Useless Video IMO.
His ot was set up to sample and play samples at 16bit.
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The DT is mono and has a brighter sound than the source, that would not be an upgrade, OT is stereo and more transparent.
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I think OT sounds good. I grew up using 4 tracks, then was lucky enough to spend some time with a 16 track reel to reel, then I taught myself FL Studio (pre-YouTube), then came Logic, Live, PT, etc. After getting tired of using a DAW, I got into these modern boxes. My point is: If youāre making music, then it all sounds good to someone. Maybe it matters to some people and thatās totally fine, to each his own, but all these comparisons and tests seem like big wastes of music making time to me.
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Haha. If youād know sound design and mixing youād know and understand that your ears are lying most of the time. Someone who understands that can work with that fact and create a great sound no matter what. Itās an age old audiophile discussion where audiophiles even claim to hear the difference between power cables and that data showing otherwise is wrong.
Pleaseā¦
And then to call others subjectiveā¦
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I refer to subjective that one should not focus too much on other peopleās findings with a particular style or philosophy that one is engaged in. It is of special importance that one considers from their own experience!
So youāre saying we shouldnāt call each other novices and fanboys just because our experience is different? 
Anyway, itās one thing to not like a certain sound. Itās another thing to call others inferior for not thinking the same. Saying data is wrong etc. Itās the kind of toxic rhetroic that rubs me the wrong way. Iāll leave it at that 
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Totally agree.
It also depends on the situation if you are making music as a hobby or if you are releasing tracks and records out there.
If the latter well probably the point raised by Stimming does not have to be under estimated
Of all the instruments I have, the most important for me is having a good sounding converter with good sounding preamp.
It makes a huge difference when you listen at your final track/recording/piece of music.
Initially, a sampler has to be a neutral instrument for me. Of course everyone is free to think differently. However, about possibilities and creativity it does give an impression of how someone is using sampler. To be fair, most of the time itās a bit superficial and I respect that to some degree.
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do most sound designers use samplers a lot? if youāre designing sound packs, samples or presets, Iād think youād use synths. and assume your customers are purchasing for use with their samplers/synths. unless youāre just using the sampler to further sculpt sounds youāll sell as samplesā¦? if so, I get the complaint that you want it to be as neutral as possible. soā¦ use a computer where you can choose your sound quality piece by piece.
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Give me an example in context where the OT output is the source of a real problem. Put the theoreticals aside.
Tell me, when does the difference matter and why?
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Itās easy to see from this example how much more creative it could be by using these sounds in the OT instead of working on a DAW.
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The concept of the OT is very interesting and something else for a sampling instrument. Better audio converters is just one factor and there is a lot of talking about that.
So, letās get hypothetical and put better audio converters inside the OT and hey why not also the fx from the Digi series and Overbridge. Quite obvious that would be the OT mk3.
Well, if Elektron would go for this kind of upgraded OT we are still pretty far out. To make the OT into a next generation for sound quality the focus must be on the sample engine, sound processing and some nice contrast between low and high fidelity elements in the fx section.
The latest granular sampling techniques are a bit out of context for the OT. Itās good to limit the sound sculpting techniques vs a DAW system.
How much the difference matters here an example for a new āsample engineā based on the idea of morphing from the Hartmann Neuron.
Next example for the āsound processing partā with realtime manipulation of pitch, time, and formants.
Quite interesting that these 2 examples where long there before the OT was released. Imagine this with todays processing power as foundation inside the OT that would be major awesome!
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What is the sound quality we are after? Iāve imported real piano samples into the OT and when i play them back they sound practically the same. I need educating obviously.
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How can Elektron balance the size of the MKIII, with both UIs from the Neuron and the VP? With deep, deep menu diving, with 4 or more screens, with 4 crossfaders? Can the OTMKIII still made out of metal? Will it fit in a backpack? Heavier than the OTMKII? Cost? So many questions.
When compared using similar setting and samples they all sound pretty similar to me. But my ears have the tinnitus filter applied.
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Only the sample engine of the Neuron not the UI because morphing samples is a useful aspect to add. With the algorithmās of the VP9000 the 3 control knobs would be interesting to combine above the crossfader like a 3 part quick performance amount. There is still enough space to add these 3 knobs on the UI of the OT. Maybe even better to rearrange the UI like the AR with 8 encoders. Just some brainstorming about ergonomics is needed.
Just realize this is not a mk3 version of the OT its more like a reincarnation of a new OT for the next 10 years
Why bother calling it āOctatrackā then?
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Ah, Iām starting to see where youāre coming from here. Thanks for sharing. Very interesting stuff. Especially the Hartmann one.
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meanwhile, carlās over here filming on medium format.
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Has he given up on synths?