I’ll be honest- I didn’t get it either.
I suppose it was bad sarcasm, then? I dunno, I posted a thorough rant, re: the OP’s complaint, about three or four posts previous to it. It seemed like some people were making a big deal about the operator count (4 vs. 6, etc.), and that having only four (a, b1, b2 (?), and c) operators was severely limiting–in regards to sound shaping potential. After reading numerous posts about the nature of FM (PM?) synthesis, it became apparent that more operators doesn’t necessarily mean ‘better’ sound shaping ability, but that it was better in scenarios where one is trying to closely approximate the sound qualities of actual acoustic instruments (which isn’t necessarily what we’re going for) - and that for those sorts of applications (like recreating a natural, acoustic piano sound), having more operator functionality is a benefit.
It’s apparent (by watching the NAMM YouTube vids with Simon and Cenk) that the Digitone has been streamlined to make the FM synteesis-process less complicated and more streamlined, and thus, more fun to use… and that it is indeed possible to achieve juicy, satisfying sounds with a Digitone. I didn’t really hear much of the Tuss in the demos? but I’m a big fan of both Rushup Edge and the Confederation Trough ep (Fredugolon 6 is all-time)
Somebody remarked that Justin Bieber somehow acquired a Digitone - is there any truth to that? Anyway, apologies, I’ve barely slept over the last 96 hours… just a bit on edge. Wondering when Digitone is gonna hit the US distributors.
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I probably won’t get one, but I think it’s a nice sounding tool for making music that will have its place for some people and none for others.
Some may choose to do it all in Operator/FM8, and lug a computer to the gig - if they play live at all. Fine by me.
Others may choose to pack a DX7, external sequencer, external FX, MIDI cables, etc to a gig - if they play live. That’s also ok.
I definitely spend more time than I should hanging out on these forums, esp. on weekends when I should be making music. 
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I’m sure I’ll mess around with running my Roland TM-2 four track .wav drum module with the DN.
Should be a good pair with the 4 voices for 4 MIDI tracks, battery powered operation, 2 channel output (great for running the kick out separately, and back into the FX track).
I got a lot of mileage with this thing and the A4, and it does the job with OT MKII as well.
No CC# control, but it’s four more tracks of drums and loaded with Acidlab Drumatix one hits, I can see many electro tracks made with just it and the DN. Nord Drum 2 would be a great partner as well. I should have never sold mine.
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I’m way into slowing the BPM down to 120 and cranking the swing up to like 60 and making deeper house jams. Which means I’m into layering weird spooky sounds and the DN seems perfect for adding some strange tones underneath a DT beat. Especially with trig conditions!
Yay for house music right now. I still love Techno for ever and ever
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Edit: joke removed
Honestly, the modulation features per algorithm seem pretty complex, with the two synth pages–the extent of control you have over individual operator envelopes, tuning/ratios, wave-shaping (for the carrier and modulating frequencies), de-tuning and feedback functionality, and the X-Y blend / mix… combining those controls with the filter(s), effects, and the two assignable LFOs per track… it’s quite a bit to get your head around, and it stokes the imagination. I’ve never used a Yamaha DX, Volca FM, preenFM, or any software applications for FM synthesis… I’ve played around with a PM synthesis patch in SuperCollider, and attempted at crude phase modulation with the 0-coast (using the LFO) - the Digitone seems like a dream machine, in all honesty. As Cenk has been saying recently, “it’s the sound of my dream(s)” - it’s truly exciting, the anticipation is strong.
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The X/Y parameter has the most of my curiosity. How does that work? Does it effectively make it 2x 2-Operator synths?
I can’t wait to play around with it!
The X/Y outputs vary by algorithm, and you mix them. In some, they share much more cross influence than others. It doesn’t make it 2x2 operators, it really just varies and lets you decide the emphasis/blend. Extra fun can be had by modulating the ‘mix’ param with LFO or P-lock.
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Sound of one’s dreams indeed. I’m still getting some really rough stuff from it as I’m in this weird post-album funk. But I’ve been dreaming of Alaska and this whole ‘icy desolation’ concept - especially with the Modor NF-1m thrown in - seems to be speaking to me.
Further explorations in slow soundscapes. Sound directly out of Digitone, but includes Modor NF-1m sequenced (and processed) by Digitone. The kick punches through everything nicely.
So two tracks of Digitone flutey/sounscape sounds, one track Digitone kicks, one track MIDI sequencing Modor NF-1m (the really bright and sustained sounds, while Digitone’s sounds are more evolving).
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Getting my DN tonight 
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I’ve decided to get one as soon as the prices hit £600. I’m guessing that’ll be in about 6 months or so, hopefully sooner at Juno.
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Juno usually do the best price so definitely worth keeping an eye on them
Yep.
I can justify £600 as ‘basically £500’ whereas £699 feels like the best part of a grand.
Hopefully Juno will come through for me.
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Yep, Juno has amazing prices, I’m also keeping an eye on the DN price there. The A4 MK2 is 230 euros cheaper than anywhere else!
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Please guys, how the filters sound?
I’m looking thru the manual. so you can’t use the melodic scales when in live recording mode?
anyone know if that’s correct?
I hope I’m mistaken.
Don’t have a DN, but I assume it’s similar to the Digitakt.
I’m very impressed with the DT filter - it’s one of the best digital filters that I’ve ever heard.
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Melodic Scales and Chords can be used to input into the sequencer during live rec mode 
Its great!
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