I wanted to share some bass sample chains for the Octatrack.

Grab them here:

Octatrack Chromatic Synth Bass Sample Chains

File Stats:

•  6 Stereo Synth Bass Sample Chains aligned and spaced for 16 Slice Grid
•  44.1k, 16bit
•  101MB compressed, 120 uncompressed
• pdf with instructions on how to setup the Sample Chains included

These sample chains contain chromatically sampled bass instruments starting from c2 to d#3 (MIDI 36-51).  The sample chains have been aligned so that they are evenly spaced and ready for importing and auto Slicing via the Octatrack’s Audio Editor.  Each sample contains 16 notes, so you’ll want to use the 16 Slice Grid. 

To Use These Sample Chains:

Load the samples into your static sample pool slots.
Use the Octatrack’s Audio Editor to Create a 16 Slice Grid on each of the loaded sample chains.

When you create the Slice Grid select “NO” when it asks to “Align Markers to Zero-Crosses”.  The Slice Grid is already evenly spaced and setup.

Enable “SLIC” (SLICES MODE) in your Playback Setup for the tracks you wish to use these samples on.

Now your Trigs should eliminate green, each trig 1-16 will trigger slices 1-16 accordingly.

You are all set to play, tweak, and Plock the Chromatic Bass Sample Chains. 

Fun experimenting try the following:

– Adjust the PITCH on -/+ 12 to shift the Slices down and up an octave to achieve more range.
– If you’ve loaded and Sliced all of the bass sample chains into your static sample pool you can use the Static Slot Lock on Trigs to change bass sounds per Trig.  This allows you to Plock different Bass Sound onto your pattern!

If you find these useful and have any suggestions for improvements please send me feedback.  I’m planning on making more advanced sample chains that use chromatic sampled instruments in the future.

Cheers!

Jakob Penca has shared the following two demo videos on youtube:

concept demo of assisted sound design on the Elektron Analog Four synthesizer.
Exploring sounds by outsourcing control to dedicated external software.

The app interactively sculpts new sounds by interpolating user sounds, combining them into kits and sending them to the analog synthesizer at screen refresh rate (60 kits per second) via MIDI SysEx.

All sounds are based on sounds a user has created and sent to the app, so there is no randomness, but human intervention with the app is a guarantee for very unexpected recombinations.

The Analog Four plays its own sequence, with the app being controlled via MIDI CC – in the case of this video, the faders react to knob tweaks and LFOs from a Machinedrum’s MIDI sequencer, which is also synced to the Analog Four’s sequencer. quite frankly this is a blast.

morphing between kits on the Analog Four synth.
The kits themselves had been created by interpolating factory preset sounds with this app.

The app interactively sculpts new sounds by interpolating user sounds, combining them into kits and sending them to the analog synthesizer at screen refresh rate (60 kits per second) via MIDI SysEx.

All sounds are based on sounds a user has created and sent to the app, so there is no randomness, but human intervention with the app is a guarantee for very unexpected recombinations.

The Analog Four plays its own sequence, with the app being controlled via MIDI CC – in the case of this video, the faders react to knob tweaks and LFOs from a Machinedrum’s MIDI sequencer, which is also synced to the Analog Four’s sequencer. quite frankly this is a blast.

Find out more about this app on the Elektronauts forum here:

http://elektronauts.com/topics/view/1345

(a4 advanced Sound Parameter Page)

Copy Multiple Trigs at Once in Grid Mode!

• You can copy multiple trigs at once in grid mode they don’t even need to be adjacent.
• Copy ‘gaps’ are even preserved.
• The press order of your copy trigs is important
• The first one pressed will determine the pattern at the paste trig (singular) location this is handy !

Quick Jump to Advanced Sound Settings

• Function + (Osc1 or Osc2 or Filters or Amp or Env or LFO)
• This will bring up the (otherwise deeply buried) Advanced Sound settings page for that Sound!
• Oscillator Drift, Portamento, and Modulation Programming can be accessed here.

