This.
Throwing bits of melody and fx in and then plocking the hell out of them can get some really nice results.
I’ve noticed things sounding really nice when pitched down compared to Ableton, (my home DAW). Drum breaks and melodies.
Not sure if it’s just in my head, but now I often try dropping the pitch to -12 just to see how it sounds, and it often sounds great.
Resampling the eurorack would be great fun 
Maybe you should trade the DT2 for an Octatrack? 
I’m not a sampler guy but just finished a set I really like on the DT2 (in DT2 beats thread).
I find that over the DT1, it really excels as a mono synth, and it’s easy to humanize with LFOs, legato, portamento, etc. to make it really expressive with 1-shots or wavetables. I have a utility pattern (with trigs set to keyboard notes, all tracks the same sound, ctrl all to change), that’s good for recording chords or keyboard phrases as needed.
Also, I find a lot of joy in collecting and using sounds and samples with sentimental value—my kid beatboxing, my coffee machine, favorite interview clips, breaks from favorite songs.
Get rid. Hunting for a use for something is a waste of energy that you could be putting in to making something with something that is useful for you.
I agree with this. Sampling longer stuff, chopping and playing around with trigs and random locks until something nice emerges can really get you out of your standard go to melodies, chords and sounds. Then throw some LFOs on it, record some automation, copy, repeat, resample, etc.
learning an instrument takes time and dedication,i read don’t waste time , sell it 2 weeks after .i find the people think instant gratification is the best way. i don’t think you can seriously say i 'm not a sample guy because for some genres it’s basically essential. there’s so much sound design and techniques possible with sampling that i think it’s not a waste of time at all because all those skills will be usable in any other wave based environnement.
bit of a judgey tone that. OP is entitled to their opinion and its perfectly valid that you can be an electronic musician and not derive pleasure or inspiration from sampling. and tbf to the OP i dont get the impression that they were expecting the DT to be an instant gratification machine, rather that they were hoping to vibe with it as much as they do with the DN, but arent quite feeling it.
‘Like your Digitakt II…or else!’
maybe, but sampling is super important technique unless you got all the sound in the world synthesized ?and even then you won’t be able to carry the entire studio to the gig. even when doing stems in ableton it’s sampling no ? so i definitely think sampling is an essential technique, maybe he should try an MPC ?
It’s perfectly feasible to create and perform electronic music without going near a sample. I’m not sure what your point is
Thanks for all your answers. Lot of ideas to try.
To clarify this I’m not into sample to keep them as there are. I really love my other samplers because I can very quickly make something drastically different from the input. In that regard the DTII is not that immediate (for me at least). I will never resell my DTII it’s a great machine but I miss for now the sparkle of creativity that I found with granular samplers.
I need to start sample them to process them further with the DTII
I thought I was disappointed with my DTII for a very long time.
But as I’ve slowly been organizing my sample collection, that’s changing.
And as I’ve been starting to make my own samples, that’s changing more.
DTII, for me anyway, takes a different kind of ‘prep-time’ than say, a subtractive synth. As a sampler, it’ll play whatever you put into it, and munge it all over the place.
But in the end I find that samples are just a sound source, like an oscillator on a subtractive synth, and once you’ve loaded the sources, you can play it like any other electronic instrument, but from a different starting point.
Without the sound sources, it’s just a little black box.
I do VERY much enjoy loading a sample of say, a vocal phrase, and playing with start/end times until I find the bit I want to use as a source, and then munging it from there. I can’t do that on my subtractive synths, and even on DNII I hit the ‘I don’t know FM programming’ wall which can slow me down to.
Pros and ‘Cons’ to everything. Practice and repetition really are the only ways around this.
I’m not a sample guy, and I don’t think there’s anyone on Earth who doubts my contributions to deep house/electronic music?
Who the fuck would say something like this?
never used a sample or even record stems in ableton ?
I’m not a sample guy.
Drum samples for sure. Everything else is synths and pianos and basses etc.
you’re seriously missing out 
he’s not a sample guy also:
Back to the OP, I think it’s pretty clear that samples are part of the workflow since really wonderful granular instruments like the Tempera are being used. So knowing that OP works with Tempera I think they go really deep on sample manipulation as also is the stated desire from the DT. And I think that creative places can be achieved through plocking as others said. Not knowing much of the Tempera workflow I don’t know if there is even a sequencer on it but Elektron of course famously has its sequencer. So maybe that is a way you can go deep not into sample editing via the machines per se but through the sequencer that the DT uniquely offers. Could even sample tempera output and plock manipulations, or the DT output.
I always think of samples as an instrument in themselves because I started my synth journey with granular so having a sample as the sound source is very intuitive. So while DT is not offering this work with samples through a synth engine per se you can turn to the sequencer for that depth.
i definitively think the DTII needs a granular engine tho, i keep on asking on the feature request.
I also want to add that as someone experienced in granular and who came to the DTII from the Octatrack I was really surprised that the DTII is so shallow in its sample manipulation options and the machines are so limited. I didn’t expect that given the renown of the line. So I relate actually to the disappointment. And can put in my 2cents that I became happier with the machine once I realized it’s actually pretty shallow with samples and that plocking / playing with other instruments / immediacy is what is on offer here, happy accidents, wonky beats, kind of like a giant Bastl Wave Bard with fine control over sequencing.
i really think the only limit is us here , sampling needs practice a lot , and therefore is usually overlooked or considered stealing or again lazy by some people.but it’s a synthesis technique like many others and a large part of electronic music history.
for example think single cycle waveforms