Oh it does! so it’s not just sample based then?
nope. samples only
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Oh I see, I was confused from the line “A digital and highly flexible sound engine”
Don’t worry, everybody else is confused about that too.
Although I won’t be at all shocked if they labeled it as such because they will be offering some sort of of synthesis engine add-on for an additional feature at some point in the future.
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Im confused too.
Cannot wait for the OT2.
With half of the features locked behind extra payments.
They’re introducing the business model now, I really can’t imagine they’d stop here.
This is why this practice is so frowned upon in other industries (video games are premium victims of this).
Crippleware is dubious at best.
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It’s their risk to make. There are a lot of gear makers these days. If they return to making excellent products I’d be willing to pay it. The ins and outs of this thing could have been thrown in, I still wouldn’t have. They gotta make their money one way or another.
Oddly enough: this release deterred me from buying a Heat 
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Signed! Although Elektron still has the best Step Sequencer out there 
Btw: Does anyone know how long the Time Limit for OB Standard on the DT is? I’ve asked this question already but Elektron does not seem to be willing in answering it … Has anybody heard something about that?
It’s just the price>features ratio that I was surprised at. Normally Elektron kill it for value/depth/innovation/generosity. This seems the total opposite. But I guess that’s comparing to UK prices for MPC Live, used OT and Korg Es2. Maybe it’s not such a valid opinion outside of UK prices.
I just think that ‘Entry level’ features should = entry level price. Maybe they should have made it without the external midi sequencing and put it out at like £350? Or had the midi sequencer as the paid for unlockable option (thinking of dudes not using midi or people with sequencing covered already by OT etc)… Instead of the OB premium thing… Or vice versa. Pay to unlock the sampling like on Blofield. So people that JUST what the conditional midi trigs arent paying for stuff they don’t really need if they have OT/other stuff for this… So sell the box for like £50 then pay £300 each to unlock it as sampler/sequencer.
Might have sold a lot more to ‘entry level’ peeps that way… And to people that already own a few Elektron boxes but want JUST a drum machine, or JUST a midi sequencer with conditional trigs… Tho I’d still imagined that there’d be more power/depth to the sampling/fx/memory/functions at this price…
Dunno really. Just something feels kind of askew about the whole thing. YMMV…
One of the main gripes of the OT is that it is complex and confusing. To me the DT’s selling point isn’t bells and whistles, but the fact that it offers the excellent “Elektron workflow” in a box stripped down to the absolute minimum. Sometimes less is more and all that, and that is what I think Elektron aimed for with the DT.
While I personally would prefer the OT and disagree with the people claiming it is “a complex beast”, I understand why many people would enjoy the DT more.
As for features, I grew up making music in ProTracker on the Amiga 500. Four tracks, mono samples, no fx. The most talented people were still able to make amazing stuff. The DT offers a very similar way of making music, but with twice the amount of tracks + effects. Even though it appears to be underwhelming feature wise, it still has what is needed to create great tracks all on its own.
For someone without any knowledge of synthesis, DAWs, plugins or any of that, the Digitakt might very well be a good place to start. …for someone with a lot of disposable income, that is.
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This OB Premium and Basic sounds so bad 
wtf elektron ??
you are so uncool it hurts
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Not so worried about the OB fee personally, as its not my thing, but i am holding out to see if there are any performance features along the lines of a Ctr-all /Ctr-8p… Seems like the perfect machine to re-hash some of what made the machinedrum so iconic. Combined with probability trigs it would kill small children.
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So I guess this marketing model make sense also for those who not interested in Overbridge… they can feel also the opposite of what people said. If I don’t want Overbridge it’s fair I pay less for only the hardware. (it make also sense to me that way)
The other pay for the futur dev of Overbridge which should be honestly a pain because it should work on most of the system (it must be not so easy to achieve)
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Ok thanks for clarifying. Still don’t really understand the whole Overbridge appeal especially so WRT to the DT, I’ll elaborate:
Thinking about Overbridge for the DT, what advantages does it have using the DT via Overbridge rather than just using 8 tracks in the DAW host to make the patterns and sounds that you would have used the DT for?
