Just record the stereo outs if itâs for sharing purposes?
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Could you be more precise ?
If you want separated tracks with crossfader recording, its movements can be recorded via midi and reproduced.
Octaedit can help you to reorganise projects, and edit more easily the Arranger if you want automated individual track recordingâŚand much more.
Maybe aim for live performance recording with the OT.
Performance sampler it is.
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Yeah itâs possible to record 8 individual tracks at the same time. Around 1 mn max, 16 bit.
If you donât already use recorders, you can jam with a pattern, record 8 tracks, save all recordings, jam with next pattern, etc.
Eventually jam with chained patterns, or with Arranger.
I would record with crossfader midi recording for a longer performance. Internal recording.
Iâm a bit paranoid with DAAD conversions. Maybe difference is not very noticeable, more psychological thing I guess. 
Sure, totally crazy possibilities. Here is a complex example of several automated recording (24), in order to reorganize recording slices :
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Target it is to get as many projects as fast as possible into abelton.
Crossfader recording is not necessary.
The sum does not work: I want the individual 8 ones in one shot.
So it means I build my project as usual on the OT. Put the Cf into my PC, load project into octaedit & can record the 8 tracks with its pattern simultaneous?
Not yet ! But maybe one day : @rusty made a soft for rabbits drawing, and eventually automate pattern record. 
Something wicked this way comes
With OT only you can set your recorders to record 8 tracks at the same time, and save the recordings to CF CARD.
You can also use the Arranger to automate individual tracks record, using its mute functions.
Advantage recording in OT : already perfectly synced files with rec trigs, or quantize rec.
Play Lego after with a DAW with grid quantize.
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I have Push. The OT is a completely different experience. I still have found no replacement for the OT sequencer in the VST DAW world, and believe me, I have spend a lot of time on this alone.
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Fair play.
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I have to say that I find the OTâs sequencer to be a lot less capable than the sequencers in the DAWs that I use.
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I have to say DAWs are extremely boring.
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No theyâre not
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Two words: Trig conditions. On the OT, that is a game changer and the main reason for me to buy it.
I have to admit that mouse based DAW compostion or playing Push as an instrument has its merits, but the Elektrons really shine as sequencers.
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Itâs funny, Iâm the opposite. The longer I work in hardware the more I consider the AD/DA of digital gear part of its sound. I would ALWAYS take a little bit of added noise, converter jitter and all of the nonlinearities of the analog paths over a pristine digital transfer. In fact, over the last couple of years Iâve found myself not even using multiple outputs when theyâre available, because the often dodgy internal summing of a piece of gear is part of its personality and almost always sounds better to me. Iâve had an MPC2000xl with the 8 output expansion since 2009 and I havenât used anything but the main outs for the last 5 years because it never sounded as good. Got my current interface in 2011 and I have literally never hooked up the digital i/o once. Most of my hardware is from the ate 80s to the early 2000s so almost everything has between 4 and 10 direct outs and yet I almost never use anything but the stereo outs anymore. Back when I was just out of college i the mid 2000s, working at a used record shop, we had a big poster on the wall that had that famous john peel quote in big, block letters: âListen, mate, life has surface noise.â
The irony is that I wrote off the Octatrack for years because I felt like it didnât have enough i/o for its price point.
Everyoneâs got a different way of working, though, and I totally get why for some people Overbridge (or some other form of direct track outputs) would be absolutely crucial, but to me after actually using the OT a lot for about a year and a half now it seems completely superfluous. The OT isnât a DAW-in-a-box, itâs a standalone instrument. You can definitely create a finished production in it but Iâd say thatâs more a solo instrumental performance like a guitarist or an MPC artist than it is production in the studio sense. Instrumental performance and studio production are related and can overlap, but theyâre ultimately different disciplines - equally valid, but different. It seems like there has always been a lot of misunderstanding about what the Octatrack is in this regard, and a lot of people are still expecting âlive in a boxâ (it isnât) or "the worldâs greatest sampler (it isnât) or âthe worlds greatest sequencerâ (not even close), when the reality is itâs an Octatrack and thatâs what makes it so good.
I know none of this is any kind of new insight or anything, and Iâm not really directing it at the OP or anyone else in this thread specifically. Iâve jsut noticed that with the release of the MK II and the renewed wave of interest in the OT there are a lot of people who are considering or even buying one without having been really given a good explanation of what it really is (I was one of them myself, thereâs no shame in that - thereâs a lot of misleading information about what to expect from an OT floating around on line, even more than for most instruments, and even though I did a lot of homework before I finally got one it turned out to be very different from what I expected and the ways Iâve ended up using it are completely different from what I got it to do. The feature that ended up selling me on it was pickup machines and I stopped using them entirely within a few weeks of getting it because it turned out that using the OT as a looper wasnât as inspiring as using the OT as an OT.
Anyway, pardon the rambling, itâs just something thatâs been on my mind this week.
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This is insightful, I think. Would love to hear your summary of what the OT âreally isâ.
This is the way I feel 100%. Plus Iâve gotten a lot better at mixing⌠I mix as best as I can, then perform live & record the master outs.
Having fun & enjoying the process is more important to me then a polished mix. Not only that⌠my passion, fun & feeling gets fused in the music⌠which I think is better.
I understand some people want bothâŚunderstandably soâŚthey want to infuse their music with their passion AND get a perfect mix⌠but sometimes this isnât possible.
So my suggestion is focus on mixing⌠do things to the sounds prior to sampling into the OT (ie: eq, filter, pan, whatever, not sure what you have to make this possible, like a mixer) & then mix inside the box as best as you can. Record the master outs while playing live. If itâs a good track, I think being less polished makes it sound even better to be honest. Itâs like âthis track is THIS amazing & itâs not even perfectly mixed & mastered!â âWOW!!!â & it gives it an edge 
Sounds raw.
An 8 Track Dynamic Performance Sampler ? 
LOOPER DEVICE
RADICAL SOUND PROCESSOR
BACKING TRACK MACHINE
LIVE SETUP HUB
REMIX TOOL
EFFECTS UNIT EXTRAORDINAIRE
PAPER WEIGHT
DUMBBELL
DAW
FLIP FLOP
No it is not. 
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Conditional trigs allow 64 step patterns to sound less repetitive.
In DAWs patterns can have any length plus you can have multiple patterns playing at the same time so conditional trigs are not really necessary, however DAWs do provide various random play options as well.
I have 5 different hardware sequencers (Yamaha, Korg, Roland and Elektron) and they are all fine in their own respective ways but IMHO none of them come close to the power and ease of use of a software sequencer.
I use my hardware sequencers only when I do not want to use a computer.
Me too ! All the time then.
I think Octatrack combined with a linear sequencer like Mpc can be really efficient.
I donât even talk about Cirklon.
Ram Record length is quite limited.
For the me most interesting things are TRC % / PRE / NEI conditions, combined with random lfos and up to 240 parameters linked to scenes. With Arranger or chained patterns, it is not limited to 64 steps.
Different scales per track, Plays Free TracksâŚ
Any DAW doing that easily? 
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I love my DAWs. The flexibility canât be beaten by one hardware box. But I have not (yet) found what the Elektron sequencers can do with trig conditions in software. I do use them to make 4bar patterns less repetitive, but my main application is to use them for composition, combining logical conditions and probabilities with sample trigs as a form of generative music.
The closest I come for this is setting up Reaktor Ensembles, but itâs a pain when compared with the ease in the Octatrack.
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