What was this thread topic again?
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my favorite things on the OT are quite trivial but it‘s so easily achievable on this machine
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glitchy drums: I use sample chains of 64 synthesized percussions. slice them, lay a basic beat down with some microtiming for natural feel. use a lot of ghost notes with lower volume and trig conditions and trig counts. lfo to start parameter to scan through the sample chains. Realtime automation recording e.g. of retrig length and time, amp decay and hold für short, gated sounds, cutoff frequency, lofi sample rate, short delay times with high feedback. lfo to sample pitch or rate and to reverb mix and time etc.
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midi arp locked to a scale, with midi lfos modulting arp parameters, and lfo parameters modulated by other lfos
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i love making a complete track on the OT, assign the rate parameter of all tracks to the fader and then move the fader to pitch everything down until I find a spot where the whole track sounds totally different but often better than before
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live transitions between songs with master resampled (but drums muted) but pitched up and reversed. sounds completely different but awesome most of the time. great for soudscape interludes
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My initial thought was along these lines
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I was gonna say the same thing 
I’ve had my OT for maybe 4-5 years now, and I’m still having a blast making scenes.
Lately I’ve been using the Merlin method to taking things to another dimension and back,
But just using the cross as a dry/wet slider for scenes is still freaking amazing.
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They wouldn’t dare. They would be laughed right off their already very shaky column.
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PS_1:
Forgot the comb filter. Fav OT fx. Forever thankful for transforming my metronome into a saxophone
PS_2:
Zeppelin is still awesome
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Powering it on and off,because i love the start lightshow
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OffT: Absolutely agree. When they finally got over their influences they did absolutely extraordinary work.
My point is it would all be cast in a much different light if they started suing people.
OnT: another favorite thing is to load new samples 
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Same here . This Norns patch (Playfair) is so easy to emulate in OT, and that helped me a lot to mitigate the GAS for the Monome Grid/Norns combo. 
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Yea the combfilter! 
It’s a synth engine on its own!
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Sure. Let’s go for another OT challenge!
I post it in a few minutes…
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I like to set up series of scenes as a ‘keyboard’ tied to pitch transposition of various samples
putting a custom scale into a series of slices lets you squeeze more out using the trig buttons as a keyboard also, since you can skip all the un-needed pitches vs using chromatic mode
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New guy here, but I do that a lot! Can also give the impression of differing pattern lengths with a similar approach
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Challenge filter 
that’s interesting…
Mixing!
…it’s a challenge I think, if you can get a good mix with depth, punch, spread, right out the box with all 8 tracks and all kinds of different sounds running and not have things leap out of the mix when modulating or pitching (scenes/Xfdr), don’t need the buss compressor…you got it going on. I tend to push individual levels hot off the bat though and end up working down.
Although plocking filter helps, and you can really narrow Q down to get a specific range…
always loved mixing and on the OT is bloody surgical, man.
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I have a hard time getting accurate EQs on the OT alone. Do you monitor the frequencies with your DAW while you dial the settings?
Nope, all by ear on cans from the OT. I guess knowing how the integers translate to freq’s is already documented, but each track/song is different, and it’s all relative.
Maybe starting out with a kick or something you know the response of, a baseline then working around that…like a reference track then dropping it out. But it seems to me trusting your ears and knowing your cans/monitors. A lot of cuts or boosts don’t make sense I think, in terms of the numbers, freq’s, dials and settings…but it sounds right. And personally I tend to not worry too much on the low end boost in the OT because I am just trying to get a good separation and add in post, most of the time it works out, lol. Lot of it is sound selection and having a good large pool to draw from to keep moving…not banging your head on something that won’t gel.
…And then, sometimes you think you have the mixdown nailed and come back to it a week later and…damn,…well, just load up the project and back to it. It still beats than the old days working with floppies and calling up OB fx settings, etc.
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This thread might be helpful. I added a plot that shows approximate frequencies for OT’s values (they are lin-log scaled).
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