Did you see anything noticeable on a spectrum analyzer?
cool. thanks
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Do any other companies that produce samplers (Akai, Emu, Ensoniq, Roland, Yamaha, etc.) hype the highs in their gear? It’s strange, I’ve never really heard of this before. Would love to hear from any Elektron representatives regarding this matter.
This is no exact science however. As soon as you D/A A/D your sample, of course some minor changes will occur.
A slightly better method would be to also record the ‘original’ sample from another computer into the audio interface as well. This would at the very least make sure the A/D conversion is accounted for.
I find this whole thread extremely interesting. I really like the sound of my DT, but have noticed it can sound kind of “tinny” in other people’s demos. I do notice I have been using the low pass filter often to cut the highs with snares/claps, but I also often appreciate the extra crispness with hi-hats at kicks.
Yeah, that’s kind of what I meant. It reminds me of the Akai MPC 500, which had its master EQ engaged as default. I’m not sure how I feel about that. Seems to be a bit more than just D/A conversion.
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I’m having no problem with the DT’s low-end whatsoever. As a matter of fact, I really like how focused and tight the bass can sound. The low-pass filter is excellent for shaping bass tones IMO.
Thank you man909, this is very interesting to read! Can you please also compare some realtime simultaneous sampling from external instruments with a wide dynamic range? Like from analog synth directly to you DAW and DT at the same time. I know it adds another conversation but it would be interesting as I’m mostly work on direct sampling.
I’m also fascinated by this topic but I’m not bothered this at all. There are plenty of ways how to colour the sound to your liking before DT, inside of DT and after the DT. I kind of wish that DT would be more ‘true’ to the incoming sound, but at the same time I also realise that every instrument that I own, acoustic or electronic, has it’s own character. Sometimes I love it, sometimes I hate it, but it never stops me making the music.
Actually, considering that the DT doesn’t have a master EQ, I prefer that the DT accentuates the high-end because it’s easier to filter out those frequencies than to add to them. I really hope the DT gets notch/peak filters someday to make controlling frequencies even easier.
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Yeah its nothing life changing, just wanted to make sure its not just my unit.
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I’ve been under the speculative impression that whatever the DT’s sound engine is doing, is the reason people like the sound of the DT so much… I also think it might be more than just eq…
If my theories are correct I see this as defining the sound of the instrument, in a good way, it has a character… It’s goin for mojo instead of transparency…
Edit: Refering to possible dsp enhancement and/or eq, not talking about this phase flip phenomenon…
I believe it’s already been addressed and acknowledged in the bug thread but it is a long thread to sort through
If you search the Digitakt category for “phase”, nothing about this comes up, besides this thread…
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I’m glad you took the time to do this. It’s great information.
My mentioning of it being in the bug thread was for the person who was wanting this problem to be acknowledged by elektron
Elektron should immediately release a quick OS update to fix this issue… and include additional filter types… and a master compressor… imo
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If one wanted a hardware effects box to do a similar thing to the audio out from Octatrack what would you use.
That compressor is kind of boring. I’d like to hear the compressor algorithm the creative minds at Elektron could whip up. Something like the one on the TE OP-1 would be sweet. It’d be fun to control the compressor parameters via CC as well.
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OP-1 Comp is magic!
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