While I can understand that such a bug can become quite a mental blockade (been there myself more than once), itās still easy to workaround it, isnāt it? Just assign some silent samples to all the buffers and save them at the start of a new project.
Donāt let such a stupid (and mysterious) bug spoil your relation to the OT. Itās still the machine you learned to love ā¦ 
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That was. A couple of hours ago I found a better workaround with Save and Reload. Played with OT + guitar. Still weird, doesnāt seem OS related.
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One of my favorite uses of the OT in the last few weeks has been to use it as a parallel fx processor on the same sample. I use the OT to sequence and remix 4 mono tracks, which I recorded on the op-1. Instead of using neighbor tracks I like to load a sample of a synth melody or pad on track 1 with filter and delay in the fx slots. I load the same sample on track 5 with filter and dark reverb. Track 1 is panned left and track 5 is panned right. Now I configure the filters to have slightly different base, width and q values and apply some LFOs and scenes to these values. Stereo filter bliss 
Delay and Reverb can be used to add some additional thickness.
This is of course not really ground breaking but you can really achieve some nice sounds with this technique so Iād thought Iād share. This of course works well with other fx and you can always resample if you want to save up on tracks in the end.
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Nice tip! Iām sure itās been done before on all sorts of gear, but it always helps me to hear different ideas. Yet another reason why I think OT will stay forever. Itās just so flexible and deep.
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I arranged this whole album on the OT: https://mirrorframe.bandcamp.com/album/cyber-trash-ascension
Most tracks started off OT only, then I added in an old rompler, a Behringer MS-101, and an Eventide Timefactor delay. Recorded in single takes out of my mixerās stereo output, mastered in Reaper. It was super hard, I basically spent 8 months making complex break patterns and found that the OT is fast for a lot of basic stuff but some things take needlessly long, like after youāve programmed in 64 steps on 2 sliced break tracks over half a bankās worth of patternsā¦ Playing it back and finding the exact slice to change, and knowing what to change it to in order to edit it properly, is a bit insane.
Which is why Iām making my next album in Renoise. But Iām keeping the OT for live performances, despite the encoderās skipping around. After all that work it feels like an extension of my body. Canāt completely give it up at this point.
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Whatās the old rompler?
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An Alesis QSR. Its kinda like a roland jv1080 except it doesnt have digital filters and its harder to edit.
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Missed this comment, thanks man I appreciate it
Yeah good stuff. I wonder how you used crossfader / scenes or slides for pitch / filter fx, and how you changed patternsā¦
Maybe not what you used, maybe thatās personal secretsā¦
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Glad you enjoyed it, no secrets man I believe this one was an arranger job for the stutters. it was a while ago and itās lost in the projects somewhere now. They arenāt actually filter or pitch FX itās mostly rate on the fader. Used it for retrig number on the hi hats too playing some polyrhythmic pattern with some probability that you can hear most at the section at about 0:25 and used the fader to rate to get the pitch changes at 0:50.
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I do this all the time in Audacity, but Iām now going to try it out with synth sounds on the A4 and samples on the ESX as I donāt have an Octatrack.
Iāve been using the OT to sample YouTube from my mobile phone and have been making quick collage jams.
The audio editor in OT is very useful. Loving the slice grid and random locks functionality very much.
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Duuuuuuuude! Iām very very very interested in the sonicā¦ vocabulary is not the right word (is there one?) but what I mean is in translating sound to sight. Filter sweep being a focus pull into or out of focus. That got me! I intuitively know what you are talking about. I think it would be different for everyone but wouldnāt it be cool to map all qualities of sound to certain visual metaphors?
Burial, has a sonic vocabulary (IMHO) and can tell very intricate and nuanced stories with those sounds. Others can do it too but the āwordsā created either donāt do it for me or I just donāt understand or am not able to catch on well enough. Autechre is another one that I can kind of understand their earlier stuff but after Amber I just got lost. Motha truckin RONE, he does it too but itās way more abstract.
Anyone who ties all three together - sound - sight - vocabulary - probably gets to level up to God Tier! 
Seems to have arrived on youtube.
Going to have to check out the older twitch video streams 