[namnibor]

+1
It seems the brand new, released at NAMM '14, Elektron's 'RTHM' is aimed at direct competition with the DSI Tempest.
However, as I understand it, DSI finally implemented a sort of 'midi out' that's limited to only ONE channel, at the sacrifice of a voice/track. Both devices use samples. Elektron has limited their RTHM to permanently assigned analog drum sound and type per voice/track, and sample import is limited to only what they allow. They claim that these 'limitations' give the edge over Tempest.
I highly doubt Elektron will allow midi out to ONLY to sync with ONLY their other machines...again, Elektron claims limitations on their machines spawn creativity.
That's a crap-tastic way of being able to legally state, "Full MIDI SPEC/SUPPORT" on their descriptions to the unwary and keeps in-place Elektron's desire all along only to make unaware customers into 'fanboys' and get them to purchase their other machines in order to get midid out, for instance--but that still is mostly within a 'closed Elektron system'...it's one really weird and wonder how razor sharp the fine line of truth in advertising and legalities it straddles?!
At least DSI is quite clear and honest about: 1)no sample import, and 2)midi out is only one channel at sacrifice of a voice/track.
I realize that limitations can indeed spawn an atmosphere for focused creativity but midi being around 30 years now, it seems people are not exactly adhering to the so-called 'industry standard' set-up.

So, is the continual re-hash of the electronic drum machine an exercise in blatant capitalism? Could we also say same with Korg and their seemingly continual release of their Triton sound engine, which is entirely ROM sample based? Roland's "Fantom" sound engine? Both just introduced yet new series in what one could surmise as a 'dead horse' at NAMM this past week.

Maybe some things are indeed so good there's a reason they keep hanging around, just like those 808/909 samples.

Or...

Is it simply we humans that insist on NOT moving-on?