Agreed, it’s totally subjective. 
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^ Sure is, I love the OT dark reverb but a lot of people don’t seem to, the DT reverb is ok to me, the A4 reverb is probably my fave of the lot though. Aside from personal preferences it could also be attributed to things like input level and input and output filtering - at least on my part.
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Just let us OTers celebrate for a minute then we can get back to how some things are better on DT… 
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But the OT can offer 8 differently configured reverbs (or something else altogether) which is objectively more pro to be fair (though i’d welcome a sole superior send verb option for most scenarios instead of that 2nd fx block flexibility)
Either way the reverbs are meaningless to compare (one implicitly has more cpu/scope to be tastier) … it’s all part of a tradeoff coupled with better evolved algorithms
The dark verb is more than serviceable given there’s up to 8 to play with and the spring is a distinct fun option
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AdamJay Elektron device avatar mkIII ! 
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Im a fan of the OT reverbs. I am glad I have other options as well, but I never hesitate to use them in a track, they are quite good as sound design tools rather than just ambience generators.
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I hope the EFX on the OT are good. When I had the Digitakt, I was astounded as to how good the effects sounded as compared to my Toraiz and MPC Live.
I can’t express how happy this news makes me. Thank you Elektron, for this awesome gift! Keepin’ MK1 beastly!!
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Shipping end of October? Is it a guess or do you know?
I really like Filter, Delay, Comp, others are not the best, but with fx chaining, plocks/lfos/crossfader it can be REALLY interesting…
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Don’t know the Digitakt reverb, but I really like the Dark Reverb. I prefer the A4 reverb by far, but the dark reverb sounds really nice when using it’s low pass filter imo.
The comb filter is really interesting
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here is my question:
what are they doing w/ the crossfader while on the EDIT PAGE?
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Posing. if I had to guess.
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Slappin da bass, mon, clearly.
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Saw this wonderful news on a Facebook OT group and just finally getting over here to catch up. Super fantastic news
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I Love that movie, Man
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same as you would right now - it always drives between scene(s) (even if you’re in MIDI side of OT) so pulling up a slice page makes no difference - the slice page could be viewing a moving slice position modulated by a scene via cross-fader - there’s possibly more to this, but I don’t think it’s a subtle hint
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On another note,
I must admit I’ve got my mrk1 sounding pretty good lately…
With proper gain staging the thing souds fine. Even external monitoring of synths and Rytm is loud and clear, no noticable tone suck or anything…
I do recognize that its not the best sound quality in my studio, in my mind the high end is tamed and the imaging is pushed a bit to center, but it’s so negligable that nobody who comes over will ever know if I’m monitoring through the OT or not…
I even monitored the remastered Dark Side of the Moon through mixer direct the other day, so A/D and D/A, it sounded epic as it should…
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To be fair, if space was an issue and they were doing binary packing of the sequence data or had to worry about the size of the compiled binary itself, then it would have been a huge pain in the ass.
Also, there are almost always going to be some gotchas when dealing with a system that has a bunch of independent states. Like “oh, I forgot that if you change pattern in the frame before this event is processed, we don’t actually flush the probability variable and you get weird behaviour on the first event triggered on this track”.
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