maybe within a LFO section only for the master settings, like Turing machine behavior for the Tape level Screen (VCA Modulation) & a setting that would fade out the tracks under a certain level like the 2880 does…from the manual:
TRACK Faders: The 4 track faders serve a dual purpose: during Playback they are the volume control for each track, during Overdubbing they act like a Feedback control from a delay effect. So when you are Overdubbing, the level of the previously recorded audio on the active track is multiplied by the position of the track’s fader. If the fader is set to 100%, the previously recorded audio will remain at the volume it was recorded at. If the fader is set anywhere below 100%, with each pass of the loop, the volume of the previously recorded audio will attenuate according to the setting of the fader. Using this function, it is possible to use the 2880 as a very long delay pedal.
Haven’t played with merge drop yet, but Terminal is great, and I quite like modulating it with an LFO for extra sound movement, especially with it’s filter, like this:
Mixdrop is going to be super useful. Prior to that, it’s a lot of stuffing around to merge tracks 1,2 and 3 together into track 4, something I did reasonably often. Now can do 4 to 1, and very quickly.
Oh, I didn’t mention it in the video, but was just playing around again just now, and of course when you do this, because the mixer settings are respected, you can mute tracks (eg shift 1 to mute the drums) before you lift, and shift drop a version of 2,3&4. This way you can not merge everything unless you want to. So exclude a track first with Shift+Track number.
If only the field was 8 stereo tracks ahhh… I understand how the new track bounce makes things easier to play with but it would so liberating to have more room.
No. But you can turn on the metronome and pre-select a loop length on the tape with one (or more) bars for count in.
Yes, that’s what my untrained ear tells me. But isn’t chorus always stereo, kind of?
It also has midi over USB, as far as I have read
A fresh take on sequencing, I would say. Not the most intuitive, but very flexible, once you understand it.
I think they compliment each other beautifully. One is midi-based and has a great sequencer. I use it for drums the most. The other is audio-based, with great keys for leads, chords etc. and has a better overview of the arrangement of a song.
While this one’s got the Chase Bliss Lossy all over it, due to re-recording tracks from the OP-1 Field into the OP-1 Field through the TP-7, it’s made entirely on the Field as far as synths, performance and composition go. So it’s the Field and the Chase Bliss Lossy and nothing else. And the TP-7 for recording -
