It does since v1.50
True, DT 1 also has them, DT2 just collects them in the FX page and adds a post-filter option for BR/SRR.
Will add those and the master Overdrive later.
@shigginpit’s reaction will be “WHAT?”
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Yes, I forgot it because it corresponds to the grid machine in DT II on which you can’t adjust start and end point
Agree either OG or DT2 is good mate 
Yeah, I guess different people have different needs. I just bought a DT 2 two days before TV was announced, and I am a bit miffed, because I love working with effects, and DT2 is as bare-bones as it gets in that department.
Besides using the FX on samples, you can hook up two monosynths to the TV and add 4 insert effects and 3 send effects to each one if you want to.
Plus you get extra outputs, so you can send kick and hats to separate mixer channels if you wish, or run you favorite external hardware compressor with sidechain.
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I won’t be buying the new Elektron I was expecting more inputs tbh 
I have FX pedals that blow the FX on the TV that I can use. Don’t be miffed mate the DT2 is top notch, remember TV only a pair of inputs that’s just a NO NO from me I’m out lol 
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Two insert effects?
Uses k-cups and doesn’t have a frother. Hard pass.
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If you route the input to a track, and then the track to a bus it’s four.
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Okay, fair enough. People are going to be playing these kinds of games to get around the routing limitations. It is going to add to latency and that might become evident at some point (the reason they limited FX assignments, I’m sure).
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Yeah, I have lots of outboard FX, too. But with DT, I can only use them on the stereo mix, or resample with FX. But not many of my FX have an assignable LFO like the ones in the TV, and I can’t use them on 8 individual tracks with different settings simultaneously. With external effects, I can’t save presets and configuration with a pattern, either. All that combined is a huge gamechanger for me, it will make my studio smaller, and my workflow will be a lot simpler.
What routing limitations do you mean?
What will be adding latency is the live input, but not the FX, because these are added to all internal parts as well.
You’re talking about various FX not being available in all slots?
Edit: fixed an error in the table
My guess is that’s more of a limitation of CPU power and/or FX parameters, and not so much latency.
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Routing limitations: I mean the limits on the number of FX applied to the various kind of tracks. This is also what I meant by “limited FX assignments”.
Latency: You will get latency with chained FX. If you have two, there will be less latency than with four. How they deal with this, I do not know.
You are right that CPU power plays a role as well. This is why I look askance at demands for granular. That is pretty CPU-intensive. So is reverb. Chorus, flanger, phaser, delay, distortion, not so much.
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I doubt they will add even a monophonic granular machine to Toneverk, simply because TV has 8 tracks, and I doubt the hardware has enough resources to provide for 8 tracks of decent granular synthesis on top of all the effects, and Elektron will not have limitations of machine selection based on what is selected on other tracks.
They might add a granular bus effect. But my guess is that stuff like werp, stretch and static (streaming) will be more likely additions.
But my workaround for granular (after trying Gr-1, S4 and a blackbox) is an older iPad.
If and when I get a TV, I will create a pattern with 25 supervoid reverbs just to see what happens. 
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I agree with your assessments of granular. And I look forward to your TV reverb stress test…!
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This may or may not be important to the chart. But is the (technical maximum) track count of the Tonverk 64 on account of the sub-track setup? I’d imagine it unlikely to be used that way, but vs the Digitakt for example, 2x sub tracks = the 16 individual tracks on a Digitakt II.
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You forgot Scenes 
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Thanks for this comparison. I think Tonverk would be good for my set up but for the price I think the lack of inputs is a deal breaker. I was really hoping that the usb could be used to add extra inputs via a audio interface.
is the following workflow possible on the TV, like on the OT, where I have sequences or looping samples playing on the TV, while also processing live audio from the analog inputs, all going into the master output?
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I’m trying to envision composing on the TV in comparison to DT1.
I’m thinking the “single player machine” functions sort of as a polyphonic DT1. My question is with this machine do trigs still cut off other trigs the way they do on DT1? So if I have an open high hat on the track, can I still cause it to be choked by a closed high hat on that track, rather than play on top of each other?
How about with subtracks? Can you plock different samples per subtrack to achieve the high hat choking thing or do you have to put your hats on a “single player machine” track? I read on here that to do melodic pitching of like bass drums or cowbells, you have to do that on a “single player machine” track, which is why I’m asking.
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I swear I try to keep my most pedantic comments to myself but when there’s a chart involved I think a touch of pedantry is acceptable. All of these devices have busses, even if they’re not referred to as such. At minimum there is a stereo output buss which itself is two busses (L buss and R buss). I’m not sure if this “take” conforms to the marketing copy but it is standard terminology in audio engineering.
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