I normally run L/R stereo and cue 1 for kick and cue 2 for snare/clap - however I think I could be converted to the all stereo + then hit cue (with remove from main) method to route my isolated channels. Would make it much easier when forced to play out the stereo only (you know - at all the imaginary gigs I’m tasked to played at the last moment!). Any bright ideas on how to automatically route hard left and hard right? Turning the knob is too much work for me. Makes me miss the MachineDrum way of re-routing the whole machine in the setup memory.
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Nothing spectacular, but I did send sine waves out the que outs once and and into the moogerfooger. I plan to do it more often. I really liked doing it this way.
From the video discription: The octatrack is also sending sine waves from the que output to the FreqBox and the FreqBox is sending its processed audio back to the Octatrack input D. The Octatrack main outputs is going through the Analog Four FX track. The Analog Four is sending various CV LFOs to the FREQ and WAVE expression inputs on the back of the FreqBox. With Overbridge and a computer, the Analog Four also works as an audio interface and is recording everything. In this setup, I only recorded the Analog Four main out. Yes, it all boiled down to a simple stereo track at the end
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I think it was in a video by AdamJay, he showed a nice que trick. If you just fast and easy want to record some specific tracks or anything loopy or whatever, you can set the recorder to listen to que. That way whatever you send to que will go into the recording.
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Well, the pan values can be stored in a part, plock, or scene…
Few ideas…
You could have a part you switch to that does it, you could have scenes store various panning schemes and enable them from muted with the slider on one side, you could set up a pattern to switch to that has trigless locks plocking pan, you could have one shot or fill trigless locks with plocks on pan and just arm or enable fill…
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yes that’s a great way to capture things in a tricky and useful fashion. in order for the effects to be active in the recording, the Prefs setting re/ preview tracks with effects on or off needs to be set to effects on.
i sometimes use the left cue output to send a mono signal to a guitar preamp/overdrive to then recapture it to an input. if i have already resampled and applied effects from the Octatrack to that audio clip, sometimes a high whine is then present in the signal going to the cue->preamp (even though it isn’t audible in the OT during usual playback), so i usually do this with clips that have not been resampled in the OT.
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Use Cue.
In personalise settings, choose “mute tracks on cue” (or something like that) if you want for your cue to be send to your headphones only (not to mains at all).
Then in the mixer page, you can decide how much of the main signal and the cue signal you want to go into your headphones (all cue or 50/50 etc)
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Thanks a lot. Will use it =)
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Yes. This is in the mixer menu. If you press cue + track 1 (for example), you will hear track 1 in the headphones out. And you can mix this with the master like on a dj mixer that has a cue crossfader. You can set this up in the personalization preferences menu. So it will either mute the track when you cue it (mute it from mains) or cue the track while it still hits the mains. There are several ways to achieve different setups which makes the OT flexible.
The best thing about it is being able to cue tracks before they hit the mains. Sometimes lately, I just jam out on 1 pattern. Then I use scenes to mix, because you can assign any scene to side A or B of the crossfader. Each scene had their own effects settings. It’s brilliant. Truly! You can mix and match scenes to apply different effects to the same pattern. I have spent hours of my life using the OT like a pair of turntables and a mixer. Instant gratification. Quite addictive! 
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I used to use them as a send for outboard reverb but I’m using all my inputs these days so if I use cue at all it’s usually for a tuner.
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Breathing space between all the other cables 
EDIT: Less flippant application for cue outputs. I’m using OT as my mixer currently, running stereo Rytm & Virus into it. I want the cue outputs to mirror the mains exactly and go out to my tascam handheld. Possible? I know each track has a separate cue level. Is there a way to link the main levels to the cue levels for each track?
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OT set to Studio Cue mode. Send Cue out into OT Inputs. Set a Track to Thru and receive Cue signal. Add 2 nice effects that can run 100 wet (eg: comb & reverb).
This allows all other Tracks to send a % of their signal to that FX chain. This frees up slot 2 on all other Tracks to be more than just Reverb.
Handy if you don’t have any external FX boxes but can be used with those too.
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Sending both main and cue outs to my mixer (in studio mode) alliws me to use the OT as 2 independent fx/audio mangling chains (fed by two separate aux sends going into AB and CD).
You don’t needto do this to use internal effects this way. Instead of using a thru machine use a flex machine playing a record bufer that’s recording the cue out. Use microtiming to nudge the flex machine’s play trig right/ahead the smallest amount possible (IME at least it doesn’t work reliably if the record and play trigs happen at exactly the same time).
This way you can avoid converting to analog and back to digital, and also free up a pair of inputs.
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Euro processing, easy stuff. Complicated is overrated.
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Either as a stereo output or two mono outputs or an FX chain, depending on how many sound sources I need to put into the OT.
…for recording extra signals at the same take in the studio…
or to feed my heat with xtra signals on stage…
Oh nice. Thanks for the pro tip!
I thought of it the first year I had the OT, couldn’t get it to work, and then looked on hear and (no surprise) other people ahd figured it out years ago and it was the microtiming that was keeping it from working for me.
Once you have it set up you can do things like build your own delay by putting the play trig on a step other than 1 (or even using multiple trigs for multiple taps) and then feeding the send track back into itself, so the whole track turns into the delay, and the FX slots are inside the feedback loop.
Or use parameter locks to change the pitch to get really exotic sounding tuned delay (it doesn’t work that well when the record and play trigs are close together since the amount that you can actually change the pitch is limited by the gap between them, but if you’r emaking a delay using trigs then you cna get away with a lot more - especially if the delay time is more than one step).
Even if you use external effects by patching the cue out back to the inputs it can be better to use a flex machine instead of a thru machine so that you can use play trigs.
I don’t play with this kind of stuff nearly enough myself these days, since I’ve been so deep into pickup machines recently.
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Hey great stuff in this thread so I’m bringing it back from the dead to ask some questions that might be contrary to the title… Sorry! or You’re welcome!
@tsutek (if you’re still around) or anyone else: thats a wild idea! I see the value of a real, grab-able volume knob in a live situation. I might’ve missed something and apologise if I have but I have a couple of questions.
In this setup what would you use the main outs for? Anything?
On the mixer page the level encoder allows headphone out mix between Main and Cue, I assume you have it set hard right to Cue?
if so what are you gaining by using Cue here instead of just leaving everything bussed to main and keeping that HP mix knob to main only?
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