Just tried it, works really well.
-Loaded up a sample of a DR110 open hi hat into a flex machine
-In the main AMP page, set the hold to minimum and tweaked the release time until I got a snappy, short, closed hihat sound. The sweet spot was in the mid 40s.
-Plocked the release time to INF on the steps where I wanted an open hi hat.
If there's a trig on the next step it cuts off the open HH sound of course, and using a trigless lock on one of the next steps with the release time plocked to around 55 gave me a good choked hi hat sound.
Just out of curiosity I tried locking the open and closed release values to a pair of scenes so I could play the crossfader like a hi-hat pedal the way I like to use the data slider on the MPC and that also technically works fine but it's fussier to play and not as convincing as it is on the MPC, because of the way the OT handles real time parameter changes (the MPC is way more limited there but in this case the limitations actually seem to work in its favor, plus you can record fader changes on it so you can lay out a hh pattern and then overdub your chokes live in a second pass; on the OT you'd have to resample to do that but again it would definitely work). Totally usable though, it's just going to take a bit more practice to get it sounding good than it did on the MPC. Using plocks like I described above works really well though, and sounds better than using different open and closed HH samples to my ear.
I don't have time today but I can probably toss together a short video demo tomorrow afternoon.
EDIT: thinking about it a bit more, this is more or less how analog drum machines typically work, by using the same tone source with different envelopes to create the open and closed hat sounds, so it's probably especially suited to x0x style programming and samples of analog machines.
When I have more time I'm going to mess with using other kinds of samples as starting points for building hats this way, no reason you couldn't use almost anything. In fact, if I had a radio I'd try tuning it to static, running that into a thru machine, and using a combo of trigless trigs (to trigger the envelope for the actual hits), trigless locks (to vary the decay for open an closed HH sounds) and maybe the filter, that would probably sound amazing. Doing the same thing with any analog noise source would be really good, I bet. Plug a cheap distortion pedal into the OT input and turn it all the way up so the self-noise was as loud as possible, and use that as a noise source. Stick a little lapel mic inside of a computer and use the fan noise. So many possibilities.
EDIT AGAIN: nope, too much other stuff to get done today for me to do a video demo, but I'll get to it eventually.