Most of Drexiya’s catalogue was recorded pretty much live as far as I know and Surgeon has been through various different recording setups, including recording live on the two buss, but these days he pretty much does about 4 to six tracks with as little post editing as he can get away with.
Try not to get so worked up, none of this matters.
Fair enough - I did say if reworking is needed, rather than implying it as the sole reason 
I still have the qu pac mixer, it has 8 outs, 18 in, and a matrix mixer, so anything can be send to anything.
I can route syntakt /digitone /a4 as mono tracks thro the qu pac to octatrack inputs. It has EQ per track. i can record with a press of a button, having sum of OT out + all inputs recorded.
My hw tracks suck still compared to my DAW tracks, i had reconfigured the hw setup too often, in my opinion one need fixed roles for all involved synths, and then good sound design skills, and practice is a huge part also.
The transitions part Is what i find hard, i need to get better with the Octatrack.
my EP with Thomas P Heckmann was recorded entirely to two track with no computer and he mixed it live as we were doing them, all one take:
my track chiralium was done in one take with an E-MU XL-7:
on more recent stuff I have been getting away from multitracking and doing my best to use the mixing features of each machine well, just as a personal challenge. it doesn’t always work out! 
all of my releases are one-shots too ! … some dicing in aucacity [lately ableton!] and it stays hot
Great! I think it’s the nature of techno, ambient and some close genres to be played live and to be recorded live, no matter with or without listeners in the hall or just in bedroom.
Cheers!
I used to do hyper edited music that was more collage style assembled and meticulously overcooked in ableton. I got so tired of working that way that I changed my approach over the years and could never go back.
I much prefer the sort of intuitive / instinctual mind / body flow of recording tracks live. All my tracks since 2015 are done this way, though also with a lot of use of multitracking those live stems. I have 30 inputs on my interface so getting everything separate isn’t an issue
This is probably also my dream way of doing it.
With less experience the hurdle is that I sometimes prep gainstaging and patches very well - but then don’t dare to touch things anymore after that lol, so the songs I record tend to end up quite static and stale.
I think I just need to keep up with raking up experience; to build up the confidence (or foster the instinct) to really improvise and experiment freely when recording.
PS funny how this subjective thinking out loud is in response to your comment - definitely an inspiration, you
I don’t at all -> everything is always recorded in one go, to tape. ( this might change in the future )
Aphex Twin is guilty of this as well, especially on the stuff from Syro.
In that order? OT => Heat => BH? Curious about how you setup the BH in this context. You’ve mentioned it a few times in posts in the past. There’s a used one at the local music shop I was eyeballing for this purpose.
OK I have a couple breaks/techno songs recorded each to a stereo wav file. Any tips on mastering/finishing them in Audacity?
On my old computer I had a macro to boost the volume of the track so it is good for Spotify/streaming but that computer is gone and I can’t find where I got the macro recipe from.
I’m currently in the process of producing a digitakt only EP. My initial plan was to compose on the digitakt then multitrack via Overbridge into daw and finish it there. The more I play around with this process the more I tend to to do the whole mixdown (with a decent compressor settings on the master) and then record the stereo out into the daw to put a mastering chain on it and that’s it
It won’t be perfect but It will be good enough I think
i did it for a while, but when they asked me to make some adjustments during mastering process, and i couldn’t do it, i returned to multi tracking.
You still are ! 