I'll try to answer your question, sorry if it doesn't satisfy you

No, it isn't true. The empire’s first printing house was established in 1493 in Istanbul by the Jewish brothers David and Samuel ben Nahmias for the Jewish community in Istanbul. The first book printed was a four-volume edition of the code of Jewish law in Hebrew. Other printing houses were then established in all the central Ottoman cities. Founded by non-Muslims, they printed books for the various Jewish and Christian communities in their respective languages. In the first decade of the 16th century, a copy of the Pentateuch was printed in Salonika by Don Yehuda Gedalya, a Jewish refugee from Portugal. Agbar Tibir, an Armenian from Tokat set up an Armenian printing press in the Church of Saint Nigogos in Istanbul in 1567. Nikodemos Metaxas, a Venetian subject and an Orthodox monk of Greek origin from the Ionian island of Kefalonia established Greek printing press in Istanbul in 1627 and so on.

However, while the sultans permitted other printing activity by non-Muslims for their communities, those same sultans expressly forbade Muslims to print books in Arabic letters. The community of the Muslim majority continued using manuscripts. Only in 1729 (so 18th rather than 19th century) was the first Muslim printing house opened by İbrahim Müteferrika. And even then he was only permitted to print books about sciences, warfare, and history, but was forbidden to publish on matters of religion. The various reasons behind the Ottoman reluctance to adopt this technology for the production and dissemination of Islamic texts are yet to be fully understood, but so far we can pinpoint some of the reason behind it

Opposition from the scribal community

Ottoman scribes and copyists were a privileged community with strong ties to the Porte, and the Ottoman reluctance to print had something to do with the possible economic threat that the technology of printing posed to the business of müstensihs (copyists), hattats (calligraphers) and müzehhips (illuminators). The Ottoman Empire was run by bureaucrats, an "army" of officials. It was a state of craftsmen and merchants that was run on documented bookkeeping. It was a society that consumed books, with many people making their living from the crafts of book publishing: manufacturing paper and ink, preparing writing implements, creating the writing itself, drawing illustrations, and bookbinding. According to the estimation of Luigi Marsigli, a visitor to the Empire in the late seventeenth century a staggering 80,000 workers were involved in the manuscript production in Istanbul alone. Additionally, The Ottoman Empire had developed an established system of writing that satisfied the needs of the bureaucracy, and introducing a new medium into this system predating the moveable type could be difficult. The output of the palace scribes was enormous, and there was little need for mass production of documents since each Ottoman ferman was issued in response to an individual request for permission. Printing would not have facilitated faster production as these were all unique and not multiple copies of the same document. Furthermore, Ottoman scribal practices encoded written texts in particular ways. Specialized techniques, characters and methods of writing and formal variations determined the communicative, cultural and political status of documents, and ensured their authenticity

Technological issues

There were significant technical difficulties related to Arabic, Persian and Ottoman Turkish calligraphy. Arabic, Persian, and Ottoman orthography posed real challenges for typesetters because of the rounded and connected letters. The letters also change shape depending on their location in the word (beginning, middle, or end), the preceding letter, and whether they are joined or not. This requires the addition of vowel and punctuation marks. The system of punctuation marks required for Arabic printing may add up to several hundred individual signs, which would require additional aides to position the fonts correctly for them to be joined together. There were Arabic printing houses in Europe, like Typographia Medicea in Rome. However, books published by European Arabic presses contained many errors and inadequacies, problems which would not fully be solved until the invention of lithography in 1796. For example the earliest Arabic printed text is Kitab Salat al-Sawa’i (Book of Hours) in 1514, possibly intended for the Arabic-speaking Christians in the Levant. Its type design was considered inelegant, and it was set in a clumsy, disjointed manner. The first Qur'an was also printed with Arabic typeface in Fano in 1537 or 1538. The edition suffers from numerous errors, such as misplaced diacritical marks, confusion of letters, grammatical and typing mistakes, and errors in points and vocalization. The book was a financial failure and such disregard for textual preservation of their holy book and the crudeness of the letterforms that were the product of careless punch-cutting must have made pious Muslims even more sceptical of the merits of printing, which relates directly to the next reason

Preference of Manuscripts by Muslims

There were many Arabic books printed in Europe for Islamic markets, but most of these become financial failures. The sales of printed books by Typographia Medicea in Istanbul, for instance, were lower than expected, despite the significant demand for manuscript copies of the same texts. The French orientalist Antoine Galland during his travels in the late 17th century said he came across printed books in the market. One could purchase Ibn Sīnā’s Canon, but no one wanted it, and like other printed books, it gathered dust on store shelves. Manuscript copies of the same works were easily and quickly sold, though for a higher price than that of the printed versions. This was because generally there was an aversion to printing in the Muslim community, due to both practical and social reasons. The Ottomans had maintained a connection between writing and authority and legitimacy, especially concerning religious texts. Books were not merely vessels transmitting knowledge and information, they were also prized possessions to showcase one’s wealth and intellectual sophistication. Additionally, perhaps Ottoman readers found it hard to come to terms with the "cheap and fast" aspect of the printing process. The press room of a printing house in the hand-press period was practically a sweatshop with several manual workers racing to ink the type, and to wash, press and dry the sheets up to twelve hours a day. This room would be a cramped place, with burning candles and boiling ink, and most importantly, a deafening noise from the machinery. A way different setting from the tranquil setting in which a pious scribe would duly copy the holy word of God. Muslim Ottomans might have opined that the chaotic space where the printing activity took place and the scale of commercial gains created by the business would have besmirched the sanctity and taken away from the spiritual merits of transcribing religious texts. The scribe, in Ottoman culture, was bound by a moral duty to copy the holy text correctly and beautifully, and the process itself was considered a spiritually elevating experience. Fear also arose that an unintentional error in a holy text could mislead the unlearned. Handwriting can always be corrected or a single manuscript destroyed, however, printed text, which by its very nature is issued in large numbers of copies, posed the danger of an irrevocably unfixable error.

Sources:

Science Among the Ottomans: The Cultural Creation and Exchange of Knowledge by Miri Shefer-Mossensohn

The Beginnings of Printing in the Ottoman Capital: Book Production and Circulation in Early Modern Istanbul by Nil Pektaş

Paper Before Print: The History and Impact of Paper in The Islamic World by Jonathan M. Bloom