For me OT is still relevant today.
A key thing is that you have to let it show you the way, bend to its constraints and build your workflow on top, after quite some dedicated time.
If you try to impose your workflow to the machine, you’ll most likely end frustrated.
But it’s a very enjoyable machine with so many tricks you’ll still find new aspects after 3 years of serious use.
Being a new user here, I was forced to wait 17 hours before re-posting. In the meantime I see a lot of defensive comments that, quite frankly, do nothing but poison the conversation. I will ignore those but address the substantive points.
OK, I had read that you couldn’t transfer MIDI files between computer and OT easily. Glad this is incorrect.
Admittedly, my point was poorly made. There are at least two limitations of the OT that should have been corrected in the Mk II release.
First, the Compact Flash card. I have exactly one device left in the studio that uses CF. And I never use it. On the other hand I have multiple high-speed high-capacity SD cards because everything else, from my camera to computer, to audio recorders (four of them) use SD. It’s more reliable and ubiquitous.
Second, charging so much for a machine with such little memory may have made sense at the time the Mk I was released, but certainly seems cheap now.
And, yes, fear of something new coming along. I am not independently wealthy, so must mitigate risk. Others may have deeper pockets but I don’t spend a grand on anything. Even my laptop cost me much less.
A purchase is always be a risk, but much more so when the company has said the product won’t be updated any further… and when it is so obviously a creature of a different era.
So that is why the emphasis on 2019. Does this machine compare well today? Given the obvious limitations? It’s good to have answers both pro and con.
No doubt this is true. In the meantime I must arm myself with as many facts as possible. I am very happy to be corrected on my misunderstandings.
People might not understand that not everyone lives in a major urban centre and has fluid access to resources. Living in Ireland, it is not so easy to buy and sell esoteric stuff. There is no market. Further, I have no way of shipping anything to another country unless I limit insurance to 200 Euro (I may not have exactly the correct number, but it is too low to protect any expensive gear.)
I didn’t see this and even searching now do not see it.
Arbitrary does not mean infinite, so you misunderstand me. As an example, the Deluge has no arbitrary limit on the number of notes it sequences. The number is limited by RAM, however. But if it had, say, a limit of 100,000 when the RAM would support more, that would be arbitrary.
Some limits come from lazy programming. Like, we will use a word to represent this pointer instead of a double word. That, to me, is arbitrary. Other limits come from hardware. So, a limit of eight tracks on the Octatrack makes some sense given the eight controllers. But there is no real reason it shouldn’t allow an infinite number of tracks (limited by memory). One would then have to page through tracks so there were controllers for each.
Ditto techniques like chaining patterns. Why should there be any limit on how many patterns are chained?
Yes! I am open to considering a combination of high-performance sequencer with a sampler. However…
I am thinking you are correct. It is this unique combination of features that makes the Octatrack special. And no-one has (apparently) followed up on a high performance system like this. Not even Elektron. That’s a bit depressing, TBH. I was really hoping people would be pointing me to devices I knew nothing about that served the same intense bit-head type user.
I live in Ireland so this is a no go. Some people are spoiled with extensive music shops on their doorstep. Yeah, I know, I used to live in Toronto.
But then those people don’t get to live in Ireland. 
No doubt true. Just trying to arm myself with as much info as possible.
The OT does not use or recognize MIDI files (.mid). The OT can be connected as a USB storage device for the transfer of samples and for the backup to computer of its projects.
This may help. 
OK, now some replies to off-topic stuff.
I have a cross-fader in my Reaktor patches too. 
In Reaktor it’s dead easy to morph between any two snapshots. Not only is it a built-in feature, you can code it into your own instruments.
It’s OK, but pd is way limited. After the playgroup of Max / Reaktor it feels like having two hands tied behind my back. The technobear has truly transformed the instrument, however, with his kind-of modular implementation. It shows what ingenuity will do!
Music has never been only about the music. Otherwise no-one would have VJs, light-shows, or music videos. And certainly no-one would spend money on vinyl, which is a terrible compromise if one considers only the music.
I was at a Francisco Lopez gig where everyone was literally in the dark… we were all blindfolded!
OK, so I wasn’t misinformed.
Is there an easy way to copy all MIDI out the DIN port and read it on a computer? Or does that take extensive re-routing?
