OP-1 성능 팁 및 기술

### OP-1 성능 팁
* 🎛 모든 레벨을 **40으로 설정**하여 일관성을 보장하고 공연 중 조정할 수 있는 여유를 확보하세요.
* 🎚 세트 전체에 걸쳐 일관된 BPM을 유지하되, **다른 트랙에 맞게 조정할 준비**를 하세요.
* 🔄 **64단계 루프를 사용하고 스케치당 두 개의 루프**를 만들어 구조화된 퍼포먼스를 구현하세요.
* 🎶 일관성을 위해 **각 트랙에 특정 사운드(예: 샘플, 베이스, 퍼커션, 킥)**를 할당합니다.
* 🎚 믹서를 사용하여 테이프 보기 또는 믹서 보기에서 **트랙을 페이드 인 및 페이드 아웃**할 수 있습니다.
* 🎛 **니트로, CWO, 딜레이, 그리드 등의 효과**를 실험하여 전환과 빌드업을 향상하세요.
* 🎚 메모리 1과 메모리 2를 **하이패스 및 로우패스 필터**에 사용하되, 변경될 수 있는 효과에는 사용하지 않는 것이 좋습니다.
* 🎵 특히 타악기를 위한 추가 트랙으로 **시퀀서를 사용**하면 공연에 더욱 역동적인 요소를 추가할 수 있습니다.

모든 레벨을 40으로 설정하고, 동일한 BPM을 고수하고, 64단계 루프를 사용하고, 일관된 트랙 구조를 유지하면 OP-1의 라이브 퍼포먼스가 향상됩니다.

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

포스트 프로덕션과 레코딩에서 유연성을 발휘할 수 있도록 레벨을 일관되게 설정하세요.

세트 전체에 걸쳐 일관된 BPM을 유지하면 안정성을 확보할 수 있지만, 조정하는 것을 두려워하지 마세요.

64단계 루프를 사용하고 스케치당 두 개의 루프를 만들어 일관성 있는 트랙 아이디어를 만들어 보세요.

각 스케치에 동일한 사운드를 사용하여 샘플, 베이스, 퍼커션, 킥 등 일관성을 유지합니다.

믹서를 활용해 페이드 인 및 페이드 아웃을 하고, 트랙 음소거 및 음소거 해제 시 테이프 보기와 믹서 보기를 사용할 때의 장단점을 고려하세요.

테이프 보기에서 트랙을 솔로로 만드는 기능을 활용하고, 모자를 가져오는 니트로와 샘플 및 퍼커션에 CWO와 같은 효과의 실제 적용 방법을 살펴보세요.

그리드 효과를 사용하면 빌드를 만들고 노이즈를 추가하는 데 도움이 되며, 테이프 정지 효과는 때때로 유용할 수 있습니다.

메모리 1과 메모리 2는 이펙트보다는 하이패스 및 로우패스에 사용하는 것이 가장 좋음.

퍼커션 연주가 없을 때 세트 중에 BPM을 변경하면 효과적으로 작업할 수 있습니다.

특히 퍼커션에 시퀀서를 추가 트랙으로 사용하면 작업할 수 있는 것이 더 많아지고, 트랙이 재생되는 동안 솔로로 연주하면 실력을 뽐낼 수 있는 좋은 방법입니다.

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