im more a fan of the articulation (mallet/blow/strum/bow) and combining a body with a transient that comes with physical modelling synthesis such as MI Elements
its true that toy was a good start, and we have a lot of similar powerful sound sculpting functionality in the dn2 already like the ability to have multiple layers with their own envelopes and filters and transients combined to make a more complex tone, then a comb filter for resonant Rings-style sound design. But i would also like to see them expand on this idea. a more fully fleshed out physical modelling machine would be very useful to me
i think even moreso for percussive patching. i was a drummer before i started making music with synths. and so i focus more on plucky and short snappy melodic elements. so marimba-like sounds, xylophone, vibraphone, tongue drums, kalimbas, all of those more unique melodic percussive sounds are very intriguing to me
i think that since the dn2 is heavily focused on drum synthesis, it would make sense to focus on extrapolating out into more creative percussive synthesis components. like shaping snappier sounds with exponentially curved lo pass gates, pinging a resonant body, layering partials like the korg volca drum does. similar to the way A4 has envelope types, maybe we could have an envelope switch that activates an ālpgā mode which is more percussive. somehow, more control over the dynamics i think would be the best upgrade. but i also like the idea of fleshing out a physical modelling engine altogether
Indeed. One can make the argument for use of comb filters machine to achieve this, but syn machines can also serve as starting points. It wouldnāt be the first case of ālayersā anyhow. We have a Swarm machine with itās own spread control and a unison spread that can be applied on top of that.
Exactly my point. The kind of timbre area I would like to be able to reach are in the string realm, but every aspect of such an upgrade would be interesting for my own approach.
i remember stimming talking about the nonlinear labs c15 physical modelling synth and he mentioned something like it uses many sine waves to form other sounds. i dont think its the same as fm synthesis where a mod sine modulates a carrier sine, but i always dreamt of an elektron machine that gave us many oscillators to meld and mutate between somehow
hh lab on the st/rytm is similar to what i imagined. 6 independent oscillators which can go from ultra low frequencies to extremely high
The modulator, A, is common to the 3 carriers, so at slow speeds it effectively becomes an LFO in pitch. Which isnāt useless, just a very different thing. On the other hand, algorithm 3 does allow using B1, B2, and C to waveshape A, and although B2 can only be a sine, tuning them close to 0 yields some nice chorus-like effects, which are nice for e.g. pads.
I thought about trying this, but Iām not sure how to go about creating a phase-modulated wavetable. Seems a grade or two above my patching ability.
More like 40 years, yeah? Algorithms 1-3 are straight from the TX81Z.
An FM (phase modulation) carrier at 0 Hz is functionally a waveshaper, though waveshapers often use more angular waveforms (or lookup tables). This can be used for distortion. Iāve had some fun with this in M8, where there are a ton of waveforms to choose from. Having both wavetable (HARM/harmonics) and feedback, along with all the Elektron modulation and sequencing facilities we know and love, could be really good fun.
A ratio of 0 for a carrier means that the carrier has a frequency of 0 Hz. Thatās understood.
I just donāt understand how modulating a 0 Hz carrier can produce sound.
Iām probably too cerebral. I donāt have access to the DNII at the moment so I cannot experiment.
It just applies the carrierās waveform as a function to the modulatorās output. For example, if the modulator was a perfectly scaled phasor (ramp up wave), and the carrier was a sine wave with no feedback set to 0Hz, its output would be a sine wave at the frequency of the modulator.
The carrier already has its own perfectly scaled phasor, which drives its waveform lookup to create the sound. The modulators upstream of it are simply added to the phasorās output, and this creates the timbral motion of what we know as FM. In other words, itās really phase modulation, not frequency modulation.
I was talking about my own experience of discovering FM a couple months before the Digitone came out, and learning to use it with DN almost exclusively.
Havenāt had access to that many synths dedicated to FM since.
That makes sense. Thanks a lot.
Iāve read in several places that the Frequency Modulation in the DX7 is actually a Phase Modulation. The sound result is similar but in terms of implementation and also understanding, Phase Modulation seems to be easier.
Some way to apply logarithmic keyfollow (instead of linear) to the LFO rate to allow using it as a musical sounding operator (or add a second āLFO speedā target to the keyfollow menu that plays in a musical way by matching LFO rate as a ratio of the key thatās played).
This is a request for both Digi boxes and syntakt. When sending one track only out via USB and then inputting it back into the box via USB, this can introduce a huge amount of latency (ie: running it thru FX on ipad). With the chance of us getting USB track streaming soon for ipad it would be nice to have a per track latency compensation (and microtiming nudge) page on the elektron when sending just one track via USB, the only solution Iām aware of as of now is to nudge the microtiming of every trigger on all tracks that are being sent to main only. Afaik latency compensation in the DAW canāt fix this because it would try to latency compensate all tracks on DN2 including the one being streamed via USB, so it would still be out of time. The problem arises from the audio outputs going to main being split from the one track being sent to USB. Adding a global track delay on the audio routing page would also work.
I was playing around with the Launchkey and one feature would be nice to have on the digitone,too!
Itās Chord Roll .
Now itās kinda working with a short arpeggiator .
But you are stuck with one Roll speed and pattern .
Entering with Function+Arp.
Features would be Roll Speed,Directions and Accents like the Velocity rises/falls or you can choose the velocity percentage per note rolled.
Hello ! Please Elektron can you give us a lush reverb algorythm for pads and others soundscapes ?
It will be a huge benefit for both Digitone 2 and Digitakt 2 !
Thanks a lot
