If you have MIDI clock receive and TRANSPORT receive turned on you will have the ABORT error.
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Transport recievedoesnāt cause any issues for me, Iāve been suing external transport control with pickup machines for years and never had a problem. External clock never works.
This was driving me nuts. Tried everything, midi clock, LFO pitches etc then just before giving up exasperated, spotted the slider was very slightly not against the stop at A. Found Iād set up a B scene for +1 tone, as soon as I pushed the slider fully towards A, everything worked fine, no dub abort messages.
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I guess the transport part shouldnāt matter anyway, ha. Definitely does not work with external clock - sadly that kills itās usefulness for most of my ambitions.
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Just to add here as it is perhaps not explicitly clear from comments on this thread: changing the project/pattern tempo after recording to a pickup machine will give the ādub abortedā message. Once that pickup machine audio is erased it will dub again (at the new tempo). Kind of a shame.
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spotted the slider was very slightly not against the stop at A.
Holy crow, sanity saved. Read your comment, walked over to Octa, sure enough, this was exactly my problem too.
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'wise fwom your gwave etc
After seven years of OT ownership I thought Iād give pickup machines a tryā¦
Iāve got the OT as a sort of sub mixer for four mono synths, and using the DT2 as the main brain; itās the master clock + transport and sequencing these synths via MIDI
I thought it might be nice to capture 4 bar phrases and layer them into things, āhey maybe I should finally try pickup machinesā
But Iām hitting the same dub aborted error
Is this all due to the OT being the slave for clock?
Are pickup machines even the right job for this? Being as everything is MIDI synced and I want loopable 64 step recordings, should I just stick to regular recording buffers, rec trigs, and flex machines for this?
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Seems like it. If things are sync, then Iām guessing midi timing jitter is fucking things up.
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One thing I never understood (Iām sure someone else figured it out) was how that feature where āthe OT would automatically change the tempo of one pickup machine based on the length of a newly-recorded one on another trackā ā whether that would also potentially bring the āP1 dub abortedā message laterā¦
I think Iām giving up on pickup machines as I can achieve what I need with regular recorders.
Iāve got a one shot recording trig at the start of the pattern (I mean where else!?) and Iāve disabled the āautomatic arm on stopā option in the personalization (this was catching me out and I was accidently recording over my loops)
So when I want to capture a loop, I arm the recorder (len of 64) with track+yes andā¦ thatās it! Iām not worrying about weird ONE2 mode or overdubbing
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Recorders and Flex can do the job. Do you need overdub ?
Also possible.
Aborted Dub can happen randomly with OT master. Overdub being Pickups main advantage for seemless loops, bummer.
Rec Length have to be defined to be sure to avoid tempo change. If you record 3, 5, 6 bars for instance, it changes tempo.
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PU ABORTEDā¦
I prefer Track + Rec 1/2/3 with QREC=PLEN because ARM ALL, ARM REC, ARM depends on the mode you are in (Gric Rec, Rec Setup).
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Fair, but essentially variations on the same idea I think.
Itās funny Iāve had a few attempts at this over the years, and I also think itās probably pretty common way that people use the OT, certainly for live use.
It opens up some amazing sound options, when mixing in the original source with the fader, e.g. pitching up/down the play back (free chords!), or offsetting the playback trig by 4 or 8 steps for a sort of delay/cascading sound.
After all these years Iām still finding new reasons to love the OT 
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The idea is quantized recording. 
Track+Rec 1/2/3 works in any menu.
Definitely. Try resampling with 2 recorders ! Pitch slidesā¦
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IME this is definitely the case - the OT is very sensitive to external clock jitter, to the point that external clock isnāt useable at all with pickup machines. Iāve tested it with a high accuracy, dedicated clock source and a few hardware sequencers that are at least as stable as clock sent FROM the OT and it didnāt help, it seems to be inherent to the low resolution of the MIDI protocol itself.
The methods with conventional flex machines that people are describing are a better choice if they fit your workflow needs (I use both depending on what Iām doing), but with those if you turn off time stretch while using external clock youāll hear pops and clicks at the loop point that arenāt there when you use the OTās internal clock - the OT is responding to jitter in real time and itās just enough to keep audio from looping smoothly without time stretch (the same thing can happen with slices).
I suspect that most dedicated loopers have some amount of averaging going on with external clock to avoid this, at the expense of sync not being quite as tight.
At any rate it seems to be one of those Octatrack things that you just ahve to kind of work with. Unfortunate but not enough to outweigh all the things the OT does well, and I still use at least one PUM in almost every project thatās meant for live performance.
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