Enjoy!

A sampled tubed bass instrument for you!  Presenting the sfz Tubed Bass!

Photo Credit: neistridlar

Featuring:

• 3 velocity layers
• Smart EQ randomization
• Available in sfz format, load in your favorite sfz sampler/player!

Download:

Tubed Bass SFZ

We recommend that you load within:

Cakewalk Dimension Pro

Calkewalk Rapture

Plogue Sforzando

Garritan ARIA Player

Camel Audio Alchemy

Or another sfz player of your choice!  Enjoy.

CHE has uploaded:

The ‘ Science Fiction ‘ Soundset by CHE for the
Spectrasonics Omnisphere Virtual Synthesizer

• Soundset with 107 Presets
• Download Size: 2,5 MB
• Preset Design: CHE
• Release: 09-2013
• Genre: Various
• Price: Free

This soundset is the PatchArena dedicated – as thanks to Chad.

(Thanks!)

Download Science Fiction Soundset

Here is the Preset Patch List:

Sci Fi – Teleportation Machines – A
Sci Fi – Teleportation Machines – B
Sci Fi – Teleportation Machines – C
Sci Fi – Teleportation Machines – D
Sci Fi – Futuristic Science – A
Sci Fi – Futuristic Science – B
Sci Fi – Futuristic Science – C
Sci Fi – Futuristic Science – D
Sci Fi – Extraterrestrial Life – A
Sci Fi – Extraterrestrial Life – B
Sci Fi – Extraterrestrial Life – C
Sci Fi – Extraterrestrial Life – D
Sci Fi – Paranormal Abilities – A
Sci Fi – Paranormal Abilities – B
Sci Fi – Paranormal Abilities – C
Sci Fi – Paranormal Abilities – D
Sci Fi – Extraterrestrial Life – A
Sci Fi – Extraterrestrial Life – B
Sci Fi – Extraterrestrial Life – C
Sci Fi – Extraterrestrial Life – D
Sci Fi – Subterranean Earth – A
Sci Fi – Subterranean Earth – B
Sci Fi – Subterranean Earth – C
Sci Fi – Subterranean Earth – D
Sci Fi – Mind Control – A
Sci Fi – Mind Control – B
Sci Fi – Mind Control – C
Sci Fi – Mind Control – D
Sci Fi – Humanoid Computer – A
Sci Fi – Humanoid Computer – B
Sci Fi – Humanoid Computer – C
Sci Fi – Humanoid Computer – D
Sci Fi – Stanislaw Lem – A
Sci Fi – Stanislaw Lem – B
Sci Fi – Stanislaw Lem – C
Sci Fi – Stanislaw Lem – D
Sci Fi – Blade Runner – A
Sci Fi – Blade Runner – B
Sci Fi – Blade Runner – C
Sci Fi – Blade Runner – D
Sci Fi – Total Recall – A
Sci Fi – Total Recall – B
Sci Fi – Total Recall – C
Sci Fi – Total Recall – D
Sci Fi – The X-Files – A
Sci Fi – The X-Files – B
Sci Fi – The X-Files – C
Sci Fi – The X-Files – D
Sci Fi – Stargate Universe – A
Sci Fi – Stargate Universe – B
Sci Fi – Stargate Universe – C
Sci Fi – Stargate Universe – D
Sci Fi – The Time Machine – A
Sci Fi – The Time Machine – B
Sci Fi – The Time Machine – C
Sci Fi – The Time Machine – D
Sci Fi – Coming Up for Air – A
Sci Fi – Coming Up for Air – B
Sci Fi – Coming Up for Air – C
Sci Fi – Coming Up for Air – D
Sci Fi – George Orwell – A
Sci Fi – George Orwell – B
Sci Fi – George Orwell – C
Sci Fi – George Orwell – D
Sci Fi – Alien Languages – A
Sci Fi – Alien Languages – B
Sci Fi – Alien Languages – C
Sci Fi – Alien Languages – D
Sci Fi – Chandrayaan-1 – A
Sci Fi – Chandrayaan-1 – B
Sci Fi – Chandrayaan-1 – C
Sci Fi – Chandrayaan-1 – D
Sci Fi – Kaguya – A
Sci Fi – Kaguya – B
Sci Fi – Kaguya – C
Sci Fi – Kaguya – D
Sci Fi – Artemis P1 – A
Sci Fi – Artemis P1 – b
Sci Fi – Artemis P1 – C
Sci Fi – Artemis P1 – D
Sci Fi – Lunar Prospector – A
Sci Fi – Lunar Prospector – B
Sci Fi – Lunar Prospector – C
Sci Fi – Lunar Prospector – D
Sci Fi – AsiaSat 3 – A
Sci Fi – AsiaSat 3 – B
Sci Fi – AsiaSat 3 – C
Sci Fi – AsiaSat 3 – D
Sci Fi – Clementine – A
Sci Fi – Clementine – B
Sci Fi – Clementine – C
Sci Fi – Clementine – D
Sci Fi – Luna 23 – A
Sci Fi – Luna 23 – B
Sci Fi – Luna 23 – C
Sci Fi – Luna 23 – D
Sci Fi – Apollo 17 – A
Sci Fi – Apollo 17 – B
Sci Fi – Apollo 17 – C
Sci Fi – Apollo 17 – D
Sci Fi – Kosmos 300 – A
Sci Fi – Kosmos 300 – B
Sci Fi – Kosmos 300 – C
Sci Fi – Kosmos 300 – D
Sci Fi – Surveyor 5 – A
Sci Fi – Surveyor 5 – B
Sci Fi – Surveyor 5 – C
Sci Fi – Surveyor 5 – D
Sci Fi – Explorer 35 – A
Sci Fi – Explorer 35 – B
Sci Fi – Explorer 35 – C
Sci Fi – Explorer 35 – D

