I would say the OP-1 has a noisier input stage but a punchier output, the DT is cleaner overall but I actually prefer the raw sampled sound of the OP-1 myself, not knocking the DT but the OP-1 is magic - I think most of the Elektron employees own one.
4 Likes
DT sorely needs a characterful compressor of the same caliber as the one found on the TE OP—1. I feel it adds so much of the magic mojo to that piece.
3 Likes
For the moment, I’ve settled on an OP-1. I have a few around me I can try before I buy. Gonna use it with my Sub37 first, and just see where that goes. And take it from there.
Thanks, all, for great advise and insight. If the world was much like Elektronauts, it wouldn’t just be worth fighting for, but a fine place as well. As Hemingway kind of said once.
3 Likes
OP1 is similar price to Akai MPC-Live. (100 euro difference) Get the MPC no question
https://www.thomann.de/intl/akai_mpc_live_b_stock.htm?ref=search_prv_8
But she’s not Rachel😊
1 Like
The 2 together is the most magical combo. DT is much cleaner though. But the op1 compressor is special sauce
2 Likes
My point was specific to recording things like arps/sequences that have been made on synths that have stereo field, mono is just fine. If I record something I allready like from a stereo device into the digitakt, 9 times out of 10 I will end up using it in an entirely different(generally destructive) way because with digitakt stereo applied it isnt as pleasing as the original. Pulling it apart and sticking it back together is the key but then you have something entirely different.
I see what you mean, but I wanted to clarify that DT doesn’t change the sound of the source when sampling, it simply does it in mono (I would much prefer it sampled in stereo by the way! ) 
Very interested to know your opinion how the Sub37 into OP1 sounds.
I did some quick recording tests, and found that Subsequent37 samples out of DT sounds great, but slightly distorted, compared to direct Subsequent37 recordings. (Although, they would probably sound the same at MP3 level.)
Would like to know how much better the OP is.
1 Like
Once I’ve tried it, I’ll let you know👍
I never got to do a side by side but when my friend brought over her OP-1 we did some sampling off some old roland gear of mine and it seemed like quality recordings pretty similar to the digitakts I have nows raw sound but really unless you plan on doing side to side comparisons either is going to be passable… So it probably should come down to the feature set you want most and keeping in mind with OP-1 I think has a limit of 6 seconds mono on samples? For me what made me decided and wait and get the digitakt over OP-1 was the meh resonant filter type stuff on the OP-1. OP-1 filter type FX are well very charming but also maybe not what I would want on all my music, I kind of feel that way about all the FX on the OP-1 they sound cool and charming and full of lofi character but if its my main box that might get tiresome. Digitakts filter just feels like what I want a filter to be along with all its other FX. Digitakt is also more usable as a mono synth because of it having a full featured high quality filter and multiple envelopes but OP-1 gets to shine with poly sample playback and all that. Knowing some of its limitations this soon could be you 
Side note does anyone know the actual sample rate of the OP-1? I tried to find it a while back and was met with basically that TE doesn’t like to give out raw numbers about there gear leaving the quality of the samples a bit of a mystery I assume it is very close if not the same as digitakt though.
1 Like
any sound, passed through a vintage sampler like 2000xl or s900 has very nice and soft character
1 Like
Regarding using the OP-1 as a recorder, the lack of a file system was ultimately a deal breaker for me.
Having to use a computer to manage projects/presets/samples undermined the portability of the device for my purposes and it ultimately got shown the door in favour of a Digitakt (which admittedly is a different device for a different purpose).
While the OP-1’s tape recorder is a wonderful thing deserving of all the praise it receives, the Digitakt’s ability to record, zoom, crop and save were at least what I needed. 
Also mini jacks mean adapters which may or may not be your thing.
I’m really just looking for a straight on recording solution, from where I can then just put the track together and finish it. I enjoy Elektron’s stuff, but there’s something to be said about a workflow where there’s no practical limit to how much you can tweak a sound or a recording. The OP-1, with its more tape-like structure, does mean it’s easier to just settle with the material and continue. It’s recorded. Deal with it and move on. Kind of.
I do think it would make me more focused on the composition and the piece itself, and less about all the crazy stuff I can do with loops and samples and parameter locks.
Having said that, I was offered a Digitakt yesterday at a stupid great price. It was tempting, and with no OP-1s around now, retail or secod hand (where I live, at least), someone just offered me cigarettes when I’d said I’d go for beer.
I passed, though.
For now.
I should mention that back in the days, I had a Yamaha MT8X and recorded two albums on it. So for me, the OP-1 is a small porta studio on steroids, that I can take with me anywhere.
The synths and one shot sampling options are great for additional production values, but the actual work as far as track structure, sound design and stuff goes, happens on the Sub37. The OP-1 is where I record and put it all together. And then, I spice it with whatever the OP-1 can offer in addition.
Whereas I was raised on a healthy diet of trackers. So very different workflows!
I’ll add that if the synth engines don’t agree with you, the value for money of the OP-1 as a tape recorder is questionable. But if it is workflow works, then that’s all that matters.
I’d be really interested in your impressions down the track, both in terms of sound and functionality.
1 Like
for me the big plus of the OP-1 as a tape recorder versus an actual tape recorder or digital multitrack recorder is the ability to jump around the tape so easily, cut n paste and bounce with elementary mixing. And that it is tiny and the battery lasts for ages.
However I’d love an OP-1 ‘tape functions only’ developed more down the multi-track recorder paradigm with the great screen, insert & send effects, more & better IO, more memory, better file handling and a midi track for sync.
the MPC live is just too much of a beast size and weightwise, and oddly, the ‘advanced’ feature of the touchscreen keeps my GAS focused on using my Ipad instead with a small controller or ultimately a laptop is more useful if I want the whole DAW experience I am trying to get away from in a dedicated device.
2 Likes
No, I like the synth engines of the OP-1. In fact, I think they sound great. I can see myself using them for lots of things. The core happens at the Moog, but the development happens in the OP-1. The synth engines, and the one shot sampler and all that, are very much a part of that.
So while it starts with something on the Moog that’s recorded into the OP-1, it doesn’t stop there.
The irony of the MPC Live I’ve tried it. I wanted to like it. God knows, I tried. But it just didn’t happen for me.
I love that idea of a super porta for the ages. The way you describe the OP-1’s flow, is exactly the reason why I’m going for it.
The thing that stands out most to me, in regards to my OP-1, is the fact that it peels away just about all the excuses, and leaves you naked and bathed in light, in front of your songwriting skills. Or lack thereof…
2 Likes