He used to use 2 for his live set!
Review gave me the vibe of a kid who is so excited about it that he keeps skipping over to another subject.
Also he has shown you don’t need to understand every facet of the OT to have a good crack a making decent sounds with it.
i think this review shows that you can use the octatrack in a very specific way in your workflow that works for you without understanding the whole thing completely.
especially if you have lot’s of other gear and no need for all of it’s functions.
maybe it doesn’t make the best review or overview…
but it makes me feel a lot better about my limited octatrack knowledge if even stimming doesn’t understand the thing as a whole.
see you next time for another episode of “octatrack smugclub”(we understand parts, kinda) 
I don´t think it matters so much, in my case I only want a mastering chain to glue everything together (I have the kick and the reverb outside of the OT) and louder.
In my opinion, the market for a device at this price point is extremely small. Basically, it would be for folks who are in a similar position as he is. That is, touring electronic music performers who play gigs in venues where it’s worth spending that much for the last 5% of audio quality. As I type that, it makes even less sense.
In a studio, one could spend that much on a full featured 500-series lunchbox, or grab the SSL Fusion, or something from Tegeler, Louder Than Liftoff, etc. That’s not to say it’s not a cool idea, but I wouldn’t be able to justify getting one. I’d rather just make music and run it all through the Heat that I already have.
Well said! BTW I do not own an Octatrack, I did buy one and sent it back because it is too overwhelming but one day…!
Me tooo please!!
AH for the win y’all!
yeah this stuff is all relative. I’m still listening to “Music Has The Right To Children” with joy and I’m pretty sure the converter technology in their Akai samplers was already over a decade old when they made it, let alone now.
in a decade, SP1200’s will be $40 million and everyone will lust for the “lo fi crunchiness of the Octatrack timestretch algorithms” or something…
Now theres a thought. I wonder if the Octatrack can be run through the Isla S2400 classic resampled engine.
Wait wat
If you have a MK2, try it.
If not, you’ll just have to trust me.
Stimming said he created his new mastering box because the Octatrack sounded shit. This makes no sense. Why would you go to the trouble to make design manufacture a new device because of one piece of gear???
I think in the Superbooth 2020 presentation video of the box he said that he “needed” the device to keep the level of the signal going out of his hardware-only set under control. Makes more sense to me…
Edit: link to the video (cf. passage at 30s):
https://www.youtube.com/watch?v=oBtrgvrRmrk&feature=youtu.be
But surely there’s gear that can do this already?
His box has an SSL style compressor with transformers…
Warm Audio’s Bus Compressor has those features alone.
It also has a Korg Nutube though. Tough to say what that’s adding, hearing it would depend on how hard the transformers are hit, and other gain stage circumstances.
There’s also a 2 band eq in there.
Anyway, Analog Heat works pretty good for all the same reasons.
Just part of the playbook to hype up one’s new product for the marketplace
The good thing is that many people uses the OT very different. Those who (pretend) to understand every single bit of that machine probably don’t do much music 
that’s why I sold mine after 2 months.
As you can see Stimming loves the machine (and Elektron stuff in general). Think you could call him a fanboy.
If you wanna see a perfect review with every little detail then you have Loopop and some others. But I rarely hear someone making beats or sounds on the fly, it’s more or less mostly presenting all the functions in a very professional way. Plus I rarely hear someone saying something negative like Stimming does as most are probably „pimped“ by the companies and are professional YouTubers with a (nice) income. If this is your business of course you do it different than a passionate musician who buys the gear himself.
All Stimming reviews are of course subjective and based on his studio and live experience and are his very own opinions otherwise it wouldn’t be him.
Some agree, some not
Audio files have to be in the set to be loaded.
You can’t load files from another set.
To keep flogging the unkillable horse aka OT sound quality, if you look at the specs of the CS42432-CMZ it looks more than adequate, these data sheets don’t lie. Also sound quality is much more than just about the ADC/DAC anyway, it is also about the DSP and algos, analog input and output stages, power supply, cabling, etc etc.
But by far the easiest way to tell is to set up the OT properly, sample a reference source then compare using your ears. Problem is some people don’t know how to set it up properly.
Note also that even though Stimming complains of sound quality he uses 2 of them in his liveset, and the video title is “modern classics”.
never read a single comment where someone was claiming to know every bit.
It‘s rather consensus that there will always be something new to discover and that most people use just small sections of the whole featureset