just gotta say this gave me a nice laugh out loud chuckle 
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So if I am somebody who is not very methodical in their approach and favors intuitiveness more, will I get more out the cycles or is the DN still pretty user friendly?
I’d put it this way. You’ll be making pretty good tunes within a week tops with M:C and within a month or so with DN. But after six months, you’ll probably be making more or less the same tunes on M:C but DN can carry on giving you a huge range of tunes in many genres for years to come.
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I second this. Reason in particular can be a great highly versatile glitch playground. I plan on using it for background texture with songs made on the Cycles.
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I already have the most basic ableton, thinking about getting Operator as a bat since it is kind of similar to the digitone if I understand right
Seems to work the way you expect.
Maybe get a model samples and record some G2 samples to mess with?
No, the FM synthesis is the same FM synthesis as any other. You can lawyer the specs but at the end of the day I can make all the FM sounds I want to use the same as I did in software. Sometimes I layer two parts and that works really well.
I can tell 
But really, the gratification comes in having a tool to explore sound while writing music. That’s not a gimmick, that’s a durable good like a high end kitchen knife. And then later there is some gratitude that I can transfer all the tracks with overbridge.
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I just ordered the OT and have owned the M:C since launch. It was my first dive into elektron and maaan is it sick for what you described.
The tone machine is by far the best one, when I jam I end up using 2-4 of them including the kick and metal machine when I make techno (the kick is also really PHAT and I love it), maybe the chord machine if I want to make hip-hop and house.
My plan now is to use the M:C with 5 tone machines and 1 kick machine combined with the OT live sequencing my Volca NuBass and live sample my Pocket Operator Office which is sick for glitchy techno percussion.
Also i will use the OT for effects, mixing and mastering all the other machines so I can produce and play live without a DAW. Will also try to use MIDI LFO on the M:C from the OT but I have no idea how that will work yet.
I think the M:C is amazing stand alone and with the OT it will become even better. Of course like many have said before me you have to like the tonality of it, but if you learn the sweet spots of it and digg deep you can do so much more than what I have heard posted on the forums. It takes time to master like any other instrument.
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No, the OT is more than good for this. What is tricky is sequencing, say, 6 percussion voices in the G2 with two OT midi tracks and remembering which notes, CCs and lfos are mapped to which which voices. The ability to rename midi ccs, channels, even only 3 characters long, would be really, really useful. For live, I stick strictly to one synth, or drum voice per OT midi track.
I have recently have started with the OT midi side of things and messing with CC and all that. I can see how tracking all that stuff can be vexing in a live context. The G2 modular represents some sort of lost apex of patch programming, so I’m not saying that the digitone is more comprehensive in terms of sound design. But I think the sound manager in the Digitone could very well simplify your life and allow you to label and organize sounds on the same device that sequences them.
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Great video/sponsored content, but of course I meant: stand alone 
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Guessed as much, but reading your comment so soon after I saw that video I had to post it 
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Haha, well: the video sure was fun to watch. And maybe I’ll give the Freak a spin again, next weekend.
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Can you compare a $700 workstation to a $300 groovebox? That’s what they made the M:C to be, like:
1.) Affordable
2.) Simplified sound engine
3.) Easily approachable interface.
Grooveboxes have always tried to do everything and usually fall short, so they compensate with gimmicks & shortcuts to what they think you want. Like getting ready-made acid-squelch rave-up sounds without learning how they’re achieved. M:C avoids this, it gets me close to maybe the Machinedrum experience, or possibly what I imagine the Vermona DRM-1 would be like, 5 or 6 starting points with a set of parameters and limitless possibilities.
Plus its always been my experience, if your having trouble with limitations in any Swedish gear, just keep turning the knows. They always tuck some cute workarounds in there out of sight.
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