Sorry, I’m not wrong. Cue is also greyed in Studio mode. You can’t record it with Cue or send to Cue Outputs.
BUT…
You can record Main or T8 as master with Recorder 7, play it with T7 with Flex Recording7, and Cue it.
You could resample the master track, I.e. set it to maximum time - if you don’t use much flex buffers - you can get around 5-6 minutes of material sampled. You could grab that loop via USB and transfer it to your DAW and integrate it into your track.
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I use the OT with a a small mixer and my modular, and feel that it does everything a DAW does (that I want a DAW to do). I have it setup in studio mode so that I can send cue out to the aux bus on my small mixer connected to my modular and then play with the track levels to get the balance I want. I then record and process my audio in the way described in the link above. There is a recording limit of about 5 minutes, but I find this a useful limitation. I’ll buy a Zoom H6 at some point because I want to do field recordings and then I can record for as long as I want.
One of the keys to getting the most out of the OT is to record and record and record and then process the recordings and record again.
At any one time my OT is doing five or six things. It really is amazing.
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You can record up to 9 mn minus Flex samples time…
True but depends on the audio quality. I like 24bit.
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…the ot has a good basic audio sound and is capable of mix down and arrangement questions, if u are capable to finish tracks with nothing but your EARS…
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Well i’m about to finish my new track entirely on OT!I’ll play it live and record it in Ableton Live passing through a special master chain i’ve created to gel the mix…All arrangement,mixing and FX processing made inside OT…
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That’s how OT sounds at finishing full tracks!As i said above ^ OT’s main outs goes into Ableton Live through a Master Chain Rack i’ve made…
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I think the OT is definitely capable of finishing full tracks, here is an album I made a few years back, each of the songs only uses 1 source sample with different settings for each track, it was done as part of the science labs initiative back on the old forum https://darenager.bandcamp.com/album/selected-labs-ep
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Really impressive
I’m really far way to compose a track using this way haha
Can you explain me more your method ?
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Well i’m more into live performance than the producers arrangement…It’s more fun this way!
What you’d like to know?
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I don’t really understand what you are doing with the crossfader
And whats the aim of the arm function ?
Fader’s doing the usual HP/LP stuff and also mapped to Vocal chains reverb send for that deeeeep feeling on the second drop.Now the arm function lets me control my one-shot trigs.In this tracks case lets me control at will when the rise FX should drop.Disarming puts it on hold and arming drops it at the exact beat i want it to.This way i can hold the snare rolls as long as i want and in a live situation you can make the crowd go nuts 
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mine was in the 11th grade on a Yamaha RX7 (1989), Step Sequencing.
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now your speaking my language.
when I worked on “American Addict” (movie on Netflix, Hulu, ext)…I was busy working as a Chef (day job, 2011ish)…long hrs didn’t have time for the project.
my buddy “Spydog200x” does great work in the whole mix…so I needed him to dump me “stereo stems” that “highlights” the wide field but give me “summed” or mono tracks of bass & Kicks, or anything along those lines.
woke up tracks ready from Dropbox, still had to work the next night…lined up in Protools, loaded up “field of dreams”, 75% done…had to have him pan the guitars more from 2 dudes from “Suicidal Tendency’s” & re-dump all the drums to at least -12dbf…so I had room to play.
all the Hip Hop tracks on the movie were dumped/mixed on A Roland VS2480, arranged in Protools.
I used and worked at -12dbf, Stems, Sums & mono tracks in Logic Pro using my Reaktor Mastering ENS file.
so ya @William_WiLD totally…agree.
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Man, I wish Yamaha would enter the groove box market again, or just make something like the JD-Xi, but in their Reface format. I still feel their offer was quite unique in those segments, back in the days.
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How do we record the 8 audiotracks to the 8 different recording buffers at the same time? How is this set up? And will it record all your movements like scene xfading, mutes, pattern changing, different parts, etc…?
This is interesting!
You have a custom Reaktor Mastering patch? Sounds like 21st century mastering engineer to me! 
Is it all a custom build, or a collection of user ensembles?
Rec Trigs.
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Both.
the limiter & MS was done by OG NI programmers.
I just dissected what was good for me…I was on A sharp schedule…& only had Reaktor 5 to FK with.
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