UP] [DOWN] [ LEFT] [RIGHT] to navigate to highlight ‘SAVE’.

3. Press [YES] to select the save function. The option to save up to 8

arrangement per project is possible. Chains cannot be saved.

4. If this is the first time a ‘save as’ function will trigger the naming pop-up
menu and invite a new name to be created if this is the first time being
saved. This typically would appear to ‘save as’ when saving for the first
time a newly created arrangement. Alternatively a save Y/N prompt to
confirm will appear.

5. Press [YES] to confirm or when naming is completed to save the

arrangement to the active slot. Alternatively press [NO] to cancel.

▌RELOADING AN ARRANGEMENT FROM SAVED STATE

1. Select the arrangement editor, Press [ARR].

2. Use [UP] [DOWN] [ LEFT] [RIGHT] to navigate to highlight ‘RELOAD’.

3. Press [YES] to select the reload function. A prompt to discard any

changes made will appear.

4. Press [YES] to confirm to replace the current arrangement with the

previously saved version. Alternatively press [NO] to cancel.

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NOTES

▌CHANGING / LOADING AN ARRANGEMENT

1. Select the arrangement editor, Press [ARR].

2. Use [UP] [DOWN] [ LEFT] [RIGHT] to navigate to highlight ‘CHANGE’.

3. Press [YES] to select the change function. This will open the
arrangement browser list and the available arranger slots will show the
stored arrangements. An asterisk indicates unsaved data.

4. Press [UP] [DOWN] to navigate through the list and highlight the
arrangement to select and load.

5. Press [YES] to confirm loading and changing the current arrangement.

Any chains will clear. Alternatively press [NO] to cancel.

▌RENAMING THE CURRENT ARRANGEMENT

1. Select the arrangement editor, Press [ARR].

2. Use [UP] [DOWN] [ LEFT] [RIGHT] to navigate to highlight ‘RENAME’.

3. Press [YES] to select the rename function.

4. The naming pop-up menu will appear and invite a new name to be
created. Use the naming tool to set a new name.

5. Press [YES] when naming is completed to confirm. Alternatively press

[NO] to cancel.

▌CLEARING AN ARRANGEMENT

1. Select the arrangement editor, Press [ARR].

2. Use [UP] [DOWN] [ LEFT] [RIGHT] to navigate to highlight ‘CLEAR’.

3. Press [YES] to select the clear function. A prompt will appear asking to
confirm. Note that this function will completely clear and reset to a blank
arrangement.

4. Press [YES] to confirm clear. Alternatively press [NO] to cancel.

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 Arrangements 15
NOTES 15.8 Chaining Arrangements
As well as chaining patterns into arrangements, a single arrangement itself
can also be chained in series at the end of the current arrangement. This is
a dynamic action meaning that once the arrangement and chain completes
playback or the current arrangement is changed then the chain will clear.

Play Direction

ARR 1 ARR 3

Currently selected Subsequently chained arrangement which will play after the
arrangement current arrangement completes

▌CHAINING AN ARRANGEMENT SERIES

1. Ensure a set of arrangements have been created and saved. Each

project will have 8 arrangement slots.

2. Select the arrangement editor, Press [ARR].

3. Use [UP] [DOWN] [ LEFT] [RIGHT] to navigate to highlight ‘CHAIN’.

4. Press [YES] to select the chain function. This will open the arrangement
browser list and the available arranger slots will show the stored
arrangements.

5. Press [UP] [DOWN] to navigate through the list and highlight the
arrangement to add in the chain. The chained arrangement will play
after the currently selected arrangement completes.

6. Only one iteration of an arrangement can be added in a chain. Chains

cannot be saved.

The chained arrangement will be shown at the end of the

active arrangement in the arranger mode and edit pages.

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15 Arrangements
15.9 Arrangement Quick Reference NOTES

Arrangements are extremely useful and powerful and worthy of the time
investment to learn. To speed up the workflow a quick reference of
commands is provided.

Menu Function Control What does it do?

Arranger Turns the arranger mode on (LED Lit) or Off (LED

Arranger Mode [FUNC] + [ARR]
On/Off unlit). Set to ON to play arrangements.

Arranger Setup Opens the arranger options. Access to Edit,

Arranger Menu [ARR]
Menu Rename, Change, Chain, Clear, Save, Reload

Arranger Edit, Plays the arranger from the current or cued row.
Play [PLAY]
Arranger Mode Pauses if playing. Arranger mode must be on.

Arranger Edit, Stops the arranger playback row. Arranger mode

Stop [STOP]
Arranger Mode must be on.

Arranger Edit, Navigate row Selects a row to be cued or played. Press [YES] to
[UP] [DOWN], [YES]
Arranger Mode selection. activate the row playback. [PLAY] to play.

Adds a new row below the currently selected row.

Arranger Edit Add new row [FUNC] + [DOWN]
Replicates the current row.

Arranger Edit Delete row [FUNC] + [UP] Deletes the current row and moves other rows up.

Navigate rows Moves selection cursor across columns of the

Arranger Edit [RIGHT] [LEFT]
columns current row. Parameters highlighted for editing.

Adds a pattern into the PAT column. Also bank can

Arranger Edit PAT Column [PTN] + Trig [1] - [16] be selected first with [BANK] + Trig [1] - [16]. Also
turn (LEVEL) to adjust pattern selection.

Adjusts the value setting for the currently selected

Arranger Edit Edit settings Turn (LEVEL)
parameter column.

