You send the message to the OT. The OT then sends all of its current values to the controller. Whatever is mapped on the controller to correspond with the OT, will then be updated.
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Please guys why do you use this controler on the OT ? will it give more creative possibilities than cross ?
In other way I would be pleased and honored to learn and read about you UC4 use with/on the OT if you can give me crunchy details 
Well one simple example would be to use the buttons as mutes or record trigs and the faders for track levels, then maybe assign the encoders to fx send levels. Yes you can do all of the above on the OT but not on multiple tracks at a time for things like levels, and on the OT you could have one of the other trig modes active for example delay control or slice trigs.
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thanks @depuratumba and @Zac_Kyoti! Will try that out!
@matB my main use so far has been to have 8 faders control the 8 trackās levels (since itās less than ideal to have to go through all tracks individually for that). The downside of it so far is that it only works as long as you do everything with one part, or find a way to bridge the āgapā when switching parts, since the track levels are saved as part of the part like everything else.
In retrospect something with just encoders would have been a better choice though (since the best you can get is to use āpick upā on the UC4ās faders and have the OT send out all the CCs when the part changes).
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thatās one of the reasons I only stick to one part per trackā¦ specially when performing live, if you make adjustments to the track and move to the following part, it will mess up the changesā¦
about the faders, I donāt know if youāre doing it this way (it wonāt fix your parts issue), but itās better (imho) to map them to the VOL parameter in the AMP page (and setting a CC max. value of 64, so it tops at 64)
that way you can avoid fx tails cuts, while also knowing that by topping the fader level youāll end up with the volume you set for that track in your mix.
oh and btwā¦ are you confirming the pickup thing works well with the UC4? Iāve considered buying one on and off for years now 
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Oh right, yes that is indeed better. So far I have mapped the main track level, but that did indeed create issues with FX tails.
Iām probably the wrong person to ask, since I totally hate having the MIDI controller work in āpick up modeā. The UC-4 does not support a more āprogressiveā pick up mode like you have for eg. in Ableton, which makes it a bit more tolerable (albeit not really all that great either).
I donāt know if you progressive pickup you mean scaling modeā¦ wich remaps the remaining % of the knob in whatever values you have left. then again, if you send the CC values to the controller I think there should be no value jumps (at least on the encoders)
btw - can you define pickup mode for each control (knob, slider, etc.) or is it a template/page/controller setting?
the mx12 and pc12 from Faderfox both work properly in pickup mode with the Octatrack if i remember correctly. i was going to invest in one although found a cheap Doepfer 16 fader bank instead so purchased that for now. Still keen for the Faderfox though.
currently not quite sure why/what to map which Doepfer midi faders where on the OT for live performance.
i suppose the 8 individual Vol parameters are the most obvious initial choice.
then perhaps the Base Width and Q notch of the Master Effects track, or perhaps on Track 4 if that track were to be used for realtime section resampling.
Perhaps a Reverb send for Track 1 and Track 5.
That leaves 3 more faders ā¦ would like to have midi access to the Dist parameter of the Filter effect although i donāt think that is possible (i havenāt checked the manual).
Maybe 3 parameters of a Master Effect track DJ EQ, or the Compression.
Yes that was it! I couldnāt remember the exact wording Ableton uses.
I think you can do that, btw. Faderfox calls it āsnapā and you can set it to on or off for each fader, IIRC.
btw. worth noting that thereās no editor application, you have to do everything on the device. Though in their defence I must also add that itās relatively straightforward to do.
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now that you mention it, mapping the filter settings for my resampling/transiition trick track would be really handyā¦
master track filter parameters too - although I have to admit, for that use I generally prefer pots to encodersā¦
and regarding the filter distortion - no, unfortunately you canāt access any of the double-click page parameters via MIDI
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i too prefer dials for the filter tweaks but anyway yes most likely will assign 3 faders to the Master Effect Track filter effect, or a resampled track filter effect.
