I suspect that most people who love the MPC swing, actually forget that usually, the sequences are played in, and that therefore, the velocities have an important impact on the overall feel. In fact, it’s possible to make a sequence groove JUST by changing velocities, and leaving its timing completely tight.
The trimming of samples also plays a major role, especially once you have a few sounds playing off each other. If your kick is really tightly trimmed, but your snare has a few milliseconds of silence before its attack, then you are, already, introducing “swing”.
Furthermore, and this is especially well known for the 808, when sounds play together, there is a certain “synergy” that creates combined transients. An 808 kick won’t sound the same on its own, and when played with a snare and cowbell (on an original 808 that is).
I imagine that the way the transients interact on an MPC may be very different than on the OT.
What I’m trying to get at is that swing is definitely not the only factor that made the MPC the groove monster that it is. It’s mostly due to the people playing it, and an infinite number of un - quantifiable variables.
As far as Elektron goes, they decidedly do not want us to use swing much. Their arps do not swing, which is absolutely ridiculous. That, in and of itself, make the OT a really dodgy machine if your music relies heavily on swing and arps.
Cheers !