T, B, M, Selects the parameter pop-up menu for the

Arranger Edit [YES]
Column Transposition, BPM Tempo and Mute modes

Arranger Select Navigate in the change menu to an arrangement to

[UP] [DOWN], [YES]
Change arrangement load / change to. Confirm with [YES]

Clears current Clears and sets to default the current arrangement

Arranger Clear [YES]
arrangement directly when pressing [YES] + [YES] to confirm.

Saves the active arrangement to current slot directly

Saves current
Arranger Save [YES] when pressing [YES] + [YES] to confirm. Will require
arrangement
to name if first time save is performed.
Reloads a previously saved arrangement from the
Arranger Reloads saved
[YES] current slot directly when pressing [YES] + [YES] to
Reload arrangement
confirm. Will discard unsaved changes.

Chains an Navigate the slots to select an arrangement to chain

Arranger Chain [UP] [DOWN], [YES]
arrangement after the current arrangement. Confirm with [YES]

Arranger Menu Exit menu [NO] Exits the arranger edit menu.

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 Arrangements 15
NOTES 15.10 Pattern Chains
This section if focused on the arranger options and function. However its a
good point to conclude with a reminder that patterns can also be chained in
the sequencer. In similar fashion, a selection of patterns from the same
bank can be chained to play in series. A pattern can appear only once in the
chain. Chaining patterns is performed in normal mode and when NOT in the
arranger mode.

▌CREATING A CHAIN OF PATTERNS.

• Ensure arrangement mode is off (LED unit). Recording or normal mode

is ok for setting pattern chains. Select the bank from which to build the
pattern chain, Press [BANK] - [Trig [1] - [16] for A to P.

• Hold [PTN] + Trig [1] - [16] …. Continue to hold [PTN] as well as

holding additional patterns to the chain using Trig [1] - [16]. The order
entered will determine the playback order. Patterns must be held
simultaneously to be added to a chain.

• Patterns will be shown on the display in the pattern section with a

double arrow between the current and next pattern to play. Press
[PLAY] to play the chain.

• Press [STOP] to stop the chain playback and reset the start position to
the beginning.

• Press [STOP], [STOP] to unlink and reset a chain.

Pattern / Pattern Chain

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 NOTES

448 The Octatrack Notebook : Reference & Guide

 16
System
So we come to the final section which captures vintage, it is still today one of the most powerful
most topics not previously covered and tends to performance samplers on the market. It has
focus on housekeeping duties rather than stood the test of time and is as relevant today
creative processes. These of course are where technology is moving fast as it was when
essential but are not normally day to day it was released. As always the hope is that you
practices. It is therefore important to have a have found this producer guide useful, that you
quick and easy reference to tasks that are less have captured your own notes in the sections
familiar. In addition a summary and quick provided and made it personal to you and your
reference of Octatrack commands is provided. workflow. That the provided reference has been
While this producer guide is aimed at the built on and becomes an even bigger font of
Octatrack MkII, it also makes sense to cross knowledge as you capture more experience.
reference the command keys / shortcuts so that Thank you for your support and enjoy the
the book can benefit MkI owners too. The onward journey.
recommendation here is to at least familiarise
once with the content contained in this section.
While it may be a dry read and less inspiring it
will serve well if a future need arises and its
good to at least know whats contained here.
There is not that much that's left to be said.
Octatrack is an amazing device and while some
of the functionality reflects its 10year plus

The Octatrack Notebook : Reference & Guide 449

16 System
16.1 System Menu & Global Status NOTES

The system menu contains a number of functions that are globally applied
with Octatrack. Access to the system option is in the Project menu [PROJ]
under the SYSTEM options. Status of Octatrack can be viewed here.

Menu Function Command What does it do?

Sets the compact disk to be accessible from a PC / Mac via the
[YES] USB connection. The Compact flash will act as a general mass
System USB Disk Mode
set disk mode storage device allowing file access, back up and management.
Unmount / eject from PC / Mac before exiting USB Disk Mode.

[YES] Will read an upgrade .bin file from the compact flash root
System OS Upgrade
enable update directory and perform the update.

[YES] Sets the overall system date and time. This will be retained
System Date / Time
Edit clock actively in Octatrack.

[YES] Settings for the generic Octatrack behaviour and adjustable to

System Personalize
Access Options suit specific workflow.

[YES] Allows management of the compact flash files and the

System Card Tools
CF Manager formatting of the compact flash card.

[YES] Adds a new row below the currently selected row. Replicates
System Status
View Status the current row.

▌VIEWING OCTATRACK OS VERSION, BATTERY AND CF STATUS.

• Press [PROJ] to access the Project Settings.

• Navigate to the SYSTEM menu using [UP] [DOWN].

• Press [RIGHT] or [YES] to access the right side sub menu of options.

• Navigate to the STATUS Option using [UP] [DOWN].

• Press [YES]. The current status of the compact flash card memory,
battery state and the current OS version is displayed. This display is for
indication purposes and edits cannot be made in this screen.

• [NO] to Exit.

450 The Octatrack Notebook : Reference & Guide

 System 16
NOTES 16.2 OS Updates
An operating system upgrade may be required to fix problems or add new
functionality. This can be performed from the system menu for update over
USB or the Start Up menu for MIDI Upgrade.

Octatrack can be connected to a PC / Mac

either with USB or MIDI (Via a MIDI Interface)

USB USB

Interface

MIDI
Or

OCTACARD 32 GB

CP CARD FOR OCTATRACK

866x PROFESSIONAL

MIDI Upgrade performed in the MIDI Upgrade performed in the

Or
Start Up Menu using 5 Pin MIDI In. System Menu using USB.
(SYSEX File) (.BIN Binary File)

Always follow the manufacturers instructions for upgrades documented with each OS
release. These should be available from the Elektron site. These instructions here are
generic guidance only as each update may have specific and unique instructions.
Always use the official OS upgrade instructions.

