Not sure if it corresponds to what you asked but :
With a one bar pattern :
Trig 1 = trigless, 4:4
Trig 2 = trig, /PRE, -23/384 Microtiming
The sample is triggered by the trig 2 for 3 bars, and not the 4th bar.
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I use T8 as master. Is there a way to put more than 2 FX on it ? Can i use neighbour track on the master ?
Neighbor Machines affect the previous track. You can’t use Neighbor Machines on Tracks 01 or 05 as they have no previous track.
To have a Neighbor track for Track 08; you would need to put a Neighbor Machine on Track 09…
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That’s what I do 
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You can record T8 with T7 and play it with a Flex with fx (+1/384 microtiming).
This involves feedback, it works for delay, not for all fx.
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Another approach, with this fx send technique you can use T7 as fx return and add T8 as Neighbor :
Octatrack Master Track 8 Send Effects
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Why does 05 not have a previous track?
Because the Octatrack has 2 DSPs; one handles Tracks 01 to 04; the other Tracks 05 to 08
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Don’t know I how I didn’t know that, interesting
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Because T5 is obviously on the other side of the street. Can’t be neighbor with T4.
Here is an example with T1 and 3 Neighbors, T5 with 2 Neighbors, T8 being Master.
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Since getting started in earnest last week, I’ve had limited success syncing external hardware to MIDI clock.
Seems as simple as enabling clock send in MIDI sync prefs, I just have there’s some sort of typical OT type best practice or common thing I’m missing. “Oh, OT doesn’t like Roland boxes on Tuesdays and doesn’t sync with anything red.”
Anything I should look out for?
Can’t think of anything other than making sure the midi channels are all as they should be myself
OT Master clock :
Project > MIDI > SYNC
Check Transport Send
Check Clock Send
Nothing else needed, works with all brands using external midi clock . Midi clock don’t have midi channel setting.
Which external hardware?
I’ll use the Octa as sequencer and mixer for a live rig ; Input AB will plug the Rytm and input CD will plug some synths. I will do a lot of things in improvisation, so i’m wondering if can the Octa’s compressor be used as a limiter ? If i put the ratio to the maximum, will it act like Fabfilter Limiter, for instance ?
I’d say yes, but you still have to be careful with input levels. Give it a try! It is not an analog limiter.
With max Ratio, it’s easier to hear and set Threshold level.
I wouldn’t expect the same sort of results. The FabFilter L2 (or similar multi-stage compressor/limiters, like the (original) Waves L2) are mastering tools, the OT compressor doesn’t play in the same league. Just try and you’ll hear the difference. Set the RMS to zero for peak-limiting and to full for overall guitar stombox-like compression.
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From testing? Not clear in the manual…
I think my MIDI clock sync issues from a few days ago are resolved (not an OT issue).
On to the next thing…
I’d like to learn more about how to work with stereo samples, including but not limited to:
- “Hollowing out” the centre of a wide stereo sample, so that there is more room in the centre of my mix for bass and drums.
- Getting a “monophonic” sound out of a wide stereo sample so that it can be panned hard left and right.
- Other general guidelines when working with imperfectly stereo-imaged samples of dubious origin (vinyl LPs).
I think I can figure it out with EQ and resampling, but I thought I’d check if anyone has any ideas before I spend all of tomorrow afternoon on it. 
RMS adjusts the way the compressor works. A zero setting makes the compressor look for amplitude peaks and a max setting makes it react to the over-all energy level of the signal<
As I interpret it this setting defines the integration time, so a short (zero) integration time will give peaks more weight to define if the signal has reached the threshold than using a long integration time. There is no indication of a lookahead window though. I did not any testing, I have spent too much of my life scrutinizing waveforms instead of making music! I use external gear for bus/mains compression, and only if needed: I prefer a good mix and leave the dynamics as-is (we’re talking live performance, aren’t we?).
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