It’s actually been quite a while since I sampled anything into my OT. I’ve just been playing with audio that’s already on the CF card - just doing what i’ve always done on the OT - find ways to make the original audio sound “worse” - in the subjective sense for some - not better.
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This thread is really making me miss the old OT now. We were together for five years. Then that pretty Blackbox showed up.
No worry, I am still lurking here. There is no need to delete my conclusions about this subject.
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It is more hifi, higher resolution sounding…difficult to describe…it’s like an upgrade in converters, something sounds better / more open / more spacious and clear, but I couldn’t tell you exactly what or why.
It’s not a coloured sound like with an MPC3000 or an MPC60 though. It’s quite prestine sounding actually.
But just to underline the hairsplitting we’re engaged in here, my wife can’t hear a difference between the OT and the SP16, so yeah 
Not to say that the difference would be meaningless to someone who cares (or can hear it), but my guess is, the OT’s sound quality is not what keeps anyone from making great sounding music with it. The lastest after mastering sound quality will definitely not be the limiting or even defining factor for music made with tbe OT (unless it’s deliberate of course).
Modern Akai MPCs & Force.
Apples and oranges, really. Both excel at different tasks.
I’ll live with a bit of barely-perceivable ‘congestion’ to have the OT’s magic.
After a brief DSD obsession, listening to audio files sampled at 5.6448 MHz, it’s hard to un-hear the subtleties in different audio equipment.
OT sounds amazing, considering what it can do to audio. Haven’t found a piece of hardware that can do what it does.
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Not trying to keep this thread alive but I find our conversation here to have an interesting contrast to what’s being discussed elsewhere on the forum wrt sampling quality:
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Hehe. I knew that would come up.
The other discussion with smkh was about the crunch and sizzle that’s missing in modern samplers. He mentioned that the Polyend Tracker has an option to disable antialiasing, which IMO sounds better when down-pitching samples, especially drums.
The FZ10m sounded great with drums, similar to how I preferred the A3000 for drums over the A5000, which has a more ‘refined’ sound quality, which is preferred for orchestral libraries.
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In 20 years it will be sought after for it’s classic octatrack old school sound 
5k on reverbV2.com
All jokes aside, when pitching, filtering and applying some of that weird reverb it can sound muddy and unpleasant quickly. I guess you need to work with it a bit.
There’s nothing wrong with the converters or anything.
At least the octatrack “has a sound”
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New MPC series may have 32 bit floating but somehow everything put into it sounds worse than the source without a lot of attention. Anything I’d put into it would lose its characteristics. What’s the fun in that? Lol.
Strange. That’s not my experience.
Maybe you forgot to disable the default auto-warp function.
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Nope, had it for over a year & a half. Must be personal preference i suppose. 
It doesn’t have a default auto-warp function. Just for audio tracks.
Never liked the warp function. Automatically was always at 20 bpm for me. The sampling on it was nice & convenient but getting any flavor to it was a hassle. I will miss it for pad flattening with effects though
I don’t understand your question then statement of not having a auto warp feature?
It has a warp feature for samples that corresponds to the BPM but that’s irrelevant to the sampling subject of which I brought up of sound quality.
I suppose so.
Unfortunately OT doesn’t float very much with its metal case.
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…this boat is sinking…
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I saw Elektron tossing Octatracks off the docks. Can confirm.
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Well, unless you load it up to the brink with clave & woodwind samples, then it just MIGHT float after all…
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