Not as a default, I’d say. Both instruments are so unique that all musicians I’ve come across that use them (yes, I’ve met a few Delugers out in the wild as well), use them so differently.
When I had the Octatrack, I used it mostly as a glorified seven track recorder studio (I always kept the eight one for master effects). I usually recorded longer samples, between 4 to 16 bars, and then layered them into tracks which I then warped into oblivion.
If I’d had an OT and a Deluge today, I’d probably use them like this. Build something solid in Deluge, long or short, record the parts separately into the OT, rebuild the structure there but as soon as it takes you somewhere else, go with it. It always will, it always did.
The one enabler for more in this workflow, is that I always knew what I wanted to do when I approached the Octatrack like this. I already had a song in my head, and was free to immediately get into how I could transform it into something else with the Octatrack, not bothering so much about basic structure and pacing, since I’d already figured that out beforehand, from whatever source I was recording from.