Yeah, same. As others have already said, if you set up some lfos, like a semi random lfo designer wave, carefully purpose built, you can easily give the fx more ‘analog mojo’. Tuck these all away in the four parts of the last bank and add other ‘preset settings’ for the fx you can then always copy/paste and use in your current part.
OT usually gives you a blank state. All fx are always ‘init’ and that’s probaply contrast to how most other gear around us works.
I could compare OT fx with a TC M-ONE. Equivalent raw quality imho. OT wins with its modulations, plocks, crossfader, more fx…
Some other fx abuse :
Somehow this has become the worst thread to frequent while my OT is in the hospital.
I played around with OTs filter distortion and delay to get some kind of ‘worn out tape’ fx (100% wet delay, lfo designer modulation + some eq on a neighbour track). Somehow I thought about this thread and I was curious how the OT effects would compared to some tape plugins. I chose Chow Tape Model and the Arturia Tape Mello Fi.
Source is a simple saw osc pad from the Analog Keys. Which one is the Octatrack?
Dunno. But number 1 sounds the most worn out tapey.
Same
I’ll say number 2 is OT.
But they all sound perfectly useable to me.
i also say that 2 is OT
I’ll say number 1, because of lfo designer on delay time…
The first one is OT. You really heard an lfo designer wave there? The delay time modulation is actually pretty subtle. The eq on the neighbour does those frequency dropouts, supposed to emulate parts of the tape that have really worn off (I think I modulated all three eq gains with lfo designer pseudo random shapes).
Hehe^^ 
A repetitive modulation, and a characteristic OT tape delay behaviour.
The thing is, to even get in the ballpark you need mor ethan three LFOs, each modulating multiple parameters (delay time and filter cutoff at minimum, plus LFOs modulating multiple other LFOs to keep the pitch an filter modulations in sync where they need to be).
But on the bright side, none of the posted examples sound much like tape (#2 is the only one that even gets close, #3 is BAD), and the OT holds its own relative to them even if the modulation depth needs to be cut back a lot in this example (when I’ve messed with this, the modulaton depth starts to sound unnatural with values as low as 3-4, and that was emulating tape echo where you can get away with more because it’s blended with the dry signal - I’d keep the depth on 1 for this). You can definitely get it to a point where it doesn’t really sound like tape but it sounds EVOCATIVE of tape, in the same way there still isn’t a vinyl smulation plugin that actually works but even a primitive old one can still sound really good even if it doesn’t sound real (SP-303 etc.), and that’s what really matters.
What I’m saying is this is a solid start, and the only thing that really needs work is backing off the modulation depth so that it’s almost inauduble.
Ha, that was why I picked number 2 
3 sounded chorus-ey.
Well, it´s a tape loop. 
We could of course modulate the lfos (midi loopback, would give us another set of 8 lfo designers to play with) or use another neighbour with an eq and alternate between them or smt like that. That should get rid of the repetitiveness, but it was just a quick test while I played around. 
Well, in a full mix, just a pseudo random lfo wave on delay time can actually sound great (100% wet delay, delay time=1, no feedback - during build ups it can sound nice to turn up the delay time a bit, introduce some feedback and maybe dial in more mod depth), especially if you have a pad sound, that already has some modulation going and maybe a flanger or smt like that and you just want to give it a litlle extra from the OT. You hardly get to dissect sounds with a magnifying glass in a full mix.
But I agree, none of these really sound like tape, but compared to pretty new plugins, the old OT still holds it own.
Yeah, exactly.