I like to use a delay on a kick, snare, or high hat track (single sample, not a full loop), and use a delay effect with TAPE off, and Feedback, Volume/Send, and Time all the way down. Then Module and/or plock all three parameters to get beat repeat effects.
I like adding conditional trig-less trigs, along with conditional trigs with repeats themselves, and plocked volume, to get pretty fun evolving patterns.
Keeping the tracks separately helps keep it sounding like a repeat effect and not just a delay effect.
I like to use my OT in studio mode, then use the CUE as an effects bus, either internally or externally. In this way you can sort of set the “wet/dry” ratio by changing the Main vs Cue volume.
Usually I’ll route these to at least one Flex track with a record buffer, drop a few record trigs, a few trigs, and add plocks and LFOs to to RATE, LEN, PITCH, RTRG and RTIM to add texture underneath your original sequence.
I also like to go external to a MD (usually to a RAM track doing something similar to the OT) or A4 (love that reverb), but you can just as easily run it out to a pedal and back into the OT with a THRU machine or basic FLEX machine.
OT Karplus Strong Synth
An oldie but a goodie, use a short noise sample (you can quickly make one yourself with internal resampling) on a Comb Filter with full MIX, pretty high FB, and mid-high LP, and you’ve got yourself a pretty wide range mono synth you can plock pitches and effects on.
Changing the FB and LP change the character, so those are fun to set LFOs on. Throw some reverb on and you’re good to go. I’ve done this with three different tracks to get chords too. I guess if you have a few particular notes/chords in mind, you can set them up and resample to save some tracks.
Last one I can remember is setting up a Flex track with a longer sample, at least one with plenty of different textures and timbre changes, so an evolving pad or something like that.
Then set your LEN on and set to 0, RATE set to time (or not pitch, I forget what it’s called now…), LOOP to ON or PINGPONG. Lower the HOLD and Release so you get a useable pluck or pad with a longish decay.
Set an LFO to STRT, probably a Free Random with just a little depth, just to move the start time around a little bit but not too jumpy.
Then set Scene B to increase the STRT time to the highest value, and add some Dark Reverb or a Neighbor track so you can add plenty of effects (you’ll probably want to).
You should now have a sort of granular-synth type sound that you can scroll through with the crossfader.
I’ll just add that these are absolutely not my original ideas or anything, I just picked these up from various YouTube videos and playing around.