@RisingSon said:
As in 5.3 he says by copying sound from one slot into another you can build a complex kits…which is not possible.
What do you mean? I often build my drum kits recording one shot samples into melodic slots and then copying them into a drum slot. I don’t really get what he means as “complex kits”, BTW I agree with you that doesn’t look like he spent a lot of time with his K.O. before writing that guide.
I understood that he meant you could copy multiple slices from different melodic slots and combine them on one drum slot into a kit of 16 slices. If this is possible I would like to know…otherwise I don’t get the benefit of first sampling in melodic slot and then copying it to the drumslots.
@RisingSon said:
If this is possible I would like to know…otherwise I don’t get the benefit of first sampling in melodic slot and then copying it to the drumslots.
You select a melodic slot and press write+9-16 to select which drum slot you want to copy it in+1-16 to select the destination slice.
I find it very useful if I want to use a specific drum sound or to build a kit from just one shot samples.
@RisingSon said:
If this is possible I would like to know…otherwise I don’t get the benefit of first sampling in melodic slot and then copying it to the drumslots.
You select a melodic slot and press write+9-16 to select which drum slot you want to copy it in+1-16 to select the destination slice.
I find it very useful if I want to use a specific drum sound or to build a kit from just one shot samples.
Holy shit, gotta try that out…thank you very much…this is amazing!!!
Is it possible to get different time signatures, like a 14-step or 12-step pattern?
No.
However, the pitch modulations and some effects can stretch your sample to sound like different time signatures, in an old school way.
It’s very possible to record odd time signatures on any 16 step sequencer as long as there are multiple pattern slots. just do the math and you’ll see…
The octave down seems to be acting funny. (probably same for octave up)
Say you have pattern 1 & 2 saved with octave down all over it and pattern 3 & 4 without an effect and you chain the patterns 1,2,3,4 press play and let in run through them. If you don’t stop the sequencer and it goes through the chain of patterns again, the second time it plays patter 1 & 2 they will be more quiet than the first time.
not saying this is it but i had some weird things going on w/ the FX
that was just my batteries getting low.
swapped them for a fresh set and all was well again.
@TechnicalMaterial said:
It’s very possible to record odd time signatures on any 16 step sequencer as long as there are multiple pattern slots. just do the math and you’ll see…
Like using 7 slots at a very high tempo for a 7/8 beat?
@Scories said:
Like using 7 slots at a very high tempo for a 7/8 beat?
Doesn’t even need to be high tempo, you can do it with 7 patterns as long as you’re ok with your beat divisions not always falling where they usually do for 4/4 patterns.
So, for 7/8, pattern 1 would have your first measure up to step 14. The next measure starts on step 15 of the same pattern, and continues on to step 12 on the next pattern, and so on. It’s a bit confusing at first but can be managed.
@pselodux : Makes sense, thanks for the tip. I often do that on my op-1, without doing the maths though. So yes it’s possible, but one user should not expect a quick 5/4 jam on this device.
@TechnicalMaterial said:
It’s very possible to record odd time signatures on any 16 step sequencer as long as there are multiple pattern slots. just do the math and you’ll see…
Like using 7 slots at a very high tempo for a 7/8 beat?
Yes, so there are two ways I think about it: its either program the 7 note pattern 16 times, or program the 7 note pattern over the duration of 7 full PO pattern slots. (pattern slot= full 16 step cycle) Both are essentially the same thing and will land your pattern back on 1. because 16x7 = 7x16 , you can use the pricipal of this multiplication identity to make the PO sound like it is playing 16 groups of 7 when it thinks its playing 7 groups of 16, aka 7 pattern slots. SHout out to ll the 6th grade math teachers, those identities and stuff proved useful for once.
Here is some more explanation if that didnt click.
any patten of 1 to 16 steps will resolve if you sequence it 16 CONSECUTIVE times. Importantly, it has to be 16 times, not 17 or 15, because our pattern wont line up with the 16 step grid of the PO. Our general goal is to finesse the 16 steps into behaving like they are in 7.) And by consecutive, I meant I resume any patterns that cut off as if there was no break. (an analogy might be it is like sometimes when people are writing and come to a word that is too long to finish on a line, so they put “-” and resume the long word at the beginning of the next line… in this analogy just replace “word” with your odd note pattern, and each line would be a pattern slot, the principal is exactly the same. SO if you are on 1, 2, 3, then 4 lands on step 16, resume next pattern slot at 5, 6, 7 , then 1, 2… etc
So if you want a pattern of 7 notes, program that 7 note pattern 16 times and it will always perfectly end on the 16th step, meaning you have perfectly filled up pattern slots of 4/4 time with your odd pattern enough times to where it resolves on one and symmetrically fits within the 16 grid.
