MIDI control: I initially thought that MIDI control with the OP-1 was modal. That is the OP-1 only sends out MIDI notes while in MIDI mode. (Accessed by SHIFT+COM / 1 [CTRL]) This is not the case.
The MIDI control page can be use to set channel and knob settings and in this mode the note keys send out note on and off messages. However if you drop back into OP-1 mode the sequencer data is also sent out to the specified MIDI channel (or the default channel 1) so the OP-1 sequencers can control soft synths. The OP-1 synths will be playing at the same time so their channel output can be set to 0 in the Master page though the option is there to record OP-1 audio at the same time into your DAW.
Virus control: This method also works with the Access Virus when using the Live template provided by Access. Which is really great because I much prefer the Virus sounds to the OP-1. It does make the OP-1 an expensive controller but adding in the OP-1 synths will make a more layered sound.
There is one strange thing though. If I select channels 2 or 3 or 4 on the OP-1 these will access the correct chnnels in the Virus but will also send note events to channel 1. There are invisible notes because if the channel selected on the OP-1 is 2 then using MIDI Monitor only channel 2 notes are appearing as output from the OP-1. Channel 1 in Live also showed the notes. This was solved just as I was writing this post by unplugging the additional MIDI cable which went from the MOTU Ultralite audio interface to the Virus.
Crossbow or Gun?: The central feature of the OP-1 is the tape recorder which records (obviously) the audio but also has a lot of editing and tape manipulation features. It is well done however is it really the best way to put together a song? At this point in time I can make a lot of strange noises with the tape recordings but nothing really usable. I can see some use in creating some unique sounds but I am not really getting it for a song creation method.
Tip: It is mentioned lightly in the manual by putting the OP-1 into USB mode does allow you to create a folders under the Synthesizer and Drum folders into which you can drop you AIFF files. When the OP-1 is then set back to OP-1 mode these should be read by OP-1 for use by selecting them as a sound source.
I found that the OP-1 endless controller which has note length settings and the ability to specify long notes is the most useful of the sequencers with longer samples. Sort drum style samples and notes can work with any of the sequencers.
Finally got my Teenage Engineering OP-1. Great design, a few bugs with usable if not spectacular sounds.
A few days with the OP-1 . I also uploaded some presets:
Reason:MIDI is a bit inconsistent with Reason (the program not an explanation). Numerology 2 can be set up a control surface for Reason. This setup works well. Reason responds to MIDI and CC data from Numerology and can also record it just like any hardware interface.
The negative thing is that Reason applies all MIDI event data to the selected controller so that multiple controllers in Numerology will send out all their data to the one selected instrument in Reason. This means you would work with one instrument at a time.
Alternatively if you have Record you can use Numerology as a software interface with Advance Setting in Reason and route different channels to different instruments. The audio from these MIDI channels can be routed to Audio channels for recording.
The other disappointment is that the Maschine controller works with Reason only with difficulty which is really not worth the effort.
Project; The introduction of Sharepoint into the FWA
This is a alpha version of the first song. Created by random generating function in AC Toolbox:
Programming Notes Some experiments with creating random bass line sections in AC Toolbox lead to some fairly predicable results.
The rhythm sections should be non random if you want to maintain the standard bass line feel. The pitch values need to be constrained though I tend go for more variable pitches than the single note bass lines. The AC Toolbox random distribution functions generally have a low and high limit values, these and to be kept with in one octave or less, and a value for variability which should be kept low.
Pitch examples:
(1/f-value 5 32 48) – 5 is the variability, 32 is the low pitch 48 the high pitch
(cauchy-value 38 20 32 46) – values around pitch 38 with a spread of 20. Low value is 32 high value is 46
(weibull-value c2 9 1 c3) – C2 is the threshold, 9 is the spread, 1 is the shape and c3 is the maximum value
To get some movement, a shape (actually a line) converted to a stockpile can be used instead of values eg
(1/f-value 5 updown-stk 48) – updown-stk is a rising then ascending list of values between 32 and 46.
Reaktor: I was trying out iZotope’s “Stutter Edit” which I realise is a lot like the Reactor ensemble “The Finger” which I already have. I don’t like using either which got thinking out distortion and drums and had me trying out “Ohmicide” by Ohm Force. The distortion is great but in Reaktor 5.5 there are some good effect plugs including distortion with the Electronic Instruments Vol.1 collection.
This in turn took me to “Lurker” which not distortion but delay lines mixed with additional samples to modify the audio and it sounds great. I tried hand crafting presets but the easiest way is to use the snapshot random, morph or merge functions top create usable snap shots. You can also grab additional samples and add them to the table for merging with the external audio. (Just remember to turn up the external audio which often off by default)
iPad Controller: The Hexachrom iPad app is fun to use once you establish a connection using Oscullator, which is an additional purchase if you don’t already have it. I seemed to have problems with the connection to start with and then it just worked. Oscullator does open up a new world of controller possibilities with iPAd WiFi of which Hexachrom is one. Nice and harmonic.