Jakob Penca shared the following video:

Mixing sequences by combinating arpeggiatos with endless notes and trig mutes.

See this elektronauts thread:

http://elektronauts.com/topics/view/1141/

at ca. 1:14, Cenk brings in a slow bass, with its three notes being 32 steps each, so the bassline repeats every 96 steps. It looks like he’s in one pattern, no chain or song mode. So how does this work?

I’ve tried to reconstruct this, and one possibility (the only one I have found) was to use the arp as follows:

– in a default empty pattern with length 16
– Place one single trig on step one of a track. Let’s call this trig the ARP TRIG.
– for this trig, on the note page, set LEN = INF, NOT = F4
– on the arp page, MOD = anything other than OFF, SPD = 96 (equals to 16 steps per note), RNG = 1, LEN = INF
– set the arp pattern like this:

the offsets are 0, 4, 2 for the three active steps.
with arp speed set to 96, the arp pattern advances one step every for every 16 sequencer steps. Here only every other step is active, this gives the desired 96 steps bass sequence from the video.

– if you hit play, you will notice that the trig on the first step will restart the arp every 16 steps, this is not what you want.
– put a trig mute on that step.

cool eh?
With this technique, you effectively can expand the length of a track to 16 bars, or 256 steps (provided that you don’t need notes faster than 16 steps… but it can be helped by using rhythmic sounds using stepping LFOs or something)

Now, the really cool thing about this is:
The arp pattern keeps playing infinitely, because the note that triggered it is of infinite length. Well, it keeps playing infinitely unless you mute the track, hit stop, or it is stopped by a sequencer step.

So what you can do with this is the following:

THE ARP TRANSITION TRICK

If you apply the technique to several patterns, let’s say always on track one, and on every pattern you keep the one trig that’s starting the arp muted, only unmuting it temporarily for starting the arp, and you switch from one pattern (with the arp arping) into another pattern, the sequence from the previous pattern keeps playing, until you unmute the new pattern’s arp trig.

So this allows for DJ-style mixing of patterns, including mixing of kits.

Beyond cool trick with the A4…!!!