Ok, you got me, I really cannot be sure if this percentage is absolutely correct 
But the vast majority of bigger PAs are mono AFAIK…
I really had no idea. I guess it makes sense in lots of cases! I’m curious to know in which circumstances you’d tune your club’s PA mono vs stereo. I assume it would depend entirely on the room layout and your club’s style, but I am already not allowed to assume I know anything about club PAs!
Curious++
Lots of cool uses here. Some I were aware of and some I were not.
I am not sure yet if I want to start using the cue outs. The main reason being that I am out of inputs on my interface, so to have somewhere to plug the cue outs in, I would have to have one of my instruments permanently plugged into the OT.
I don’t know if I can justify the loss of audio quality to do that. Rytm and sub37 are definitive no’s. There is way too much bass loss by running things through the MK1. Is the Mk2 much better in this regard? Not that I’ll upgrade, but it would be interesting to know? Would elektron sell the new Analog digital converters so you could install them yourself in the mk1? or is that not their style?
Anyways… that leaves my Prophet 12… not sure. Plugging the prophet in means I would get my BigSky on a send and be able to use it with any sound and not just the Prophet as it is now. That would be great. But again… I feel like the octatrack tends to take the life out of a signal, and I do a lot of ambient stuff on the prophet that I need to sound as good as possible…
decision decision…
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Sounds like an Inputs subject…
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I use the cue outs for recording, in a hybrid setup with Ableton. I just cue any track I want to record separately, and have the OT set to “cue mutes track” so while jamming it sounds seamless to just jump between cue’d or un-cue’d. I’m able to hear all of my tracks while jamming out and recording one or more, but obviously I need to make a couple passes to get all performances multi-tracked.
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Is negligible when done right imo.
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Cool. So I tried to read all that. But I couldn’t really figure out what the conclusion was…
What would your experiments suggest is the way to set up the gainstaging to get clean audio from the Prophet on a thru track…?
Unlike Sting sang, you have to put on the red light. 
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I realize we all have different ideas of “good bass” but in this video the sh01a is ran into the a/b input of the octa mki and sounds about as bassy as I need : https://www.instagram.com/p/BgZxlpKDDEb/?taken-by=ktnsft (same for my other recent videos)
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I tried to set it up the way I interpreted the thread… but I am running into a problem. The main outs sound good, but as soon as I try the cue outs it sounds completely different…
Could it be a phase thing issue? Any settings to watch out for? I have turned on cue mutes main. So it’s not that I’m hearing both…
EDIT: NEVERMIND. It was a neighbourtrack issue.
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With my Master level at 40 and Playback page at 52 the difference between the signal through the OT and my Mackie VLZ4 at Unity is near nothing.
(Ensure 24 bit recording too.)
If there is only one box in the room this is mono…
If there are two boxes in the room this is stereo- Stereo is Left and Right.
The Matser fader on any FOH console will be stereo - it’s the final summing point of all faders preceding it.
How anything is panned at it’s the corresponding channel on the console will dictate it’s position in the image.
If things are stereo in a club and there is a lot of extreme panning a clubgoer would only hear part of the music if he is on one side. Mono soundssystems try to level the playing field so it sort of sounds the same everywhere since people are moving around.
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So from the OT to the FX and then to a mixer? Or back into the OT?
It’s true, I run soundboard for shows occasionally and most of them I come across are set up in mono, even the nice Funktion Ones. Even had a long talk with the organizers of a bigger outdoor event that I was working for last summer as I was willing to try stereo, but the general consensus was that we should just go mono for a more even sound…
It’s not unheard of to go stereo and usually if you know the sound person and want stereo, they can make it work, but in general they’re often setup and used in mono…
Roger Waters however spends an absolute fortune to bring amazing quality quadraphonic sound to stadiums, so where there’s a will there’s a way, but that’s probably one of the hardest sound gigs imaginable to get the whole stadium sounding good in quadrophonic…
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I’ve set up PAs for little parties and done sound checks together with artists at slightly bigger parties and we’ve always used stereo because none of us even considered that we could/should set them up in mono!
Next time I go to Berghain I’m gonna listen close to their lovely system to see how they tune it.
This is really interesting for me, thanks everyone! 
I normally run L/R stereo and cue 1 for kick and cue 2 for snare/clap - however I think I could be converted to the all stereo + then hit cue (with remove from main) method to route my isolated channels. Would make it much easier when forced to play out the stereo only (you know - at all the imaginary gigs I’m tasked to played at the last moment!). Any bright ideas on how to automatically route hard left and hard right? Turning the knob is too much work for me. Makes me miss the MachineDrum way of re-routing the whole machine in the setup memory.
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Nothing spectacular, but I did send sine waves out the que outs once and and into the moogerfooger. I plan to do it more often. I really liked doing it this way.
From the video discription: The octatrack is also sending sine waves from the que output to the FreqBox and the FreqBox is sending its processed audio back to the Octatrack input D. The Octatrack main outputs is going through the Analog Four FX track. The Analog Four is sending various CV LFOs to the FREQ and WAVE expression inputs on the back of the FreqBox. With Overbridge and a computer, the Analog Four also works as an audio interface and is recording everything. In this setup, I only recorded the Analog Four main out. Yes, it all boiled down to a simple stereo track at the end
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I think it was in a video by AdamJay, he showed a nice que trick. If you just fast and easy want to record some specific tracks or anything loopy or whatever, you can set the recorder to listen to que. That way whatever you send to que will go into the recording.
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Well, the pan values can be stored in a part, plock, or scene…
Few ideas…
You could have a part you switch to that does it, you could have scenes store various panning schemes and enable them from muted with the slider on one side, you could set up a pattern to switch to that has trigless locks plocking pan, you could have one shot or fill trigless locks with plocks on pan and just arm or enable fill…
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