One other thing to consider is that this will cause the PO to play the pattern at a differrent tempo than the PO is showing. A way to actually fix that and have it play at the tempo you want is to take the time signature as a mathematical ratio and then MULTIPLY the tempo desired by that. so 7/8 would be 7 divided by 8, whih is 0.875. SO if you want 7/8 on the PO at 120 bpm, take 120x0.875= 105 bpm. Pain in the ass, yes, but possible.
One other thing to consider is that this will cause the PO to play the pattern at a differrent tempo than the PO is showing. A way to actually fix that and have it play at the tempo you want is to take the time signature as a mathematical ratio and then MULTIPLY the tempo desired by that. so 7/8 would be 7 divided by 8, whih is 0.875. SO if you want 7/8 on the PO at 120 bpm, take 120x0.875= 105 bpm. Pain in the ass, yes, but possible.
Not quite. A beat is considered to be a quarter note, and a quarter note in a 7/8 pattern (for example) has the same time value as in a 4/4 pattern; one of the quarter notes is just truncated at the end, ie. 3.5 quarter notes per bar. So 7/8 and 4/4 at the same tempo on the PO is correct.
However, if you were treating the 7-note pattern as septuplets instead of 7/8, it’d be a different story, as you’d be trying to fit seven notes into the space where eight notes would usually exist.
Both options have their uses, but the most common is to keep the BPM constant; this is the way it happens in most music that contains dynamic time signatures… e.g. a song with 3 bars of 4/4 followed by one bar of 7/8 would be pretty jarring to the ear if the 7/8 bar were slowed down to fit into the time of the previous bars of 4/4… though I’ve heard very skilled bands do this and it sounds pretty great
One other thing to consider is that this will cause the PO
Not quite. A beat is considered to be a quarter note, and a quarter note in a 7/8 pattern (for example) has the same time value as in a 4/4 pattern; one of the quarter notes is just truncated at the end, ie. 3.5 quarter notes per bar. So 7/8 and 4/4 at the same tempo on the PO is correct.
However, if you were treating the 7-note pattern as septuplets instead of 7/8, it’d be a different story, as you’d be trying to fit seven notes into the space where eight notes would usually exist.
Both options have their uses, but the most common is to keep the BPM constant; this is the way it happens in most music that contains dynamic time signatures… e.g. a song with 3 bars of 4/4 followed by one bar of 7/8 would be pretty jarring to the ear if the 7/8 bar were slowed down to fit into the time of the previous bars of 4/4… though I’ve heard very skilled bands do this and it sounds pretty great
Good catch and my bad, I should have said to do that for modulating rhythms, so that being said, you could literally get one pocket operator to play polyrhythms over another one that way (as long as they’re not synced)
Is there a way to change the filter on a melodic sound you have recorded whilst it is playing?
The only way I could find to change the filter on a note that was already entered was to change the filter setting then go into edit mode and remove and then re-enter the note.
@xpelled said:
i’ve just discovered a thing and that thing ruined one of my K.O! backups. i believe that the thing is worth being aware of, at least.
the story is: i got some sounds sampled into 2 empty melodic slots and 1 empty drum slot. po-33 was factory fresh meaning i didn’t zap those factory default sounds. then i made a few patterns and performed a backup (which lasts around 4 minutes on my recorder). now, on trying to restore from that backup my po-33 runs out of memory saying ERR somewhere around slot (button) number 12.
i did know that (most of?) those factory sounds aren’t really samples, but rather a tricky synth engine product which occupies way less space on the device compared to real sound samples. what i didn’t know is those factory sounds get into backup as real (sampled) sounds and restore as real (sampled) sounds and in the end of going through backup and restore they occupy almost all of the 40 available seconds just on their own.
so: be extra sure you get rid of all those factory sounds before performing a backup (or at least zap all you don’t use in your project). and keep in mind that if you have at least one factory sound in your backup you might not be able to fit all of your backup’ samples back into memory.
happy samplin!
I’ve been having the same issue, wrote about it on reddit and then read your explanation, which I wish I had found a few days ago. Even so, it is great to get confirmation of what I was thinking.