So what would be the point of DT ownership if you want to make music in the DAW environment in the first place? After all the DT is a digital sample player/recorder/sequencer like a very cut down version of even a basic DAW.
If portability is a concern a small laptop with ssd and touchscreen would be cheaper than a DT, and arguably more powerful.
I can’t help thinking Overbridge often seems like a solution looking for a problem that has never existed, it has never really been difficult to integrate a hardware synth with a DAW, midi automation and audio recording seem to do everything that Overbridge does - at least based on the demos I have seen, and excluding of course the nice graphical front end.
Again, I might be making too many ill informed assumptions here, but I’d be interested to hear reasons to the contrary.
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I swear if it had a proper synth engine or two I would be all over this thing
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I think with the analog boxes it makes a little more sense, injecting the analog voices into your DAW. But the digital argument I agree is a little thinner on paper. It’s hard to put your finger on, but I guess it’s simply a hardware way of achieving a sequence-based musical result. Which is still odd, because hardware says, I don’t need a computer, but Overbridge says you can use me with a computer. In the case of DT then why not just use a computer? Tactility, I presume. But of course DT could just be a midi controller for a piece of software. But then it is also a stand alone instrument sans computer whenever you want it to be. And I guess that’s Elektrons modern day magic.
I’m no heavy OB user myself, but wrt the DT i basically agree with your thinking … The advantage of OB for the analog series is that you are integrating analog filters and such more tightly into the daw … OB also lets you route to the filters in ways not possible with hardware alone
I have no issue with the small screens and the sound design layout on the boxes, but yeah, the vst makes that a bit more luxurious
But i’m with you on the (lack of) appeal of hanging a DT off a computer … I do however think it would be far easier to be creative on the hardware to begin with and itbthen may be convenient for some to pipe those stems into a daw for further work
If DT brings in a lot of new users that will be a burden on support, so i imagine that this informed the necessity to have a tiered arrangement, who knows, but they have to play that as they see fit
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Just heard they will be offering a synthesis engine as an optional upgrade for $650USD
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I don’t use overbridge but I do sample and resample from the ar USB into ableton and then drop the resampling back into the AR.
I’d never want to use overbridge to be honest. I don’t know why elektron just didn’t just do the USB sound card thing and a simple maxfor live plug. Would have saved a lot of money and time.
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You missed a lot of points guys, or at least I will explain how I see things because i use Overbridge a lot…
Audience don’t really like Performer who don’t watch elsewhere than the computer screen.
So that’s why they like Live with Machines.
So what about Producer who also Performer in this case ?
They need (or at least another way to make things without SYNC solution and HighEnd Soundcard with plenty IO) hybrid solution to go Live and they need bridge so they can finalize their song for Release then. But for Live Performance all is set also inside their Machines. If you don’t see the cons of that. Maybe you have already your way of bypassing problems because you already Producer/performer for long time and don’t want (or see why) to change your workflow.
Also people can see cons in hybrid to get the best of both world. Focus on parts with hardware back and forth with the computer, maybe process and get back… resampling… and make progress outside (coffee, rent studio hours) etc… (Also you can use DAW modulating tools to make something different that you can’t do with the original matrix and experiment further)
I can see also the benefit of that for chaotic people who don’t have a dedicated room but want to get the workflow of hardware. etc…
anyway I think OB make sense for people coming from ITB who want to come back, or going more to HARDWARE and make Live Performance then… which is my case I start with hardware, at some point I switch to ITB but then when I want to perform more… I come back to Hardware… so OB is a nice addition to me.
oh yeah and people are LAZY nowadays… including me so… I like OB
Also the more sales arguments you have the more buyers you get
You can work without a soundcard with a real drum machine with Overbridge. so you save bucks
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