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i see the multi poly 
do you still have the virus? would love to see a comparison
I agree there. It is definitely subjective and dependent on source material. I have worked with the Digitakt since it first came out and never really noticed. Just took the reverb for granted. But when you compare it A4 and AR oh boy, there is a huge huge difference. Reverbs on those machines are a massive part of sound design in many ways. I mean it is a totally different league. I wonder though if a different reverb algo for DT could improve this.
So is it like this: ?
Reverb is the same on AR, DT (II), DN (II), ST. A4 is different, OT, MD and MM obviously too.
Thatâs how I undestand it!
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Thanks for doing the research. I always assumed that everything after OT shared the same reverb. Itâs only âslightlyâ different on A4 though.
The biggest differences might be due to some other options on the analogs (I think there are more options to send FX to FX, right?). Plus the different character of the sound/source material thatâs fed into the reverb.
I canât really speak on what the exact difference is, but I guess the flavor of reverb itself was meant. On the A4 you can send delay into reverb, but the reverb is last in lineâŚmeaning the reverb canât be sent into the other FX.
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anyone? 
Have you checked this thread? Maybe you can find your answer there 
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I think itâs gonna be straightforward. You open Transfer and just transfer your projects and/or samples to DT II. If you open them on your DT II, things should be just like they were on your DT. The only thing that can go wrong with DT from my experience is if you copy patterns between projects but the sample slots are different. But that wonât happen if you just transfer your whole projects. Is that what you were afraid of?
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Yes that what i am afraidâŚReally thanks for the answers⌠
Cant wait to get it now⌠
digitakt involved here
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Nice demo,
How do you connect both boxes? I donât see no cables around
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thanks! all thru overbridge
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I did a test. I routed the DT2 into the A4 and added A4âs reverb to a kick with high transient from the DT2. Then slowly introduced the same reverb on the DT2. Phasing occurred meaning they are exactly the same reverbs. I used the same reverb parameters obviously.
So whatâs the difference? There is clearly a difference as I mentioned before. The difference is on the A4 you are able to send a lot more of the source into the reverb. I mean a lot more. If I max out the reverb send level on the DT2 (value 127). And compare that to the A4 it would have a send level of 38 on the A4. If you go beyond the level 38 on the A4 thats where (IMHO) the magic starts. You can drive the source much harder into the reverb.
And thatâs where Iâm at right now with the DT2. I would love to be able to send a lot harder into the reverb. It feels totally capped currently. The reverb feels really tame and soft.
So, serious request @Elektron for increasing the send level into the reverb on DT2.
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If you were a Youtuber, you could sell that one as a shirt!
Could also be the first part of the title of a thesis on synth forum culture.
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Iâm definitely interested in hearing what Elektronâs official response would be to a support ticket on your findings, if you keep this up youâre going to be hokage one day.
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hard to believe itâs been over a year since elektron gave us DTII. where does the time go?
does anybody who has been rockin a DTII since day 1 have any âone year laterâ type observations?
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Iâm finally putting the finishing touches on a short liquid DnB set that Iâve really enjoyed making with DT2, will post that to the DT2 sounds thread soon.
My one year later review: Itâs the sampler thatâs a full-featured synth and sound design tool. For me the killer features that mean I canât go back to DT1:
Synth features: wavetable scanning is a standout feature, comb filters, chorus, macro controls (4 parameters), esp. keytrack, velocity mod; full-featured legato and portamento; the 3 lfos make complex modulation, like granular-style micro-envelopes, easy. While the wavetables are PPG-style non-smoothing, overall itâs an outstanding monophonic digital synth, and I have a utility pattern trick where Iâll keep the sound the same across all tracks, triggers set to keyboard notes, for tracking in chords to resample.
Sampler: stereo resampling, the preset pool for atmospheric sounds and synced swap-in drum breaks, are great.
The other quality-of-life improvements I like best are the 8-page sequencer, the LAST condition, and having separate banks of samples in a project. All together, itâs a very low-friction way to get very playful with sounds, expressive in playing them, detailed with sequencing. I use song mode, am very comfortable with it, and play in automations and sound pool sounds on top.
I donât miss the features people complain about not having, I feel like I know exactly what this does, and it does what I expect, very very well.
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Loved this; it really encapsulates the directional pull Iâm feeling in my own playing and recording and performing.