Especially since the routing and effects are so vast inside the OT. You should be able to sculpt the sounds and EQ things inside OT and not have to do as much of that work in your DAW.
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Sorry, but Elektron has repeatedly stated that Overbridge is not possible on the MkII.
People have asked that question many times and the answer has always been no. Elektron would have to build a new model with a different hardware design to support Overbridge.
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couldnât you just solo each track, and track them into a daw 1 at a time? (i donât own a OT, just a RYTM)
or you could treat your daw more like, well a multitrack, daw⌠and record the 2 tracks out of the OT, and either edit as needed, or punch back in to correct miss steps in your performance. like people do with vocals, guitar, etc. ?
T
Yeah, that was among jbâs suggestions
I also use studio mode when making tracks. I love that the setting for this mode is stored at the Project level.
As OT has become my main drum machine, I typically run the Kick hard panned to the left Main output, Snare and clap hard panned to the right Main output, and then everything else on the stereo Cue output 3/4.
For times that I really REALLY need more individual outputs for drums, I have the MIDI tracks sequence my Roland TM-2 (2 more outs), and/or use a track on my Analog Keys for percussion.
But like you said, committing to the sum isnât always to be feared. Iâm just happy there are 4 outs for sending the kick and snare/clap out separately.
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I havenât tried this but maybe when trying to record track by track or two at a time, you could record the midi data from the crossfader into the daw, and have the daw automate the fader moves so theyâll be the same for every trackâŚ
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I use a MKI Rytm for drums so i can multitrack whatever I need there. But I rarely even multitrack every sound there, either. Having 2 tracks to split the rest of the sounds from the OT has always been enough for me. I think obsessing over having control over every single recorded sound isnât necessarily a good thing and it definitely doesnât mean better tracks or production in every case. I mean, cutting samples from other music, for example, already has a whole mix of frequencies you have to shape. I think more people would be happier if they just stop stressing over stuff like this and just record songs and work with the recordings. Great records have been made with aging production techniques and far less control over everything in post.
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I read a great quote from Demdike Stare about their last record and they said something along the lines of âWe started trying to make the record meticulously in the computer, drawing in each note, trying to still make things feel organic, and we realized at some point, fuck it, just record it in live and make decisions.â
Coming from the background of a musician first, this really rings true to me. Thereâs something great about just recording things, getting that magic of intuition and having to commit to things. Itâs a good way to limit the opportunity to just mindlessly tweak things for no good reason.
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I agree 100%
One of the best tracks I made over the last few years was with the first thing I wrote on Monomachine, stereo output into my old Rytmâs input, drums added and mixed in there with the master comp and dist on, and recorded stereo into my Apogee Duet. All live.
The MMâs battery was dead and I botched the sysex dump so the crazy neighbored pseudo-modular patch and pattern I made on it was lost forever the moment it was turned off, but it lives on in the stereo recorded pre-master. Itâs amazing what a skilled mastering engineerâs ears and hand can do.
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Hey OT lovers,
I am also struggling getting the projects/tracks/patterns into Live for sharing the performance with a friend.
Couldnt Octaedit help me with that?
cheers
ron
Donât struggle. Record your tracks, summed or solo, as you would with any other instrument.
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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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