It is not a problem for the OT to send lfos to the DT utilizing the OT midi tracks. You asked for an example, I gave you one. No need to get snarky
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yeah, making use of 3 additional LFOs per track was the first thing I was thinking of as well - but I recently been told that this is not the best idea because of the vast amount of midi messages being generated. No offence. Didn‘t want to snark at you 
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There is just not that many other good ideas I have to make use of MIDI control the DT besides the LFO (because everthing else can be done inside the DT).
I sold my OT and bought a DT, for me that was a relief as it is much less complex and had much more instant gratification.
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I don’t know if you can max out what the the OT sends and the DT can hand it but, my writing partner uses the OT lfos on his DT with some nice results. But not sure he’s maxed out what the OT can send. I personally am using the lfos generated by the Monomachine currently to affect parameters on the DT. That’s 18 lfo across six track, I often utilize all the lfos from the Monomachine and the DT handles it well.
But you are likely correct that the lfos are probably the major reason to use the OT midi sequence on the DT. Other than the extra lfos, I personally find it easier to just sequence the DT with its own sequencer. Oh but having the extra lfos is so nice
If you set lfos to HOLD, they send midi data only once per trig so it can be very reasonable.
Other good points for midi control with OT : the Arpeggiator ! Can be used for retrig. Trigs Counts can be also used for faster retrig (128th notes), combined with TRig Conditions.
TRCs can add another layer of control.
All these can be combined, you can use midi tracks lfos to modulate arp speed with rdm lfo or lfo designer for example, so I see a lot of additional control possible.
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Sure!
You can control all 8 DT channels from the OT (exclusively if, for some reason, you didn’t want to touch your DT sequencer). So, now with OT in control you have an arpeggiator per track, so you can now do those retrigs (sort of) that I was doing with the BSP. Adding the OT midi-arp to DT synth samples, or even hi-hats and toms, yields interesting results quickly.
You’ve got 3 extra LFOs per track now. You can make the DT go wild. Recording realtime automations of LFO parameters is a lot of fun, too.
Setting up multiple patterns on the OT with different arp settings and switching between them adds a lot of mileage to repetetive ideas
edit: oh, snap. …what @sezare56 said.
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Wouldn’t this mean that I had to disable program changes for the OT?
why? if you’re sending program changes per pattern, just set the same PC on the next pattern, yeah?
Also, don’t forget the power of OT’s audio manipulation on the DT’s output. While you’re sending all that midi to the DT you can be resampling, adding FX aplenty via Neighbor machines, using scenes (for audio), slicing and dicing, etc…
My DT comes back into the OT on a thru machine and I use a lot of scenes to alter it and the neighbor track/s
edit: with the proper set up regarding your program changes ( i don’t use these for whatever reason… except when sequencing the minitaur) you can have all sorts of patterns with different arp or LFO settings and switch between them on the fly no problem. When I’m sequencing the minitaur I’ll have pattern 1 set to program X and then pattern 2 to program Y. It’s a nice way to change the track sections up. It’d be the same with DT, i reckon. You could have similar DT patterns with sequenced variations, and switch the program numbers. I’ve never done that to my DT. But now I will have to explore
errr… in my worlds pattern changes = program changes. Enlighten me. But maybe my brain needs coffee again.