The Octatrack Notebook : Reference & Guide 451

16 System
NOTES

▌UPDATING OCTATRACK USING USB & DISK MODE.

1. Download the upgrade .bin binary file from the Elektron site and follow
the OS update instructions supplied. This method is the preferred and
recommended process for normal updates.

2. Connect Octatrack to a PC or Mac using the USB connectors. Ensure

the Compact Flash is installed.

3. On the Octatrack, Select the PROJ Settings menu , Press [PROJ].

4. Navigate with [UP] [DOWN] to highlight SYSTEM.

5. Press [RIGHT] or [YES] to select the System sub-menu.

6. Navigate with [UP] [DOWN] to highlight USB DISK MODE in the sub
menu.

7. Press [YES] to select. The Octatrack Compact Flash card will appear as
a storage device on the PC / Mac.

8. Copy the downloaded upgrade .bin file from the PC / Mac onto the
mass storage device, which is actually the Compact flash card. Ensure
the file is located in the compact flash root directory (top level, not in a
sub folder).

9. Unmount or ‘eject’ the mass storage device i.e. the compact flash from
the PC / Mac to exit disk mode.

10. On the Octatrack, Select the PROJ Settings Menu, Press [PROJ].

11. Navigate with [UP] [DOWN] to highlight OS UPGRADE in the sub

menu.

12. Press [YES] to select. A confirmation prompt will be displayed asking to

acknowledge the update.

13. Press [YES] again to confirm and commence upgrade or Press [NO] to
exist and cancel. The current project will sync before upgrading.

452 The Octatrack Notebook : Reference & Guide

 System 16
NOTES

▌UPDATING OCTATRACK USING MIDI MODE.

1. Ensure Octatrack is powered Off.

2. Download the upgrade .syx binary file from the Elektron site and follow
the OS update instructions supplied. This method is only advised when
recovering a crashed device and not for routine updates.

3. Connect Octatrack to a PC or Mac using the MIDI In connector. A MIDI

to USB interface may be needed for the connection.

4. On the Octatrack, Hold [FUNC] and Switch On to power up. The START
UP Menu should be displayed.

5. Select MIDI UPGRADE, Press Trig [3].

6. Octatrack will wait for the sysex transfer to start and message ‘READY
TO RECEIVE MIDI UPGRADE ….’ is displayed.

7. Use a Sysex application such as Elektron’s Transfer tool to send the

sysex file to Octatrack.

8. The Octatrack Trig buttons will illuminate in sequence to indicate the

data transfer progress.

9. The message ‘PREPARING FLASH’ followed by ‘UPDATING FLASH’

will be displayed.

10. The OS upgrade is complete.

The Octatrack Notebook : Reference & Guide 453

16 System
NOTES

▌UPDATING OCTATRACK FROM ANOTHER OCTATRACK.

1. Connect the Octatrack with the up to date OS - MIDI Out (Source), to

the Octatrack to be upgraded - MIDI In (Destination).

2. On both Octatracks, Hold [FUNC] and Switch On to power up. The

START UP Menu should be displayed on each screen.

3. On the destination Octatrack to be upgraded, Select MIDI UPGRADE,

Press Trig [3].

4. The destination Octatrack will wait for the sysex transfer to start and
message ‘READY TO RECEIVE MIDI UPGRADE ….’ is displayed.

5. On the source Octatrack with current OS, Select SEND UPGRADE,

Press Trig [4].

6. The destination Octatrack Trig buttons will illuminate in sequence to

indicate the data transfer progress.

7. The message ‘PREPARING FLASH’ followed by ‘UPDATING FLASH’

will be displayed on the destination Octatrack.

8. The OS upgrade is complete.

SOURCE OCTATRACK DESTINATION OCTATRACK

Contains current, up to date OS. Will be upgraded.

3
4

MIDI for Turbo Speed

MIDI for Upgrade

The Elektron Turbo Protocol can be used for faster upgrades if both
machines have MIDI In / Out connected in both directions as shown

454 The Octatrack Notebook : Reference & Guide

 System 16
NOTES 16.3 Start Up Menu
Several other options are available within the start up menu as well as
upgrade tools. These are not functions that are expected to be used in the
daily process with Octatrack. In fact they may be rarely used. An empty
reset is a destructive process and will delete all Octatrack on board RAM
data. This is normally retained through the battery backup. The Compact
Flash will remain intact and is not affected and only RAM is wiped clean.
This may be useful if issues occur with RAM or prior to transferring
ownership to clear memory. A self test may be helpful when repeatable
hardware issues occur with Octatrack and prior to contacting technical
support or the supplier.

▌PERFORMING AN EMPTY RESET.

1. Hold [FUNC] and Switch On to power up. The START UP Menu should
be displayed on each screen.

2. On the destination Octatrack to be upgraded, Select EMPTY RESET,

Press Trig [2].

3. Confirm the action and follow the instructions as presented..Octatrack

RAM will be cleared and reset.

▌PERFORMING A SYSTEM SELF TEST.

1. Hold [FUNC] and Switch On to power up. The START UP Menu should
be displayed on each screen.

2. On the destination Octatrack to be upgraded, Select TEST MODE,

Press Trig [1].

3. Octatrack will perform a series of diagnostic checks and the results will
be presented. A normal results if everything is OK is shown below and
any deviations then the results, should be recorded and then to seek
technical support.

