![]() So if you gig with keys, that's also an option. ![]() *Edit: I've also been known to trigger an arp or sequence on a keyboard, or play a riff with my left hand while I change projects on the Tempest with my right. Custom Outputs The multiclock has four outputs. Synchronization of the multiclock to a DAW relies on a sample accurate audio clock, which allows for rock solid sync signals. You'd be better off loading your Tempest beats into the Octatrack and just bringing that, as suggested above. The multiclock can be the main clock generator or synced to external MIDI, DIN sync and Analogue clocks. This keeps the Multiclock in sync with stuff recorded in the DAW and. What I've been doing with the Multiclock and computer is using E-RM's VST plug-in on track 1 and then sending that clock signal out to the analog clock input on the Multiclock. You synchronize all clocks to 1 master clock reset removal. Sync A Mac or PC DAW to external midi gear, similar to E-RM Multiclock / Expert. Graham at 1:00 All the clocks are synchronous in frequency but may vary in latency. Sticker, INFO Cards and OE Serials number code for Sync Gen Software. For example, sophisticated studios all employ a single, dedicated Word Clock generator to accurately lock digital gear, which depends on sample accurate data. If you were to ditch the Octatrack, but still hope to create transitions, you're only going to have to bring something else in its stead and suffer yet more limitations. If you clock Ableton from Midi, then Beatstep, Minilogue and Digitone could just use the same clock. This does not answer the question, which is about how to deal with this within a multi-clocked FPGA design. One Clock Source To Rule Them All This is very important to understand and if you’re familiar with Word Clock, the concept is similar. Honestly, when it comes to travelling light, it doesn't really get anymore concise and comprehensive than a Tempest/Octatrack combo. Otherwise, when I'm travelling with a lot of boxes, I use the SND ACME-4, which sends four parallel MIDI clock signals that way I can start, stop, subdivide, and offset the clock source for each device independently and always be in sync. Of course the material will determine which of those techniques is going to work best. ![]() When I'm travelling with minimal gear and I need to bridge the silence between tracks, loading new projects on the Tempest for instance, I use one of three tricks depending on what kit I have with me:ġ) I manually trigger a sample on my SP-404SX while I change projects on the Tempest.Ģ) I capture a live loop on either the Octatrack or one of my Boomerang III looper pedals.ģ) I ride the "infinite" feedback of a tape echo. Onstage, I'm often physically playing the Tempest and improvising sequences on-the-fly but I also do EDM style gigs with prepared beats and sequences, so I do understand your plight. I work in all capacities as a solo artist, session player, sound designer, engineer, and producer. ![]() Yes, I'm a full-time touring musician and recording artist, and the Tempest is one of my main instruments, both on the road and in the studio. ![]()
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