One of my OTs is set up the same way, except with a master track and it is recording T8’s master output. The scene that fades it in also fades out the send/mix levels of the Master track FX so I’m not double dipping through them.
The other OT is going into that looper/master OT to be mixed, so it is also looped. Having it always there keeps it in my mind to use it.
This need for both a catch all looper and master track informed my need for a 2nd OT, as it was limiting my available sample tracks. Heh, and now I just use two Master tracks as I like the bussing.
Otherwise, I set the OT(s) up in certain ways that help with memory and sonic vision. Compressors always before EQs and filters, and so EQs always on FX2 for consistency (even if there isn’t a compressor needed).
4 patterns per Part, in blocks. I did this starting with the A4 and AR’s kit system, before I even knew about the Bank/Part scheme on OT so it came naturally.
Whenever I automate FX via scenes, I make a tweak to the master compressor to mitigate any changes that might incur in the overall dynamics. It’s now an engrained habit.
Set up my slot list in a logical, sectioned way. Drum chains here, synth/hook chains there, and so on… This has forced me to be more intentional about what I put in there, as purging unused could really disrupt the order, and having to re-order after a purge would mess with established Parts. The result is quick access to the sample I need, and no scanning that breaks the creative flow.
FX LFO3 assignments. This is one I recently started. Whenever I choose a creative effect or filter for a track, I assign one of its parameters to LFO3. This gives me a quick place to go to find some inspiration in changing the sound. And makes a section of every track a dependable place to find effects modulation. I don’t want to have to look at the LFO assignments page to see where different things are assigned, so a consistent location on every track for some creative modulation was important to establish.
So, yea, the overall theme for OT has been making things consistent for muscle memory, organization, and undisrupted follow.
For M:S the theme has been lots of synth stab and hook loops importer with heavy filter LFO and p-locks to get new and interesting hooks out of the content I’ve put on the plus drive. All patterns set up identical, with heavy leaning on the latched FILL as a pattern variation so that, combined with the inviting knobby real-time interface and some muting, I can jam on a single pattern for an entire tune.