4. Buttons can be pressed to see if there is a response.

FUNCTION TEST
DRAM : [*] SRAM : [*]
USB ULPI : [OK]
ATA : [OK]
RTC : [OK]
CODEC : [OK]
DSP : C0 [OK] C1 [OK]
BATTERY : [OK]

The Octatrack Notebook : Reference & Guide 455

16 System
16.4 Time & Date NOTES

A generic clock exists which can be manually set. This is used for general
time and date functions such as file management. This can be edited in the
SYSTEM options of the [PROJ] Project setting menu.

2O22 - O1 - 11 15 :42 :34

Year Day Date Hour Min Sec

▌SETTING TIME & DATE.

1. Press [PROJ] to access the Project Settings.

2. Navigate to the SYSTEM menu using [UP] [DOWN].

3. Press [RIGHT] or [YES] to access the right side sub menu of options.

4. Navigate to the DATE/TIME Option using [UP] [DOWN].

5. Press [YES].

6. To navigate in the time and date function, Press [LEFT] [RIGHT]. This
will select the month, day, date, hours, minutes or seconds. Highlight
with an underline the desired element to change. Others are dotted
underlined.

7. Press [UP] [DOWN] to adjust the value.

8. Press [YES] to confirm a value change.

9. Press [NO] to exit the menu.

456 The Octatrack Notebook : Reference & Guide

 System 16
NOTES 16.5 Compact Flash Card Management
A set of ‘Card Tools’ are available within the SYSTEM menu. This function
can be used to format an installed compact flash card. This will erase any
previous data so be careful not to delete any required files. Also the ability
to manage a compact flash card files is possible.

▌FORMATTING THE COMPACT FLASH CARD.

1. Ensure the existing or a new compatible, compact flash card is installed.

2. Press [PROJ] to access the Project Settings.

3. Navigate to the SYSTEM menu using [UP] [DOWN].

4. Press [RIGHT] or [YES] to access the right side sub menu of options.

5. Navigate to the CARD TOOLS Option using [UP] [DOWN].

6. Press [YES].

7. Navigate to highlight FORMAT CARD using [UP] [DOWN].

8. Press [YES] to select format. Note that this option will erase and delete
any data contained on the installed compact flash. Ensure a back up
available. Press [NO] to cancel

9. Press [YES] again to confirm formatting or Press [NO] to exit the menu.

10. All data and partitions will be erased.

Summary of File Management Options (Full details in the Sets / Project Section)

Section Function What does it do?

FILE MANAGER MK DIR Make directory. Creates a new directory on the compact flash
card in the selected location.
FILE MANAGER RENAME Changes the name of an existing folder or file

FILE MANAGER DELETE Deletes an existing folder or file from the compact flash card.

FILE MANAGER COPY Copies an existing folder or file located on the compact flash
card.
FILE MANAGER CUT Copies and removes a file (not directories) to allow it to pasted to
another location. This lifts and drops rather than creating a copy.
This option is available in the COPY slot when pressing [FUNC]
in the file manager
FILE MANAGER PASTE Pastes a copied folder or file to a selected location on the
compact flash card.
FILE MANAGER Workspace 1 Hold [T1] - [T4] to store the current folder location as a marker to
Location Marker ‘Workspace 1’ which can then be recalled Pressing [T1] - [T4]
FILE MANAGER Workspace 2 Hold [T5] - [T8] to store the current folder location as a marker to
Location Marker ‘Workspace 2’ which can then be recalled Pressing [T5] - [T8]

The Octatrack Notebook : Reference & Guide 457

16 System
16.6 Personalize NOTES

Personalize settings within the SYSTEM menu allow some default

behaviour settings to be changed and to customise settings.

▌CHANGING THE PERSONALIZE OPTIONS.

1. Press [PROJ] to access the Project Settings.

2. Navigate to the SYSTEM menu using [UP] [DOWN].

3. Press [RIGHT] or [YES] to access the right side sub menu of options.

4. Navigate to the PERSONALIZE Option using [UP] [DOWN].

5. Press [YES].

6. Navigate to highlight the desired option using [UP] [DOWN].

7. Press [YES] to toggle the option on / checked or off / unchecked.

458 The Octatrack Notebook : Reference & Guide

 System 16
NOTES

Personalize Options

Section Function What does it do?

PERSONALIZE QUANTIZE LIVE REC On - Quantize notes to full steps in LIVE RECORDING mode.
Off - Quantize to micro timing 1/384th resolution.
PERSONALIZE PREVIEW WITHOUT FX On - Previews the sample without any track effects.
Off - Previews the sample through the active track effects.
PERSONALIZE MUTE FOCUSES TRACK On - Will also make track active when muted with [FUNC] + [Tx]
Off - Will only mute with [FUNC] + [Tx]
PERSONALIZE CUE FOCUSES TRACK On - Will also make track active when cued with [CUE] + [Tx]
Off - Will only cue with [CUE] + [Tx]
PERSONALIZE CUE MUTES TRACK On - Will also mute the track when cued with [CUE] + [Tx]
Off - Will only cue with [CUE] + [Tx]
PERSONALIZE DISABLE On - Will disable all ‘turn encoder’ options used with [FUNC]
FUNCTION + ENCODER Off - Will enable all ‘turn encoder’ options used with [FUNC]
PERSONALIZE DISABLE On - Will disable the one shot trig [YES] [NO] arming options but
YES / NO ARM continue to allow [FUNC] + [YES] or [NO] to arm.
Off - Will allow [YES] [NO] to arm one shots.
PERSONALIZE DIS On - Will disable the one shot trig [STOP] [STOP] arming options
STOP-STOP ARM while sequencer is stopped.
Off - Will allow [STOP] [STOP] to arm when seq is stopped.
PERSONALIZE DIS On - Will disable the automatic replication of trigs when extending
PAGE AUTOCOPY the pattern / track length.
Off - Will automatic copy trigs into a pattern / track extension
PERSONALIZE DEFAULT TRIG MODE Selects the default track trig mode that will be set when creating
new projects
PERSONALIZE DEFAULT REC MODE Selects the default track trig mode for track recorders that will be
set when creating new projects
PERSONALIZE SAVE SAMPLES TO Audio Pool - Saves the data to the audio pool of the set when
saving recorded audio or sample from within the audio editor.
Project Folder - Saves the data to the project folder of the set
when saving recorded audio or sample from the audio editor.
PERSONALIZE SHORT SAMPLE NAME How the flex and static sample slots will display the name.
BEG-END - First 5 + last 5 letters will make up the name (default)
BEG ONLY - First 10 letters will make up the name
END ONLY - Last 10 letters will make up the name
PERSONALIZE RECORD QUICK MODE On - Will disable the need for [Tx] + [RECx] to record. Pressing
the [RECx] button alone will initiate recording.
Off - [Tx] + [RECx] is required to record.
PERSONALIZE EXT LEN GRID-REC On - Includes note length data when recording in GRID
RECORDING mode using an external MIDI device.