I guess you miss-interpret what a “Mark 2” device is (in Elektron terms). It is not a version 2. It’s “just” a re-issued model of the same device with no new major capabilities added, but 100% compatible with Mk2 models.
Extending the memory or changing the storage technology is therefore way out of scope. It should be possible to replace a MK1 with a MK2 device within seconds (for example: on stage) and continue whatever you were doing (insert the CF card from one machine to the other and off you go).
The improvements are mainly cosmetics, usability and quality improvements like a new display, additional and better buttons and things like that (and - if we are lucky - individual outs) etc.pp. .
This re-issueing is lately driven mainly by parts becoming unavailable and needed to be replaced (see: Elektron Heat MK2, OT MK2). Really major improvements would either come as firmware upgrade to both models (if possible) or would qualify as version 2 (which Elektron never had done with any device yet).
I guess you route four audio tracks, one to each output, record them in real time, then do the same with the second set of four. Have a count-in or slate so you can manually sync each set. Old school!
Thanks for a very helpful post!
Of course, the OT’s MIDI sequence data can be recorded from the MIDI Out port like any other device. However, the sequences on the OT’s audio tracks are not sent out of the MIDI Out port.
Then we are talking about different things! To me only music per se matters. What you’ve described is something else, not music. Is an entertainment of other kind, even a fashion or social pose…
You can’t add anything to music and if you try it only makes it weaker to the point that we should give it another name to differentiate it from the music cause ppl will forget about what music really is if we continue to mix things up. Well, that train passed!
IMO
I’m still very excited when I find the time to play with it. But then: I’m also pretty old. I guess that’s a match …
I’m old too. I appreciate the limitations more and anything that stimulates the mind as well as the senses is good for seniors.
THIS
OP: it literally seems like you’ll never be happy with any sampler - software or hardware - given your list of “must haves.” if this is what you NEED to make music, well…that’s just unfortunate. I suggest picking up a used MK1 OT and trying it out; sell it if you don’t like it. but it seems like you’ll never be happy with any music gear, to be honest.
Well, to be honest: I like both. The limitations of real hardware and the “limitless-ness” of a computer based setup. From time to time I like to do some orchestral stuff and then there is no way around Ableton Suite and some nice libs (Spitfire Audio in my case). Also when I want to dig deep into sound/synthesis design (Reaktor/Max). Or if something needs to be done fast and efficient …
Hardware is more for the senses and when there is time to slow down a bit. Or when it should be quite lofi and dirty (tapes, very old gear etc.pp.).
Tools are tools. No need to use a hammer for everything.
Hah cheers, I’ve thought about that but I really want stereo, and scene fader movements! The best approach I’ve heard of so far is performing an entire song into a daw once, whilst recording one track via the main stereo output, and record all the midi events into the daw, then allow the daw to replay your midi performance while it records each subsequent track. You could probably do this two tracks at a time using the cue out. I’m going to try and set up a template to do this.
Likeminds. I’m also into orchestral music. Not overpowering like Hans Zimmer but the odd cello here and there😸
I second the idea that OP get a couple of midi controllers and lights for his stage show and continue using those reaktor ensembles. It doesn’t seem to me like the time and cash investment into an OT is going to yield satisfactory results when you’re already 10 years deep into rolling your own.
Further: if there’s already a laptop on stage then why not put that time into learning how to incorporate video into your set? That’s the kind of thing that can really step things up for an audience, and becomes super interesting when made to react to sound/midi elements in real time.
So true.
I guess I should have put some biographical in this thread? Because, yeah, I am a film director… among other things. Worked with poetry and dancers, also music video, experimental stuff mostly. Live performance video too.
It’s not like I haven’t explored options. I started as an audio engineer back in tape days and have never really stopped!
So, I think I will get an Octatrack and just see.
Have you seen the Behringer take on the 808? Very clever IMO. Three trigger outs get me thinking of possibilities.
But then I was always bored by 808s. I had bought a 606 when it came out, so never bothered with any higher digits. Missed out on some investment-worthy gear unfortunately!
My thinking is: Why have an 808 when you can have a sampler with all those sounds plus 10,000 more? Options are good, unless you want to make the same music all the time. (And if you do, that’s OK too. But it’s not me. I got bored of the amen break in about one song. And let’s not even talk about house. )
The only reason I buy any music gear is to make music. Warts and all. Sure, limitations are fine. Heck, I had an original Dr. Rhythm and had (almost) endless fun with that and a cheap ass flanger.