No, apparently there’s a slight difference:
OT: CS42432-CMZ
Sapphire LE: CS42432-DMZ
Really depends on how you intend to use the Heat, as there are many ways and colors.
For my Heat’s clean boost mastering enhancement that I treat my OT with, I can get close with Lindell80, Fielding Reviver, and Ableton Compressor (side chain trigger acting as envelope follower).
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I think you are right with the price… he is not Behringer / can produce cheap low quantities
Regarding the “old converters”, I’m fine with anything newer than the “old converters” used by the likes of Phil Collins, Peter Gabriel, etc in the 90s.
Or, in other words, everything available today. Every tool is a weapon if you hold it right. Focus on composition instead of the dynamic range of your DACs and your music will thank you.
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I enjoyed his music before I knew he was a person. Nice crisp minimal grooves.
His newer more experimental stuff is fully lush.
That would be great Pete!
Now I use a very basic mastering chain and never know if I’m setting it right or not (Pro Q3 + glue compressor + saturator + Pro L2).
Mainly I want it to be an enhancer for very different “tracks” in a live environment.
Thanks Adam, I’ll have to check that plugins out, I didn’t know about them.
The OT sounds amazing, the problem is that the “just gain stage it properly” answer is not quite that simple. There are many places in the OT to adjust the audio signal and it is not always clear which path to take. I feel as though I have finally gotten there in terms of getting a dense mix out of the OT that is clear, dynamic and hi-fi. It took around 5 years of practicing with the damn thing though…
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True - cheaper /worse
I sent him an email last year (in April) and he responded that the device (in the form presented in the 2020 Superbooth video) would be in the 2500 euro range. In a follow-up exchange he then indicated that they moved back to an all-analog interface (1 knob per function), which would make it less pricey.
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I thought about a Heat but I have so much latency in my current “live” setup and having to take the audio out and in again is something I’d prefer not to.
OMG, not for everyone for sure.
As a new OT owner, I was surprised by his comments about sound quality, since I hadn’t seen that in other videos (e.g. loop EZbot, etc.). It had never occurred to me to use the OT as the final stage of any sound I’d be producing. But that’s because I plan to use it, like all other stuff I own, in my little home studio, not on stage. Do his comments matter if you are going to run your main OT outs into your computer for DAW processing?
Oh come on, not again, no need to be calling people novices, especially when many of the commenters are anything but novices 
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I feel the same way.
They thought of everything with the OT.
I often start off thoughts with, “I wonder if I can do [X] with the OT” and finish them with “oh yeah, of course I can.”
I don’t know who Stimming is, but he certainly got his clicks today.
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lol
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Ok, I just say thanks then. Flattering 
I don’t know, if you watch him talking about the Octatrack you can feel his love for it, it’s a shame that one comment about sound quality is what people are talking about now. Maybe it should not be taken too serious. Or even worse offended.
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DAMN! The sound quality!?
People made sick shit with the Casio-1, AKAI S1000 (in which people say the degraded sound is good)…
It’s the track not the gear. If you’re using sound quality as an excuse…the track sucks.
OT = 
Adding: perhaps try to not look at it as ‘sound quality’ and more as ‘character’
Its the OT sound everyone will be after one day. When it’s out of production and ‘vintage’ at $4000
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