OP-1 Performance Tips and Techniques

Setting all levels at 40, sticking to the same BPM, using 64-step loops, and maintaining consistent track structures enhance live performance with the OP-1.

### OP-1 Performance Tips
* 🎛 Set all levels to **40** to ensure consistency and provide headroom for adjustments during performance.
* 🎚 Stick to a consistent BPM throughout a set, but be prepared to **adjust for different tracks**.
* 🔄 Use **64-step loops** and create **two loops per sketch** for a **structured performance**.
* 🎶 Assign specific sounds to each track (e.g., **sample**, **bass**, **percussion**, **kick**) for consistency.
* 🎚 Utilize the mixer to **fade in and out tracks**, either from the tape view or mixer view.
* 🎛 ️ Experiment with effects like **nitro, CWO, delay, and grid** to **enhance transitions and build-ups**.
* 🎚 Consider using **Memory 1 and Memory 2** for high pass and low pass filters, but avoid using them for effects that may **change**.
* 🎵 Use the sequencer as an extra track, particularly for percussion, to **add more dynamic elements** to your performance.

hey, it's my bro. This is a follow-up video from the last one, which looked at production using the OP-1. This time, we're looking at performance. A few tips, things that I find helpful. Hopefully, get something out of it too. The first tip is to have all of your levels set the exact same. Here, I've got it set to 40. You don't have to have it set to 40. It's going to depend on what sort of music you're doing. I just do 40 because it gives me lots of room to turn stuff up if I've recorded something too soft. Also, plenty of room to turn it down, gives me some headroom if I'm adding drive, and I control my levels when I'm doing the recording. So when you're in the production stage, you're using the input volume here to make sure you're getting the levels right. It means that if you get something wrong as you're producing, maybe you re-record as you go. But once you've produced the whole set, and it becomes a pain to re-record stuff.

if you set your levels the same, it means you know I can turn it up for this particular track. And when that next track comes in, I can take it back down to 40 pretty easily. I like to stick with the same BPM when I'm building a six-minute set. You can change BPMs as you are performing, but generally, I just do that with this white knob here. So if I turn that, it takes me to 125 BPM. So when I'm creating or recording a track at 118 BPM, sometimes I'll keep in mind I might want to play this one faster. It feels like it would work faster. So I might pitch down the kicks and pitch down some of the high hats so that when I turn it up to 125, it's not too high a pitch. The other thing to consider is your loop length. I work with 64-step loops, and I create two loops per sketch, so track idea. It really becomes like a track once you actually perform it and you do the arrangement, add effects, and things like

that the last bit of prep is to use each of your tracks with the same sounds for every sketch. That you create so on the first track, I always have the sample or the melody. Then, I've got the bass line on the second, percussion on the third, and kick on the last one. You can hear I've got a snare there as well. So it's a general rule, but I do work outside of those rules depending on a track. You can add a bit of variation, but generally sample, bass, percussion, and kick. I also like to use the mixer to fade in and out. So if I'm playing a track, muting and unmuting you can do from the tape view or from the mixer view. There are pros and cons of doing it this way or another way, which I'll show you in a moment. If I do it this way, it means that if I've got this effect set, I can change through the effects. If I were doing it this way and I want to change effects, I now have

to drop those high hats out in order to do that, and then come back to the tape view. From the tape view, you can solo tracks. That's great if you want to use the effects at the same time, or maybe you want to create a drop or something like that. So here, I've got the sample and the hats, and I can fade them in. [Music] [Music] Okay, so the effects that I use the most, and I guess the practical application for them, how I like to use them. If I'm using nitro here, that one I'll use that to maybe bring some hats in slowly. [Music] And then when I'm fading between loops. [Music] [Music] The CWO, the cow flanger filter sort of thing, I like to use that on the sample, so the higher stuff at the top end and the percussion. [Music] I pretty much never use it on the kick. It gets a little bit messy, I think, with your kick. Definitely a lot nicer. [Music] The delay, I'll generally use that for a bit of a

build and then create a bit of a drop. [Music] The other effect I've been using a bit lately is grid, which is like a delay as well. You can turn the feedback up and create a bit of a build there to create a bit of noise. [Music] I don't really use the tape tricks a lot, just the tape stop. [Music] I find that one useful from time to time. Don't really use reverse for what I'm doing, and I don't really use the stutter. But if you do use it, the way you could use it is make sure you hit that to get back to the start there. So you might use it at the end of the loop, and then you can hit play to come back in at that right time. Memory 1 and Memory 2, I pretty much use those just as high pass and low pass. I don't bother using them on effects because if you change the effect, which you would do lots of times in a live set, those memories are basically wiped. So I'm using it there.

[Music], but yeah, I'd usually have that as a high pass at the start of the video. I spoke a little bit about changing bpms during a set, so I tend to do that, uh, when I don't have percussion playing, so it's a bit less noticeable. I might just solo the sample, for example. [Music] do [Music]. Using the sequencer as an extra track can be a handy idea as well, gives you a little more to play with. Uh, I like to do that with percussion mostly, rather than a synth sound. So in this sound, I've got a really simple clap, and I've got this turned down nice and low, so my, my level there recording level, if I play my loop. [Music] And I time that well enough. [Music] [Music]. This one's a bit of an obvious one, but you can also solo over a track while it's playing, good way to show everyone you're not just a DJ. [Music] [Music]. Next step is [Music] [Music].

11 OP-1 Tips for Performing a Live Set

Hooch

Set your levels consistently to allow for flexibility in post-production and recording.

Keeping a consistent BPM throughout a set provides stability, but don't be afraid to make adjustments.

Consider using 64-step loops and creating two loops per sketch for a cohesive track idea.

Use the same sounds for each sketch to create consistency, such as a sample, bass, percussion, and kick.

Utilize the mixer to fade in and out, and consider the pros and cons of using the tape view versus the mixer view for muting and unmuting tracks.

Take advantage of the ability to solo tracks from the tape view and explore practical applications of effects like nitro for bringing in hats and CWO for the sample and percussion.

Tips for Using Music Effects and Equipment

Using the grid effect can help create a build and add noise, while the tape stop effect can be useful occasionally.

Memory 1 and Memory 2 are best used for high pass and low pass, rather than on effects.

Changing BPMs during a set can be done effectively when there's no percussion playing.

Using the sequencer as an extra track, especially for percussion, can provide more to work with, and soloing over a track while it's playing is a great way to showcase skills.

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