I think TE could probably make a “KO Pro” sampler with higher sampling resolution and 5-10x more sampling time and charge around $30 more for it, and it would sell. But as others have said, it’s a deliberate design decision. The POs are gritty, scrappy, accessible little things you grab and make music with immediately. They’re inspired by those game watches in the 80s, and TE never wants to make the mistake of taking the idea too seriously and losing the small core focus of the POs (but that doesn’t mean you should underestimate them). The design philosophy is all about one-function-one-PO, and each with a very small, readily grasped and tweakable, but very useful and potentially deep set of functions, all focused around making music quickly and easily. If you had endless sampling time you might spend more time building up a sample library than you did having fun with the PO-33. If you had higher sampling rates then there would be lots of sounds that don’t sound inspiring, because there’s nothing inherently musical happening in them, whereas with the 8-bit sampling, your samples are instantly transformed into something with a bit of grit and character right out of the gate. Even recording traffic on a street sounds kinda cool and usable in your productions once there’s that sweet bit reduction. Could there be a bit reduction parameter? Sure, but TE already had to make a design decision about how many parameter pages to allow (tone, filter, and trim), and I trust that they arrived at that small but useful set of parameters because adding more felt like menu diving, which was the anthesis of the fun pocket operator experience they envisioned. I admire TE as a company that thinks very carefully about the end experience they want to provide, and never departs from that experience in any aspect of their designs. It’s something Apple used to pride itself on back when Steve Jobs was running a tighter ship.