Up to 16 FX, if you record / play track 4 with track 5. 
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Try sending LFOs to the delay time, the width and the base…Try setting scene locks to increase feedback and have different filter settings and different time settings. Get a feedback loop going and stop all other tracks. Yeah it doesn’t get full analog/tape saturated territory but it’s close.
Same as above. Send LFOS to delay time, depth, speed, whatever you want. Set P Locks for different settings.
https://www.instagram.com/p/B1ujBDvnxGh/?utm_source=ig_web_button_share_sheet
Here’s a little video of what a good guitar can sound like with a nice chorus, reverb and slapback delay. So watery and serene. One of the scenes is set to close the filter–more watery goodness. As pointed out, the guitar is just a sample from a recording…And of course, it sounds better when not recorded onto a phone mic and played back out of your speakers 
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Well I see sound differently in the way how audio engineers mix or tread sound levels the last 25 years. For example listen to the ‘Slave to the Rhythm’ album from Grace Jones recorded in '85. This is mixed by Steve Lipson using the NED Synclavier and SSL analog summing. Still today a reference in sound recording and don’t listen to the remaster because that’s a downgrade.
So for me important are great headroom no loudness war. Just normalizing is fine.
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And recorded onto 2 digital tape machines, slaved to each other if I remember correctly :).
Yeah, that kind of sound is ultimately not really tied to the gear but to the masterminds of that era, IMO.
I’m not leaning heavily on reverb/delays from the OT but I have to agree that any of the fx really moves to another level when modulating it (which is much easier to do than on most hardware units at least).
Off topic, still think that A Secret Wish is one of the best albums of the 80s :).
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…sorry, guys…but some of u really miss the point here…
and are obviously not opening up their musical minds…finishing a tune in absolute hifidelity manners is and was always the last step to do…
but creating the content for that goal is a different planet…
if ur into new sonic terretories and ur able to think out of the box, ot is made for U…
if ur into recreating stuff that’s been always around sonicwise, it’s not…simple as that…
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I’m on my second Octatrack after selling my first a few years ago and beyond happy with it. Long story short, I bought a Digitakt before getting my OT#2 because of the same things you’ve heard /read about the effects. I’m now likely selling the Digitakt.
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The Octatrack does not sound good. It is severely damaging to input with high degrees of degradation. The fx, also do not sound good.
Octatrack has an equal sound as that of a 1980’s yellow Sony waterproof Walkman.
However, the capabilities are phenomenal! The routing, modifying, sequencing… beautifully masterful.
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I highly doubt professional producers would be incorporating it in their set ups if that were true.
Aside from slight bass rolloff, if gain staged properly, the OT is transparent when dry.
The FX defenitely add an OT character. But what FX don’t impart their own character.
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There must be something wrong with you setup. I’m extremely picky on sound quality, and believe I can positively affirm that what goes in goes out. Unless you’re comparing with super high grade preamps and converters, sampling at 96khz minimum. And even then, I would never qualify the differences as “severely degrading the sound”. You should really check your signal path. (disclaimer : I’m not a fanboy, and always have high expectations, and would certainly be vocal about “high degrees of degradation”)
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This!
That is a good sound!
Especially when underwater…
But not in 2019.
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Tape simulation is very popular in 2019…
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Ha Ha … so it is… you aren’t wrong .
if SOS states OT having a high quality sound in their review, I’m not qualified to doubt them 
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I quickly scanned through this thread , people seem to get so angry about things , I don’t get it.
The fx / details of this box are well known , lots of examples on YouTube … research / buy and make your own opinion.
Don’t think expect it to change.
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I’ve done it all mate… the straight delay in the OT is boring… compared to the monomachine before it … even the Machinedrum prior to that… … the feedback is stunted. doesn’t oscillate.
And I don’t know how long you’ve been using the OT for but , on release the Flanger used to go proper mental… like whizzing about all over! wild.
then somebody complained. about hearing loss…
Elektron buckled… dumbed down the algo.
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Should I use the compressor on master bus only or each individual track? Is there any rule of thumb? Is it appropriate method to stack compressors, for example use one for bass drum on T1 and have another one on master bus as well? Is there any benefit doing so?
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Compression is an art unto itself and people use it for wildly different reasons.
On the Master one of the main benefits is gluing the mix together; on individual tracks one of the main benefits is to highlight it from the rest of the mix; professionals stack compressors all the time…3-4 in a row all for different reasons.
The best thing is to do some research and try it out to see how it can fit your needs.
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Would you be up for a blind test to see how reliably you hear which of two versions of a sample has gone through the OT?
There are two different discussions happening here.
Opinion: Octatrack FX are good/bad: Discuss. And the discussion here has been just fine with both sides chiming in.
Verifiable fact/falsehood: Sampling to the Octrack is bad/causes degradation. Uhm, no, it doesn’t. It really, really doesn’t. Like I said, sampling to the Octatrack doesn’t impart any character to your samples which you could personally consider a bad thing, and maybe you prefer other samplers for this reason–that’s fine. But calling transparency bad is just wrong. Saying OT makes things sound bad/not like the original is also wrong.
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