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It keeps messing with me when he uses the up button along with the fader. Did I miss a function?
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He’s activating temp fill mode [Up]+[Page].
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Thanks. Seems very handy. Need to get in the habit of using fills.
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I’ve posted this elsewhere, but here is someone, well known, who doesnt mind the sound of the OT:
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+1. I’ve a SP16 too and it sounds amazing. It’s a a very very good piece of equipment.
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The FZ10m is definitely an underappreciated sampler. The sound on that was fantastic for a certain vibe. It’s hilarious how the RAM chips were about the size of a VHS cassette.
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It gets better when set to 24bit. AFAIR definitely no 32 bit floating point here. I think some FX would need post FX lowpass filtering, such as the bit crusher. Overall I love-hate the OT. Wrote about it somewhere else. 
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“muddy and unpleasant” - exact description of the sound i’m into 
but i just drag sound through the t-resonator and bam i loose all the high frequenzys - and though i know that, i still keep on doing that kind of stuff, instead of parallel processing etc
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Right. Same with studio monitors, studio headphones and mixing eq. We all use “flat” studio monitors with high range so we can hear as close to what is being created sonically without the monitors boosting any part of the frequency response (unless we tell it to do so). I have Yamaha HS monitors for this purpose, and a second set of older, even more flat (arguably) Audix monitors that I can switch between for the more raw sound to check on things, before finishing anything up with AU plugin tools in Logic. This reminds me of why I use RAW files in photography, so I have more power to tweak the photo when I bring it into photoshop than if I had the “punch” of a warmed up, saturated jpeg. Make sense? Not sure yet how this applies to OT, but is it possible that OT designers wanted a flat AD/DA converter for this reason?
You misinterpreted me from what I was saying. It was exactly meaning that it is not possible to judge over sound quality, because of a big “Loudness Contour” bubble…
My opinion about the OT sound quality is based on personal experience, thats all!
In retrospect quite funny now with Stimming’s own review 
It’s great that you feel validated.
It’s less great that you feel the need to bash others for not agreeing with you.
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Claudia Fritz has shown that virtuosos’ experience, feeling and hearing were blind when given a Stradivarius.
I would say the same for OT sound: first, there are so many stage to f** up your sound that you need to really know the machine (week, at least time stretch off and proper gain staging) to reach a transparent sound.
Secondly, experience and hearing should not be brought on the table if a violin virtuoso can’t recognize a Stradivarius in their hands. Bring us the numbers (including your parameters): that’s the only thing that can be judged objectively.
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I don’t care for being validated.
Elektron has a brilliant concept with the OT machine, to bad it’s failing on sound quality. Some people don’t hear that and this topic is about sound quality after all.
My point is that the OT can really be improved and because Elektron is the only one with this concept, it gives the impression that they are dozing off. In that respect I am disappointed with Elektron.
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Indeed.
It’s a useless discussion where one claims superiority over others. It’s amusing but a waste of time to try and explain that the problem might have been between the chair and Octatrack.
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Anyone willing to test the OT?
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Was thinking about creating a video yeah. But even if there’s a minor difference it won’t influence the quality of the music made with it. So why bother? if you can’t make proper music with OT it’s just not a good fit, and that’s fine. To blame it on sound quality is just funny.
I might create a video going over the gain staging and do’s and don’ts and maybe some sound comparisons with and without the filter, time stretching etc. Need to find the time for it first
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Time stretch is a major feature and you just telling to put it off… Proper gain staging, the Waldorf Quantum can be more complex internally and still got a lot of headroom. Of course we can also speak about under average internal fx of the OT.
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OT sounds like a OT sounds. It has absolutely character, that’s why people buy this machine and bring a lot of money to the table. Maybe it is not like in a 64BIT floating point environment with tons of headroom, for me it is diving back to the era of the 90s digital audio systems like akai / emu…
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