I hear you. I think a lot of this comes down to creative process, and we all look at possible tools with the idea of how they would or wouldn’t fit in with our own unique processes.
For many, including myself, the saying “limitations breed creativity” rings particularly true.
For instance, without the 127 sample slot limitation of a Rytm project (and probably a Digitakt project), sample chains would have been much less necessary and/or likely as a workaround.
Yet their existence opens up many unique creative opportunities. Combing an LFO on sample STRT with p-locked “SMP” sample position makes things much more interesting for those producing experimental/idm styles.
A single LFO per voice means relying on things like trigless trigs more for added modulation. The result sounds different than a 2nd LFO, and helps to define the sonic picture in a different way than a 2nd LFO would.
These are just two examples. I could go on with how dub reggae, hip hop, musique concrete, house, and acid jazz were all defined sonically according to the limitations the pioneers of those genres were working around.
My hope for the Digitakt is that it has limitations that are unique enough to inspire users to do new and interesting things.
