hey if you bump the left and right arrows to mess with the tempo while a delay is going it jerks the delay time around, it’s pretty fun
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a maybe less obvious thing that i really appreciate about the OT MKII is how well the screen keeps in sync with turning the knobs. the feedback feels absolutely instant. maybe i’m imagining things but even the Analog MKIIs and Digis feel more sluggish in their response, not to mention other gear with screens that i’ve used. perhaps the knob acceleration is to blame in those newer Elektrons?
might seem like a small thing but it really increases the feeling of “control” or “instantaneousity”, at least to me 
feels like i’m closer to the actual machine… it’s hard to explain, but i just noticed it again after getting my second (and last, i swear!) OT.
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I’m very close to jumping into the OT world, from a DT…for those that use these together, which do you prefer as master? Do you prefer midi from OT->DT or other way around? DT mainly for percussion?
OT, definitely, for perfect loop recordings.
OT > DT for midi control, more midi lfos, arp…
DT for percussive stuff personally, but that’s not an obligation…
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I don’t have the OT yet, but from what I saw in youtube video, the OT is always in front of the operator, at the center of the setup. So I guess OT as master for everything else.
I have the same impression actually. OT feels instant, AK more sluggish.
You are absolutely right, most of the time I enjoy the process more than the end result 
Im new to the OT as well, was originally gonna replace the DT with it but I like having the DT for one shot and monosynth duties. OT is the master in this situation, plus the DT is my intermediary for MIDI from the OT to drive synths on my PC in Reason.
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Yes. For same reasons as @sezare56, sampling.
I’m using DT as more of a drum machine. Synths for synths, OT for sampling/ resampling, background layers, ambience, noise, atmosphere, long samples etc. Also some FX.
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@AdamJay I’ve been following this guy for a couple of years. I’ve always been fascinated with his use of dual OT’s. He’s recently added a DT to his setup and really dig his ability to juggle these. I don’t know about my ability to use two at once but breaking free of 8 track limit seems to where I’m headed.
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Interesting, does the OT send clock to the DAW? I’ve been using overbridge with the DT and then a midi thru box to other gear, and it seems pretty solid. But I might have to change things around with an octatrack in the mix.
Same here! DL is a fantastic artist.
Followed him for some time now.
His A4-only work is always good as well. As is @Alienna’s on instagram
It’s not as difficult as you might be imagining. When you think about the myriad ways you can setup a single OT, the second OT just multiplies that, but not in a complex way. Rather, in a less restricting way that invites you to be more original.
For instance, you can move your Master track from OT#1 to OT#2. You could use an input-thru track on OT#2 acting as your Master track for OT#1. And it can be less restricting because now you can make a NEIGHBOR master track.
This is just one example, and may not even be desirable for you. That’s the beauty of two octatracks. You get more opportunities to find the setup for you that is more tailored to your specific needs.
Something I recently started doing with my 2nd OT, which already brings in the OT#1 on a thru track, is I setup an additional thru track with the same OT#1 input, heavily distorted, filtered, p-locked volume as a pseudo side chain, and with some plate reverb.
It’s almost got a Make Noise Strega vibe. All it does is add some subtle and distant dirt to the OT#1 output, and since it is mixed in parallel, I can fine tune it without destroying the original signal.
In both examples I’ve given above, these are not setups that require much juggling at all. You won’t suddenly be drowning in 16 tracks of audio and only 2 hands to make it work. Look at it as an opportunity to harness more thru tracks, and more neighbor tracks without losing any sample tracks. An opportunity to use the EQs and compressors more, to get an even tighter mix. And you’ll still get a few additional sample tracks on top. Some restrictions still exist, but enough are taken away that you are liberated to do that much more with the tools.
You only need some forethought about harnessing the power of all the various capabilities of an OT pair. Take time to map out various configurations on paper. Think about what you wish to achieve, not just in terms of logistics (I need this many tracks and this many FX), but also in terms of distinguishing your own sound.
As a famous intragalactic bounty hunter once said,
“Two Octatracks? This is the way.”
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I think my best experience with Octatrack has been using it with one knobby synth…
I’ve had so much fun just Octatrack and Sh-01a. There’s something to be said of being able to be hyper focused on a small set of devices…
Like the title says OT is amazing
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Thanks for is Instagram @ i was following his A4 channel on YouTube too. It’s more of an organic side compared to what you see on his OT channel.
The way you described the neighbor master track idea is great. Some ideas you’ve share have sparked ideas of my own. I may actually stop toying with the idea and actually go ahead and get the second one finally.
I’ve picked DL’s brain on how he runs the two of his. It’s quite simple and very logical. I don’t remember how he has his scenes set up but they’ve got to be close to matching for both just to keep some sanity where he is when assigning them.
Thank you for your insight on this. Always appreciated.
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wow thank you 
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Yep, I’ve had it control the transport in Reason through the Digitakt. Seems to work good.
The octatrack is a true compagnon, it grows with you, still not using the full potential, that’s the best part of it… i worked with it in different ways over the years, I feel great appreciation for the octratrack
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Please stop.
(my Digitakt is looking really angry at me atm)
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Damn that’s a good idea. Why didnt I think of that?
Something like that would work well for my band. Maybe a recorder buffer sampling the main output, then flex playing that buffer, filter dist, reverb, LFOs etc, but with slide trigs modulating volume as we dont have beats. Then blend that into the mix.
Hmmm octatrack…
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That can sound lovely.