![]() ![]() 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. ERM Multiclock vs Innerclock Systems for Tightest Midi Connectivity Im looking to buy an ERM Multiclock or one of Innerclock Systems midi many devices to sync my hardware setup with Ableton. ![]() The Analog clock signals are configurable in polarity, start/reset behavior and contain a flexible clock divider. Each channel can be configured to deliver MIDI Clock, DIN sync or analog clock. This way I can record super tight arpeggios and sequences into the MPC. The Multiclock outputs four channels of MIDI, DIN or analog clock for synchronization. Now open the looper (while MPC running) and you are able to record perfectly in sync. 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. After starting the MPC from DAW transport (and all is sync´d beautifully) - switch the SYNC IN from Midiclock to MTC in the MPC. The Sync-Gen also provides transport control, the Multiclock doesnt. 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. I think the Multiclock / Sync-Gen is a better solution. 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. Digital switching systems and some transmission systems (e.g., SONET) depend on reliable, high-quality synchronization (or timing) to prevent impairments. 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. Synchronization of the multiclock to a DAW relies on a. 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. The multiclock can be the main clock generator or synced to external MIDI, DIN sync and Analogue clocks. 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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