PERSONALIZE LED BRIGHTNESS Sets the brightness to (Low, Mid or Maximum) of the button LED’s
and the display.

The Octatrack Notebook : Reference & Guide 459

16 System
16.7 Memory Allocation NOTES

Allocation of the on board Random Access Memory (RAM) can be

managed by accessing the MEMORY allocation set up found in the
CONTROL options of the [PROJ] Settings. Memory can be reserved to
track recording to ensure resilience of sampling. It is important to remember
a few points on memory:-

• Higher sample bit rates will use more memory. The quality is higher with
higher sample rate and hence a balance should be made. 16 Bit is
default and will also save to this format.

• The ability to extend recording into Flex memory is possible

• It is recommended to stay with defaults unless a specific need arrises

for example for heavy flex track usage or sampling sessions.

Memory Indicator
Displays Reserved
(White), Available (Black)
and Used (Dotted)

Project
Total 85.5MB RAM
Default ~64MB

Default ~21MB

85.5MB
Available Flex RAM Track Recorder
Flex Machine Slots Sampling Memory
Total 64MB (Used Shown Checked) 2.7MB per Track

Memory is allocated and reserved

in the MEMORY options.

RESERVE RECORDINGS = NONE, allocate all to Flex RAM

RESERVE RECORDINGS = R1..R1-R8

RESERVE LENGTH = Recording time allocated to selected buffers

Example: 16 Seconds or 32 Seconds

460 The Octatrack Notebook : Reference & Guide

 System 16
NOTES
Memory Options

Section Function What does it do?

MEMORY FLEX Bit depth of the sample when loaded to a flex slot (Static unaffected). 24 Bit -
FORMAT Samples at 24 bit or 16 bit retain bit depth. Uses more memory but higher quality
audio.
16 Bit - High rates are reduced to 16 Bit. More economic on memory but lower
audio quality. Samples save with this setting will default to save at 16 Bit.
(Default)
MEMORY DYNAMIC No - Track recorders will only use track recorder memory, default being 16
RECORDERS seconds of sample recording time. Adjusted in Reserve Recordings and Length.
(Default)
Yes - Allows memory use to extend beyond track recording limits and into flex
memory.
MEMORY RECORDER Bit depth used when track recorders are sampling. 16 Bit (Default) or 24 Bit.
FORMAT Higher bit rate higher memory usage, but higher quality.
MEMORY RESERVE Defines which track recorders (Default R1-R8) are allocated to the reserve
RECORDINGS memory and therefore affected by reserve length.
R1-R8 - Assigns memory to the recorder. If a recorder is not assigned then
sampling cannot be performed unless dynamic recording is set to yes where Flex
RAM is used.
None - All track recorder memory is added to Flex RAM. The full memory
allocation is therefore in Flex RAM. Reserve length has no effect. If set to none
then sampling cannot be performed unless dynamic recording is set to yes where
Flex RAM is used.
MEMORY RESERVE Works in conjunction with the reserve recordings setting. Allocates a sample time
LENGTH length to the track recorders assigned in reserve recordings. Track recorders
sample this length. Dynamic recorder setting will allow the reserved time to be
exceeded and run into Flex RAM. Default is 16 Seconds, range is 1s - 64s. The
sequencer step equivalent is displayed when adjusting this setting (see below)

▌CHANGING THE MEMORY OPTIONS.

1. Press [PROJ] to access the Project Settings.

2. Navigate to the CONTROL menu using [UP] [DOWN].

3. Press [RIGHT] or [YES] to access the right side sub menu of options.

4. Navigate to the MEMORY Option using [UP] [DOWN] then Press [YES]
to select the menu.

5. Navigate to highlight the desired option using [UP] [DOWN].

6. Turn (LEVEL) to adjust the setting. The equivalent step length and
memory usage will be displayed when adjusting the recorder format,
reserve recordings and reserve length parameters.

7. Exit the menu, Press [NO]. This, as well as closing the page, will also
clear the buffers and activate the new settings / adjustments made.

