Nope.
So I have to get a mono to stereo splitter? Lame.
You can monitor it with Thru, selecting A, B, C or D.
Also possible :
With Pickups, selecting A, B, C or D in Rec Setup 1, increasing AB / CD in Rec Setup 2.
With Flex, selecting A, B, C or D in Rec Setup 1, realtime playing recording.
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So, in order to monitor with a Thru machine and also record a synced loop (synth controlled by MIDI track), I would need to use 2 tracks?
- Thru machine monitoring input A
- Flex machine with record buffer setup to listen to Thru track. Record trig on this track.
You can do it like that or with Pickups, youād use only one track. Rec Setup 2 : Qrec = Plen, Qplay = Plen
You can record any track from any track recorder.
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Thanks. It sounds like Pickup machines are the best way to record loops?
Still grokking everything OT.
Itās a good way, with overdub (OT Master Clock), you can try both and choose.
Do you use One Shot Rec Trigs you arm ?
Yes, one shot record trigs generally. Then I trim if I want a 1-shot sample length from that material.
Iāll try the Pickup machine tonight.
Also, Iām finding that the signal has to be very hot in order to be audible. 0-Coast line out cranked is only faintly audible. Using the dynamic out (modular level) works and doesnāt clip.
Any ideas? āDirā on mixer all the way up. Maybe Iāll create a new thread.
Try holding the Track button you are recording to (e.g. T7) and press Play.
Iām not sure if this exactly splits into stereo, but I get sound through both sides of my headphones while monitoring. The DIR value in the mixer seems to have some panning effect (63=centre?)
I stopped using DIR unless Iām quick patching something or testing something.
Most of my sources are mono:
Mixer with mics, Mono synth, and iPad.
DIR seems to have panning input because itās like DIRect hardware play through, so A goes to Left, and B goes to right, all āstereoā control is handled at the connected instrument.
For my uses, Pickup Machines and Flex machines both have ( mostly ) identical functionality in the ability to capture stereo loops or one shots.
I suggest taking the time to understand what a Thru machine does to an input at ā0ā.
New project, no DIR: Thru machine set to input A, default 108 LVL, Amp 0 ( Master Track too! ) all the way around, main level at 50% to start.
This will help you understand what OT is doing to your whatever. Play with the Main Level first, then with the connected synths next. To see / hear what is happening with the audio.
This one track can feed anything in stereo, so Flex, PickUp, NEIghbor, Master, anything but Static in real time.
It sounds like the thing youāre hearing is the DIR of one input louder than anything else ( panned to its respective place, A left, B right ). Think of DIR as a Gain Stage to make A PAIR of inputs do what you want ( gain wise ) going into the OT. So, if A synth is too low going into OT, but B synth is too hot, turn down B at the source so it matches A, then raise the MIXER GAIN on the DIR page so they both hit the OT machines at the level you want.
This does not help you monitor the signal level directly, but gives your Thru machine the right level to play with.
Your Thru machine is responsible for routing your audio through the OT and how the inputs are routed to the outputs and the sample recorders / audio buffers.
Settings of A, B, C, D, make that one input dual mono to a recorder or the output.
A+B and C+D also do this, but by mixing the signals together, so controlling the volume at the source is key here.
Use Balance to discover how this affects the signals place in the stereo field if youāre using stereo monitoring. .
Since everything is at 0, use the volume on your synth to put it at the level you want compared to the other instruments going through the OT.
With a third track ( up till now Iāve been using one track with a Thru, and a Master Track ), load up a PickUp Machine, or a Flex set to the inputs your sources are connected, or the track that the Thru machine is onā¦ using the MAIN or CUE as a source is good.
You may find that the sampled level going out of OT is matched to the play through volume of the OT. Use a recorder trig on a loop to have the OT help you discover the appropriate level for your synth, so the sampled output is matched to the input.
Once you achieve this, the cross fader transition trick is good fun. Get lost in which signal youāre hearingā¦
Now youāre left with 5 other tracks to get creative with, since one Thru machine can mix all of the inputs in a couple of different combinations.
Getting to ā0ā is when I started to become less confused about what itās actually doing to my audio.
Just saying I think I understand some of your confusion with your questions.
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Mixer > increase Gain at the limit of incoming signal red led.
You can check incoming level with noise gate (Project > Control > Input).
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You already created one that was covered in a few existing threads ā¦ as most OT topics are
Please read the guidelines
Some really good tips for monitoring multiple inputs here. But I think the question being asked about monitoring a single mono input through both speakers is much simpler (or Iāve misread the question, or not getting it!).
What exactly am I hearing in the following scenario? I have a single mono input into Input A, recording using a Thru machine on Track 7 (for example), and hear through the left side only. But when I hold the T7 button and press Play I hear the signal to both sides of my headphones while monitoring? Am I hearing the mono input signal through both the left and right sides of the headphones? I read this trick on here somewhere but canāt find it again now, but it works.
Does this only work on the headphone and not the actual main outputs? (Sorry I canāt check myself- my set up is only headphones at the moment).
The potential new thread I was referring to was about low input levels with results that differed between line out and modular levels. As thatās not directly related to the original posed question, I was considering splitting to a new topic as to not go too off topic.
Youāre also assuming Iām not familiar with the guidelines but after searching I still had trouble finding the solution to my challenge ā common with many Octatrack users.
After reading this thread: Octatrack: mono inputs
Iāve understood that the only way to use the Octatrack with mono inputs is either to use a thru machine or a mono to stereo splitter cable.
This seems a shame as with a thru machine I loose the option to control the external gear with the Octatrack using CC numbers and with a stereo splitter it essentially changes the number of inputs from 4 to 2.
Is there a wishlist where I could request this functionality for a future software update, or is it a hardware problem?
Does anybody know?
Sure of that?
You can also use Pickups, with A / B / C / D inputs, or Flex playing real time you recording.
No reason you canāt use CC with Flex.
Anyway CC send from audio tracks is made to be recorded as automation. Midi tracks are better for external gear control.
What you say is true except the part where THRU machines prevent you to use CC to control external gear.
You have 8 audio tracks (that you can setup as THRU, for instance) and 8 MIDI tracks (that you can use to control external gear).
I use OT a lot with such setup, even with NEI machine to get additional FX on the input. Works pretty well 
PM me if (or @sezare56) if you need further explanations 