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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Because i will play live, i want to avoid any clipping, so that’s why i want to use a compressor to keep the safety . Of course i’ll always be checking the input volumes from the synths, but just in case, what would be a good Octa’s compressor setting to use to act as a limiter ?
As I wrote above, I think input levels are the most important to avoid clipping, unless you change VOL / Fx / Level / MAIN LEVEL drastically.
Trust your ears, make some tests, find the limits before clipping. It won’t destroy your gear anyway. Theory? Depends on your inputs / samples levels.
Compressor can boost levels, max ratio can act like a limiter, but it won’t limit input levels.
My best advice : distort everything before, nobody will hear clipping. 
.
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I tested and the results are not really what i would expect. What i expect : with a high ratio, fast attack and slow release, when a signal cross the threshold, it should be drastically atenuated and this is not really happening in my case. What should i put on ‘RMS’ knob of the compressor ?
Not necessarily. It’ll be attenuated by the amount of dB it exceeds the threshold. It would have been easier if the compressor had a gain-reduction meter to monitor what’s happening, and if the settings were labeled in ms and dB’s instead of a numerical scale. It’s very difficult to know what we’re actually doing so it’s more an effect than a engineer’s tool. Anyway, if you don’t hear any difference with a high ratio setting then your threshold is to high or your release time too long. Try extreme threshold settings and use a faster to moderate release time first because if you choose a long release time you can be fooled into thinking the compressor doesn’t react, though in reality it IS compressing but is in it’s release stage ever since the 1st peak. EDIT: bear in mind this is not a multistage mastering compressor (like the Fab Filter optimizer you mentioned) so it applies overall gain reduction, which is why you don’t hear any change in dynamics while in the release stage of the envelope.
EDIT2: of course you checked you don’t have MIX set to 0 (= dry sound only)?
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Actually i can hear the compressor working, but not as i would expected that is, like the Fabfilter L2. What i really want is a limiter, a compressor that really cuts any signal above a certain threshold. With the Octa’s compressor i tried a lot of settings, but got no results near to what i want. Maybe an external hardware option will be the best option.
As I said in my 1st reply, the FabFilter L2 is a multistage compressor aimed at mastering. The OT’s compressor is a basic simple compressor more like an effect. Don’t expect high-end mastering dynamic processing from the OT’s compressor.
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Let’s say i have a 64 step pattern. I want T4 trigs to play only the third and fourth time the pattern plays, that is from step 129 on. For this i tried the following :
1 - Put all trigs of T4 on PRE condition
2 - Put a yellow trig on Step 3 with 3:4 condition
This worked partially as T4 started to play on step 129 BUT stoped to play on step 193 that is, it played only one pattern long and i’d like it to play 2 patterns long. I know i could create another pattern, but i’m trying to avoid this. Any hints ?
Somebody saw you going and made a video??
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That looks a very flat island. 
Any workaround to do what i want with only one pattern ?
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