The Octatrack Notebook : Reference & Guide 461

16 System
16.8 Octatrack Key Combo Quick Reference - Pt 1
Key: [Tx] = Track Buttons 1-8, [1] - [16] = Trig Buttons 1-16, [A] [B] = Scene A & B, TRK PARAM = 5 Track Parameter Buttons
MkI Front panels are labeled with full words and are not shortened like MkII, [FUNC] MkII = [Function] MkI

Function Action MKII Command MKI Command Description

General Copy [FUNC] + [REC] [Function] + [REC] Copies depending on the page in context

General Clear [FUNC] + [PLAY] [Function] + [PLAY] Clears depending on the page in context

General Paste [FUNC] + [STOP] [Function] + [STOP] Pastes depending on the page in context

General Project Menu [PROJ] [Function] + [Mixer] Opens the project settings menu
N/A - No dedicated PROJ button
General Save Project [FUNC] + [PROJ] in the MkI Saves the Project

Transport Play [PLAY] [PLAY] Plays the sequence pattern

Transport Stop [STOP] [STOP] Stops the sequencer Pattern playback

Mixer Mixer Level [FUNC] + (LEVEL) [Function] + (LEVEL) Main parameter of mixer menu
Moves through various menu options. Use
Navigation Scroll Up [UP] [UP]
[FUNC} or [Function] for faster scrolling.
Moves through various menu options. Use
Navigation Scroll Down [DOWN] [DOWN]
[FUNC} or [Function] for faster scrolling.
Moves through sub menus or toggles a
Navigation Scroll Left [LEFT] [LEFT]
selection.
Moves through sub menus or toggles a
Navigation Scroll Right [RIGHT] [RIGHT]
selection
Navigation Scroll (LEVEL) (LEVEL) Scrolls when in a menu the options

Navigation Backup [NO] [NO] Cancels and / or backs out of sub menu’s

Navigation Confirm [YES] [YES] Activates selected menu option

Sequencer Tap Tempo [FUNC] + [TEMPO] [Function] + [TEMPO] Tap x4 or more to select a tap tempo

Sequencer Nudge Tempo [Tx] + [LEFT] [RIGHT] [Tx] + [LEFT] [RIGHT] Temporary Nudge tempo BPM +/-10%

Sequencer Nudge Trigs [FUNC] + [LEFT][RIGHT] [Function]+ [LEFT][RIGHT] Nudge trigs 1 step back or forth (GRID REC)

Sequencer Sample Lock [1] - [16] + [UP][DOWN] [1] - [16] + [UP][DOWN] Open sample lock menu (GRID REC)

Sequencer Micro-timing [1] - [16] + [LEFT][RIGHT] [1] - [16] + [LEFT][RIGHT] Open micro timing menu (GRID REC)

Sequencer Grid Recording [REC] [REC] Selects Grid Recording Mode

Sequencer Live Recording [REC] + [PLAY] [REC] + [PLAY] Starts Live Recording Mode

Sequencer Live Recording [REC] + [PLAY] + [PLAY] [REC] + [PLAY] + [PLAY] Starts Live Rec Mode - Quantized On/Off

Sequencer Step Recording [REC] + [STOP] [REC] + [STOP] Step recording mode on

Sequencer Step Rec Mode [REC] + [STOP] [STOP] [REC] + [STOP] [STOP] Step recording toggle standard or jump mode

Sequencer Set Trigs [1] - [16] [1] - [16] Assign trig steps in Grid Recording

Sequencer Lock Trig [FUNC] + [1] - [16] [FUNC] + [1] - [16] Place trigless locks & one shots (GRID REC)

Sequencer Trigless Trig [1] - [16] + [NO] [1] - [16] + [NO] Convert lock trig to trigless trig

Sequencer Lock Trig [1] - [16] + [NO] [1] - [16] + [NO] Convert trigless trig to lock trig

Sequencer Trigless Trig [1] - [16] + [NO] [1] - [16] + [NO] Convert sample trig to trigless trig

Sequencer Trigless Trig [FUNC] + [9] - [16] [Function] + [9] - [16] Trig trigless trigs, not sample trigs
(Not in Rec Mode - Tracks & Chromatic Mode only)

462 The Octatrack Notebook : Reference & Guide

 System 16
16.8 Octatrack Key Combo Quick Reference - Pt 2
Key: [Tx] = Track Buttons 1-8, [1] - [16] = Trig Buttons 1-16, [A] [B] = Scene A & B, TRK PARAM = 5 Track Parameter Buttons
MkI Front panels are labeled with full words and are not shortened like MkII, [FUNC] MkII = [Function] MkI

Function Action MKII Command MKI Command Description

Sequencer Copies Trig [1] - [16] + [REC] [1] - [16] + [REC] Copies the trig

Sequencer Paste Trig [1] - [16] + [STOP] [1] - [16] + [STOP] Pastes the trig

Sequencer Clear locks [1] - [16] + [PLAY] [1] - [16] + [PLAY] Clears all parameter locks for the trig

Sequencer Clear Live Rec [NO] + [Tx] [NO] + [Tx] Clears trigs during Live Recording

Sequencer Clear Live Rec [FUNC] + [NO] [Function] + [NO] Clears param locks during Live Recording

Sequencer Clear Live Rec [NO] + push (DATA ENTRY) [NO] + push (DATA ENTRY) Clear the param lock during Live Recording

Sequencer Metronome [FUNC] + [MIX] [CUE] + [TEMPO] Toggles Metronome On / Off

Sequencer Preview [1] - [16] + [YES] [1] - [16] + [YES] Preview track trig - audio on main out

Sequencer Preview [1] - [16] + [CUE] [1] - [16] + [CUE] Preview track trig - audio on cue out

Track/Pattern Select Track [Tx] [Tx] Selects Audio or MIDI Track 1-8

Track/Pattern Play Sample [Tx] + [PLAY] [Tx] + [PLAY] Trigs samples assigned to the track machine

Track/Pattern Stop Sample [Tx] + [STOP] [Tx] + [STOP] Stops sample play on track machine

