Just stating that you had quoted my statement out of it’s original context and meaning. And your reply was not related what I was trying to say. But on a device like the Octatrack, you never want to see red because that means there is signal clipping.
Maybe on a device like the Octatrack, but maybe not on an Octatrack… 
See here: 
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use your ears; but in all seriousness - make sure that the sample isn’t then getting the 12bB gain boost in that sample capture settings page
If you bring it in hot, you’ll want that off
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I didn’t want to interfere with your statement but I’m quite sure red light is more like a - 12db (or less) warning, than a clipping one.
Some common colors, not intended…
https://www.elektronauts.com/user_avatar/www.elektronauts.com/kwamensah/240/3288_1.png
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Sometimes I use 24bit samples and don’t feel like converting them. 
I run 24 bit and record into the red all the time as I would with any other medium, I don’t smash the red to bits but it gets hit at peaks, no need for normalising of Files and none of this so called loss in quality.
I run my flex at 24 it as well as the recorders and I urge others to do the same if they can manage their memory and especially if they think there is tone suck which I really don’t, at least in any way worthy of talk.
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On the other hand, answering my support question @Ess told me that clearly that red at the inputs = clipping…
We have to admit that this led behavior is unclear…
As @avantronica said, use your ears.
With the test I maid my sine signal was ok 9db above first red led level, if I can rely on input noise gate values.
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Octatrack defies all laws of physics, level metering, and user likage.
As soon as we think it’s one thing, it does the other.
Support must tell us it clips on red, but for users it does not.
Elektron doesn’t even understand what they’ve done.
As soon as it’s one thing for someone, it’s the other thing for someone else.
Total enigma, we all just have to deal…
Elektron too, they can’t explain it, and they’re not even sure of exactly how it works.
Seriously, there’s no end to the cyclical questions and opposing opinions about this strange crazy music box…
OK, Carry On… and good morning, good evening, and good afternoon
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the preferred and probably best usage scenario is to work as Elektron prescribe, but if you want to make isolated captures to make the most of the bit depth and keep the noise floor out the picture it’s possible to capture hot (close to FS) - but be sure to disable 12bB gain boost for the enforced headroom equating to ‘clipping’ north of green … sampling north of green with the 12dB gain will possibly clip the track, but the sample will still be salvageable (and about 1/4 FS)
so I guess Elektron advocate usage for the lowest risk and for gain staging ends - but if like me you want to capture as well as possible it’s okay to go almost Solid Red and listen or monitor editor waveform for near FS captures
depends how you intend to use it
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You’re right about the tone suck. I think that idea comes about from new users who don’t know the proper settings to use. And then if you google search this issue, it’s backed up by claims from other new users having the same issue. I tested enough sounds earlier in the thread to be confident in the transparency of the OT. Another thing that threw me off initially was the difference in sounds coming from samples in the digitakt without knowing that the DT was actually boosting high end to get that sound. I think at the end of the day they both sound great and could work really well together. Sometimes I want those hi fi, really sharp highs like the digitakt produces, but a lot of the time I want something more neutral in my music. The ot sounds great!
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For tests I’d recommend to set FXs to none.
I made tests overdubing Flex, sound progressively getting worse until a muddy lofi and kind of low frequency feedback after 20 overdubs.
Set Filter to none, I could overdub much more times.
I think Filter is part of tone suck even with neutral settings.
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I like the sound of the filter! It contrasts the other ones I have a lot. It will definitely alter the sound if you have an effect on a track though, even if you aren’t using it. Does anyone know if you can set the ot to default with no effects on the tracks?
You can create a template project, copy parts, banks (easier with computer) to make settings for a complete project.
Fortunately, filter and delay are my favorite fx, so I leave them by default.
Lfo default settings are definitely not my favorite ones.
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Good night. 
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I like the lowpass filter too. I also never use timestretch
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yeah, it’s hard to square the official statements about the meters with the fact that I’ve run test tones through the It’s full signal path co.pletely pinned far into the red without any clipping at all and no noticeable distortion in the analog stage either. It’s a bit of mystery.
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I hardly ever use the EQ in the OT but I put it on a thru machine last night to see about tweaking the sound of the Tanzmaus a bit and wow does it have a massive sonic footprint at its default, neutral settings. I’ve noticed the filter has some coloration even when it’s at default settings, too, but it doesn’t bother me, if anything I like it.
Yeah, I only turn on timestretch if I’m going to be plocking a bunch of pitch changes and generally mangling things to the point where timestretch artifacts are just part of the sound. Transparency isn’t really something I’m after out of timestretch in a sampler, although I do think the OT gets a bit more criticism than it deserves in this regard. The time stretch is definitely not transparent but it isn’t really that bad, in context it’s usually hard to even notice unless it’s really extreme amounts or you’re specifically listening for it. Not something you’d want to use to fix the intonation on a violin solo or someting but totally adequate for the kind of things the OT does best, IMO.
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