Iām not quite sure whether to put a Filter effect on FX1 of the Master Effect Track 8, before the somewhat essential Compressor effect, or put DJ EQ on FX1 of Master Effect Track 8.
a DJ EQ effect might be somewhat essential for the Master Effect track, unless playing through a DJ mixer at a club in which case it is easy enough to use the 3 band EQ already available on the mixer.
i think a gentle Compressor effect would be moderately essential for the Master Effect Track 8 also really.
so maybe if Track 4 were to be assigned as a realtime section sampling track, then a Filter Effect could be used on that, as the content would already be compressed by virtue of being sampled from the Master mix that has a Compressor effect on Track 8.
unless the sample source were the Cue or an individual track that is, but anyway. Details, mere details.
What would be great is to have three effects available on Track 8 if used as Master Effect Track, as a slight amount of extra DSP power would be freed up by the non-use of samples or loops on Track 8.
Anyway if there were to be a Compressor effect on Master Effect Track 8 then i donāt really think i would use any of the Doepfer faders to control the parameters on that, as it mostly would be a gentle set-and-forget mild setting for a subtle realtime gelling and rationalising of the live performance mix.
I currently use compressor and filter in all my master tracks - I have to use the same compressor settings on all tracks though, to avoid volume / character changes once I change patternsā¦ so I found some settings that kinda work, and Iām sticking with those.
I would love to have back a master delay thoughā¦ even if itās not that great of a delay.
lately Iāve been doing some experiments, like using Turnado in iPad to effect the OTās outputā¦
that would technically allow me to avoid using T8 as a master track - I can apply a compressor, an AU app called LoFly Dirt for some mild distortion, and some fx like reverbs and delay (much more quality than those on the OT)ā¦
then again, I donāt want my setup to get overkill - I already have quite a lot going on with my OT+A4 set.
another option would be to eventually use the Analog Heat on the masterā¦ that would also allow me to avoid the master track (although I like the character of the OT filter a lotā¦ and I think itās easier to manage - the curve on the AH is quite special, and also the knobs are a bit stiff so the crossfader is much more confortable)
then againā¦ Iām playing really small gigs, so carying so much gear around (specially in venues where the sound isnāt great) is not worth it (both the trouble and the risk, this is some really expensive equipment)
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i think the Master Effects Track is the perfect thing for live performance and the OT.
yes, keeping it simple may well be the best way forwards to forging some cool mixes realtime at venues.
the Heat could be cool as a Cue-send effect tho.
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yes the OT filter is sensationally musical and so very useful.
i would very much like to use it on the Master Effects Track 8.
but the more i think about it, most likely the best idea for the two Master Effects on the mix would be a gentle application of Compressor and the DJ EQ, so as not to be reliant on the venueās mixer EQ. Itās just better to be working with a āknown environmentā when doing a gig.
And for setting the dynamics of the overall mix, the DJ EQ is almost going to be essential.
So with Compressor and DJ EQ, both slots are accounted for, no room for the lovely Filter effect on the Master EQ.
Iām thinking currently that 8 external faders should go to the individual Vol levels, and in fact 5 faders should be directly assigned to the five parameters of the DJ EQ.
5 faders having direct control of the Master trackās Bass, Mid, High gain/attenuate, also the Bass and High frequency band adjustment.
That leaves two free faders, possibly assigned for controlling Base and Width on perhaps Track 4 resampling track.
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I have to admit Iāve barely ever used the DJ EQ effect on the OTā¦ But now Iām a bit curious about it, Iāll investigate!
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Me neither but am also intrigued!
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I did set up the UC-4 to send a value of 0 on CC #61 / CH1 when pressing a button. But what happens isā¦ well absolutely nothing. At least not as far as I can see.
Anybody else tried to get this to work?
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Have you tried other channels?
Reposting from previous reply: āYou send the (cc61) message to the OT. The OT then sends all of its current values to the controller. Whatever is mapped on the controller to correspond with the OT, will then be updated.ā
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Yes I know that, thatās exactly how I was expecting it to work, but it just doesnāt
yes, also tried a bunch including the auto channel (11 here)
Edit: I just had little lightbulb moment and went to check the CC settings in MIDI > CONTROL. Turns out MIDI CC was set to INT only, and it has to be set to INT+EXT for this to work. Now it works totally fine!
Thanks everybody for the kind help!
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