As a client of Perkons Warehouse, you’re gonna like the beats you make, I guarantee it.
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Sounds like you would absolutely love it. It is so immediate you really almost don’t need to think at all (as long as you remember what the modes and algorithms are).
looking to do some chiller and slower Mouse on Mars / Thom York / BoC ish shit with some subtler but still kind of glitchy percussions and live tweaking fills and flourishes.
Something about the sound of it has me thinking it will mix well with lots of guitar / synth layers.
Will report back with some noises for yall whenever I get it.
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Happy to see some other users that want to take the Perkons in this direction.
It’s perfect for this kind of thing. I haven’t had this much fun since I had (and stupidly sold) my Machinedrum.
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This thing is fantastic. So much fun to use. Early observations are that you need to crank the drive on every channel and the output is quite low unless you turn of the compressor (which is a bit noisy). But it’s raw, primitive and quick and easy to use.
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Yeah, perhaps they’ll eventually do a SYNTRX II style rebuild that gives more gainstaging options with the same expected headroom. But for now, it appears optimized for gonads-splatted-against-the-wall.
I’ll be trying this case out out my next deep dive, but curious how this works out (in managing dynamics) with their “it can also be a great drone synth!” framing.
Anybody been getting any interesting sounds using pedals on the individual send and returns?
I’ve got a voice running into a boss bass distortion and then a Volante, it makes for some amazing tape loop snippets you can then layer the triggered sound back over, which then gets all pumped by the master compressor.
This thing really is quite magic, the sounds it can produce are truly exceptional. And as @philroyjenkins is aiming for, it can do some damn fine subtler stuff too, really good thick kicks and snappy top end stuff without going all lazer apocalypse.
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Haha, laser apocalypse perfectly describes 95% of the demos I have watched on youtube.
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Snappy top end clicks and blips are exactly what I’m looking for. And tappy kicks with shorter decay. Seems more than doable.
Obviously I think we all have room in our hearts for laser apocalypse on certain occasions.
YES, I can understand how some people wouldn’t want this behavior but this makes it an amazing performance tool.
I’m still waiting on my Perkons. How does the trig mute work?
It doesn’t seem like they’ve added documentation for the new additions.
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If you mean muting and unmuting a single step it can’t be done. You can remove a step, but then any parameter locks you had on it are removed too and if you reactivate it it will be back at the default sound (unless you paste the parameter locked version back instead of just reactivating the step). There is a setting called trig mute, but all it does is let you mute the entire voice while playing the sequence without holding shift.
Oh ok, trig mute sounded more like the former. This makes sense though.
I’m pretty used to copying a trig, deleting it, and repasting it during a jam so this should be about the same.
You can also quick save the pattern (press pattern then rec) and just clear steps, fool about, and then reload the pattern instantly rather than at end of sequence by pressing shift before selecting the saved pattern slot - that allows for some further recovery than a single cleared step. The general work flow they have built for messing with then recovering patterns and kits is really good once you get the muscle memory in - I did spend the first stages just accidentally deleting or losing patterns though.
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I’ve seen a second hand Modor DR-2 pop up locally for a good price (about half the cost of a new Perkons) … does anybody have experience with both machines? The YouTube examples suggest Perkons sounds better, but the Modor is somewhat intriguing.
Sound is a personal preference. I would say the Perkins is a very fun and immediate workflow that has been designed for playing/performance. But you do have to like the sounds it makes.
Edit - I should add, to me it sounds fantastic.
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The modor seems a bit more focused on traditional drum machine sounds. And no analog filters or drive etc. I think @HotdogLothario has owned both though.
The DR-2 does have a tilt EQ and overdrive per-channel, just not analogue. 
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@HBIII is correct, the Modor is focused a bit more on traditional drum machine sounds, however, it’s still digital and thus is extremely versatile and can create a lot of percussion variation as well as some clangy industrial sounds. I would say the Pērkons is more performance oriented. The Modor is much, much deeper in sound design capabilities. Both are lovely.
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Where locally? 