The aux trick is discussed in the second half of this thread:
Works great, completely integral to how I use the OT now.
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Thanks for the detail here! Really helps to hear the āwhyā of pplās favourite settings too
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i like the OT Flanger to just spice anything up and make it sound a bit cyber, for want of a better description.
If anything sounds a bit dull (particularly anything like a mid-range synth riff): load the Octatrack Flanger, dial in the wet to 50 percent at the default settings; and hey presto, exotic, magnetic audio awaits.
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Not obvious but I used Chorus on tracks and Flanger on Master for the record above.
If you want those fx deeper, add an lfo on their DELay parameter.
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Mods,
this is a good thread but widening out from the opening post. Donāt know if it should be split, maybe just put something about OT FX tips in the title?.. really useful posts but might be missed going by title
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Yeah - it shouldnāt ideally get too far off-topic from the filters to keep things manageable - Title tweaked 
awesome tips from @Supercolor_T-120 are elsewhere too, but letās keep it about Filters primarily moving on
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would be so cool if UHE build some hardware synthā¦ the filters on diva are incredible. Do like the ones on the octa. They are clean and usefull. only keytracking would be a nice to haveā¦
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God, I hope so. Theyāve been getting into Euro, if heās got the EE knowledge he could do some really weird and wonderful stuff.
Iām also a big fan of Elektronās digital filters, both in MD and Octa. Not as big of a fan of the analog filter in Rytm, personally.
Yea plus 1 here, love OT n MD filters.
Not so keen on Digitaktās, the resonance is a bit nasal. gotta be gentle with that one.
Same thing for me, really like the Elektron digital filters but the analog filter on the Rytm i donāt like it either. It self oscillate to easily and sounds boring too me 
Have to admit, for all my complaining about it in the past, Iāve been using the OTās EQ lately and getting better results than I used to.
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Recently go-to on sampled synths with filters open/harmonics/grit, even layered with a higher or verb: a base at about 9 oā clock to bottom, width almost open, Q about noon oā clock with exponential LFO 2x/ sync trig or free. Envelope fairly open with a slow attack.
Basically a smooth following filter that closes gradually until decay with slight resonance. Not really for arp stuff i guess unless you Scene LFO multiples or vol. But it is has usually been a starting point to make synth sounds out of various things, also sometimes with 1/4 note retrigs or smaller. Certainly scene locking between A and B sets on base, width filter, etc.
Really interesting is also the LoFi with a random or designed LFO modding the SRR, etc for the 2nd effect slot.
But actually I find myself using EQ on the 2nd to deal with more sound sculpting and managing levels.
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I agree with the overall positive opinion on the filters here. I did some testing a while ago, looking at all the curves and overall behaviour, and was quite impressed by the variety of options the OT offers. I wasnāt even aware of the DJ style filter until I lookes at the curves and that was sort of a revelation. Good point here!
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Iāve been really digging the Digitakt filter recently. Itās fat AF when used with tiny looped sample slices. A have used quite a few filters, analogue and digital, and have rarely found one so usable. Two questions:
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Is the DT filter the same as the one from the OT, and the Digitone? Iām less familiar with the other gear, but I assume a lot of the others have analogue filters?
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Any idea what kind of filter this is? e.g. is it emulating a particular analogue design, or based on some common digital algorithm? Or is it something completely original?
The DT/DN filters are very different to the OT filters are very different to the A4/AR filters. I think DT and DN, as well as A4 and AR share the same or at least very similar filters. The OT HP/LP filter seems inspired by the MD/MnM filters, but sounds completely different, more round and anti-aliased.
The OT filters helps so much in separating elements in the mix. The DN comes close with the second filter page, but the DT is much less flexible. You get one nice filter per track, but if you need additional highpass/bandpass filtering you have to resample.
On the OT you can morph a low-end element into an acid bass thingy into a high hat into a drone using filter mappings on the crossfader, unmatched flexibility.
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@MK7 I think itās a really good analysis / sum up.
I have them all except AR MKI I had.
Compared to A4 MKI, I preferred its kicks, felt some differences in filter behavior, but itās hard to be obvious considering the different parameters available. (Not talking about overdrive, main distortion / compressor changing the game for AR).
ā¦ 
ā¦So true!
Something I donāt use much is Env set to Base (default is Width). Pretty sure it can be very useful. I barely use negative Env btw.
Ideas, examples?
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Env set to base can be good for kicks, if Q is on HP filter.
Also good for percussions that are designed to stay in the higher frequencies, but need some bottom for the attack.
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