I also got the feeling there’s something going on in the sweet spot department of the Model: Samples. One of the gripes with the Digitakt is that while it’s capable of sounding amazing, it’s not hard to make it sound absolutely shit if you don’t know what you’re doing. For a gent like m’self, who don’t know all that much about dynamics and frequencies and stuff, but do have some skill in just writing a song, the Digitakt is often counter-productive. I didn’t have that experience with the Model: Samples. I put samples into it, they just sounded good together, and I could focus on the writing.
Realising I’m off topic now, I do think this romantic notion of taming instruments where making even basic stuff sound good is a bit silly. It’s the same with the Tempest. Just getting a pattern to sound balanced and punchy is a challenge, and as a consequence, being able to just helm an instrument into sounding okay before you even get to talk about the qualities of the song, is a required skill.
Roland got this right with their later stuff, as did Pioneer with the Toraiz. They got other struggles, but you don’t have to know all that much about the technicalities on a mix to get a mix to sound good. So if you’re primarily a song writer, you can focus on the song.