Track/Pattern Mute [FUNC] + [Tx] [Function] + [Tx] Mute Track

Track/Pattern Select Bank [BANK] + [1] -[16] [Bank] + [1] - [16] Selects the active Bank A-P

Track/Pattern Select Pattern [PTN] + [1] - [16] [Pattern] + [1] - [16] Selects an active Pattern 1-16

Track/Pattern Pattern Settings [FUNC] + [BANK] [Function] + [Bank] Selects pattern settings (Not in GRID REC)

Track/Pattern Track Trig Menu [FUNC] + [BANK] [Function] + [Bank] Selects track trig menu (GRID REC)

Track/Pattern Audio editor [FUNC] + [BANK] [Function] + [Bank] Selects track trig menu (GRID REC)

Track/Pattern Copy Page [PAGE] + [REC] [Pattern Page] + [REC] Copies active pattern page

Track/Pattern Clear Page [PAGE] + [PLAY] [Pattern Page] + [PLAY] Clears the active pattern page

Track/Pattern Paste Page [PAGE] + [STOP] [Pattern Page] + [STOP] Pastes active pattern page

Track/Pattern Arranger [FUNC] + [ARR] [Function] + [Pattern] Opens the arranger menu
N/A - No dedicated ARR button
Track/Pattern Arranger [ARR] Turns arranger mode on or off
in the MkI
Track/Pattern Setup [FUNC] + [TRK PARAM] [Function] + [Trk Param] Opens secondary setup page for track params

Track/Pattern Scale [FUNC] + [PAGE] [Function] + [Pattern Page] Opens scale setup page
N/A - Function + MIDI opens
Track/Pattern MIDI Sync [FUNC] + [MIDI] Opens MIDI Sync menu
parts menu in MkI
Track/Pattern Cue [CUE] + [Tx] [Cue] + [Tx] Cues the selected track

Track/Pattern Cue [CUE] + [RECx] [Cue] + [Record] Cues selected audio input

Track/Pattern Cue [CUE] + (LEVEL) [Cue] + (LEVEL) Adjusts the cue level of track

Track/Pattern Trig Mode [FUNC] + [UP] [DOWN] [Function] + [UP] [DOWN] Trig mode, when not in a scrollable menu

Track/Pattern Map / Track [MIDI] + [UP] [DOWN] [MIDI] + [UP] [DOWN] MIDI Map select (Audio Note In Map / Track)

The Octatrack Notebook : Reference & Guide 463

16 System
16.8 Octatrack Key Combo Quick Reference - Pt 3
Key: [Tx] = Track Buttons 1-8, [1] - [16] = Trig Buttons 1-16, [A] [B] = Scene A & B, TRK PARAM = 5 Track Parameter Buttons
MkI Front panels are labeled with full words and are not shortened like MkII, [FUNC] MkII = [Function] MkI

Function Action MKII Command MKI Command Description

Track/Pattern Scroll [FUNC] + [UP] [DOWN] [Function] + [UP] [DOWN] Speed up scrolling, when in a scrollable menu

Track/Pattern Reset (DATA ENTRY) + [NO] (DATA ENTRY) + [NO] Push Data Entry + NO to reset its parameter

Track/Pattern Initialise [TRK PARAM] + [PLAY] [Trk Param] + [PLAY] Initialises the track settings page

Track/Pattern Copy [TRK PARAM] + [REC] [Trk Param] + [REC] Copies the track params page

Track/Pattern Paste [TRK PARAM] + [STOP] [Trk Param] + [STOP] Pastes the copied track params to the page

Track/Pattern Randomise [TRK PARAM] + [YES] [Trk Param] + [YES] Randomises selected parameter page settings

Track/Pattern Reset [TRK PARAM] + [NO] [Trk Param] + [NO] Resets parameters to state of last saved part

Audio Audio Editor [AED] [Function] + [Bank] Open Audio Editor

N/A - No dedicated AED button
Audio Audio Editor [FUNC] + [AED] in the MkI Opens Audio Editor Slice Grid

Audio Edit Sample [Tx] + [BANK] [Tx] + [Bank] Opens track machine sample in audio editor

Audio Record Buffer [RECx] + [BANK] [Record] + [Bank] Opens active track buffer in audio editor

Audio Record Menu [FUNC] + [REC1] / [REC2] [Function] + [Record] Opens recording setup menu
N/A - No dedicated REC3 button
Audio Record Menu [FUNC] + [REC3] in the MkI Opens recording edit menu

Audio Record [Tx] + [REC1] [Tx] + Record AB Initiate sample recording from AB

Audio Record [Tx] + [REC2] [Tx] + Record CD Initiate sample recording from CD

Audio Record [Tx] + [REC3] [Tx] + [MIDI] Initiate sample recording from internal audio

Audio Re-Arm [Tx] + [YES] [Tx] + [YES] Re-arms track one shots - [Tx] been pressed

Audio Dis-Arm [Tx] + [NO] [Tx] + [NO] Dis-arms track one shots - [Tx] been pressed
Previews selected sample to cue out from
Audio Preview [CUE] + [YES] [CUE] + [YES]
audio editor, sample slots and file browser.
Previews selected sample to cue out from
Audio Preview [FUNC] + [YES] [Function] + [YES]
audio editor, sample slots and file browser.
Part Edit Part [FUNC] + [PART] [Function] + [MIDI] Open Parts editor

Part Reload Part [FUNC] + [CUE] [Function] + [Cue] Reload the active part from saved state

Scene Mute Scene [FUNC] + [A] or [B] [Function] + [A] or [B] Mute selected scene A or B

Scene Assign Scene [A] or [B] + [1] - [16] [A] or [B] + [1] - [16] Assign scene A or B to a scene slot 1-16

Scene Copy [A] or [B] + [REC] [A] or [B] + [Record] Copies scene A or B

Scene Paste [A] or [B] + [STOP] [A] or [B] + [Stop] Pastes the copied scene into scene A or B

Scene Clear [A] or [B] + [PLAY] [A] or [B] + [Play] Clears scene A or B

Naming Select Letter [FUNC] + [ARROW] [Function] + [ARROW] Left, Right, Up, Down, selects letter

Naming Erases Letter [FUNC] + [NO] [Function] + [NO] Deletes Letter

Naming Inserts a Letter [FUNC] + [YES] [Function] + [YES] Inserts a letter or space

Naming Selects Char [RIGHT] [LEFT] [RIGHT] [LEFT] Navigates back and forth through name

Naming Change Char [UP] [DOWN] [UP] [DOWN] Increments, decrements selected character

464 The Octatrack Notebook : Reference & Guide

 NOTES

The Octatrack Notebook : Reference & Guide 465

 NOTES

466 The Octatrack Notebook : Reference & Guide

 17
Index

The Octatrack Notebook : Reference & Guide 467

 Index
A Clear 23, 58, 202

AMP 147 Clock 418, 456

Architecture 9 Compact Flash 14, 457

Arming 224 Compressor 345

Arp 403, 405 Conditional Locks 236

Arrangement 16, 421, 426, 435 Control Change 384, 386, 414

Arrangements Mode 424 Copy 23, 58, 169, 202

Arranger 422 CTRL 1 369, 393, 411

Attributes 314 CTRL 2 369, 393, 411

Audio 277 Cue 287

Audio Editor 292, 309 D

Audio Pool 16, 46 Data Entry 17

Audio Structure 12, 148 Delay 350

Audio Track 20, 52 Delay Compensation 291

Auto Channel 369, 384 Delay Control 63, 74, 383

B Demo 6

Bank 16 Disconnected tracks 65

C E

CC Control 384 Effects 153, 294, 325

CC Direct Connect 369, 384 Envelope 151–152

Chain 250, 294, 445, 447 EQ 333

Chorus 340 F

Chromatic 63, 67, 378 File Manager 39, 320

468 The Octatrack Notebook : Reference & Guide

 Index
Fill Mode 236, 241 MIDI 16, 361

Filter 329, 344 MIDI Arpeggiator 402, 406

Flanger 337 MIDI Channels 367, 369, 372

Flex Machines 93 MIDI Control 365

G MIDI Mapping 374

Glossary 10 MIDI Mode 388, 394

Grid Recording 184, 202 MIDI Structure 13

I MIDI Sync 366, 415

Inputs 278, 290, 363 MIDI Track 21, 394

L Mixer 280

Length 189 Modulation 264

Levels 57, 170 Mute 56, 77, 284, 433

LFO Designer 269 N

LFO’s 257, 263 Naming 25

Live Recording 186 Navigation 17

Lo-Fi 348 Neighbor Machines 104

Lock Trig 220 Noise Gate 290

M Note Trig 220

Machine 16, 19, 81 Nudge 199

Master Track 61, 155 O

Memory 14, 142, 460 One Shot 220, 222

Metronome 194, 197 One-shots 224

Micro Timing 199 OS Updates 451

The Octatrack Notebook : Reference & Guide 469

 Index
Outputs 278, 363 Recording 123, 132, 140, 188, 390

P Recording Buffer 140

Parameter Locks 214 Recording Edit 143

Parameter Pages 20, 56 Retrig 200

Part 16, 157–158 Reverb 353

Paste 23, 58, 169, 202 Routing 62, 280

Pattern 16, 79, 177, 183, 209, 250, 416 S

Personalize 458 Sample Locks 214

Phaser 337 Sample Trig 220–221

Pickup Machines 106 Samples 137, 322

Probability 242 Sampling 126, 132, 144

Program Change 415–417 Scale 189

Project 16, 28, 34 Scene 16, 157, 165

Project Menu 38 Send / Return 295

Q Sequencer 194, 254

Quantize 132, 201 Set 16, 28, 30

Quick Mute 63, 76, 382 Slices 63, 71, 300, 306, 381

Quick Reference 462–464 Slide Trig 220

Quick Start 7 Slots 63, 69, 380

R Solo 284

Randomization 22 Spatializer 340

Rearming 224 Start Up Menu 455

Recorder Trig 220, 231 Static Machines 86

470 The Octatrack Notebook : Reference & Guide

 Index
Swing Trig 220

System 449, 467

System Menu 450

Templates 49

Tempo 194, 316, 432

Thru Machines 100

Time & Date 456

Time Stretching 144, 316

Track 16, 63–64

Track Recording 125, 130

Transport 418

Trig Conditions 236

Trig Count 248

Trig Modes 63

Trigless Trig 220, 228

Trigs 59, 63, 78, 111, 202

Trim 296

The Octatrack Notebook : Reference & Guide 471

472 The Octatrack Notebook : Reference & Guide
 Copyright © 2022 by SynthDawg

All rights reserved. This book or any portion thereof may not be reproduced or
used in any manner whatsoever without the express written permission of the
publisher except for the use of brief quotations in a book review. All text and
images are designed and created from scratch for this book by Synthdawg.
This book is an independent production and any official endorsement or
sponsorship by any manufacturers named within has not been granted nor
been sought.

Produced in the United Kingdom

Version 1.0 January 2022 - Octatrack OS 1.40a

www.synthdawg.com

The Octatrack Notebook : Reference & Guide 473

 www.synthdawg.com

Making RTFM Cool

474 The Octatrack Notebook : Reference & Guide