I’m not interested in the personal case of “Dan” or whoever is in charge or wether he’s doing the best he can. I blame Akaï as an organization, not a single person.
Fair enough. I personally think your view and expectations are a bit on the naive side, but if you think that’s how big businesses handle their CS in 2018, who am I to argue.
As a customer, I expect to be cheated out of my money and treated like dirt… and if the opposite happens, I am pleasantly surprised. Maybe I’m the cynic here? Although I like to think its ”realism”… PS did I mention I work partly in CS too lol
Well, I prefer to remain naive then
oh, btw, I’m a developer for a living so… And thank whatever god, my company is small enough that bureaucracy is kept at minimum. I even get to talk directly to customers, can you believe that ?
U a lucky one then!
isn’t it an Octatrack ?
I think it’s more a case that synthesizers have been around for no time and the guitar as it’s known has been around for like 500 years(?). String instruments have been around long enough to form the shape of music as we know it, synthesizers have had nowhere near the time to have the same impact but they’re closing the gap pretty quickly. I would definitely argue there is significantly more potential sound in a synth than a guitar, by a long long way. Even with 64 steps. Opinion not a fact though, illl report back once I’ve made all the sounds
I just want to say that if you feel “done” with Elektron, but haven’t tried the Digitone yet, try it first before totally being done. I felt done after the RYTM MKI, but the Digitakt brought me back. I like the Digitakt a lot, but I don’t love it the way I love the Digitone.
Every time I play with the Digitone, I feel so happy. There’s something very magical and exceptional about its design. Disregarding whatever synthesis “methods” it is categorized as using, and just judging it on the sounds it produces, it is extremely capable of such a dynamic range of amazing sounds (many outside of typical Yamaha FM) that are so easy to dial in (relative to how tedious tweaking the complex interactions of FM often is), that you forget it is an “FM” synth.
It feels very empowering to be able to design such interesting/unique sounds so easily, and it is so fun to do. This is the Elektron I need, and can’t do without. I’ve been so eager to play with it every chance I get; what more could I ask for?
@prints It’s great that you’re enjoying the digitone, I love hearing that people are enjoying a particular piece a lot but if someone says they’re done with elektron and they’ve got their reasons I don’t think the answer is gonna be to buy more elektron stuff. You vote with your wallet and if people don’t support the direction elektron is taking buying more stuff only supports them to keep doing what they’re doing wrong yknow?
Just wanted to express a bit about how I feel the Digitone transcends what I had previously come to expect from Elektron over the last several years since the MM.
And 2 inputs are xlr/trs combo
Over the years I got various elektron boxes (MD, AR, AK) and I never could really integrate them with my work within ableton Live easily, it was always a struggle.
I would have loved to have a full OTB set up but I don’t have neither the money or psace for the amount of stuff I would like.
SO while in paper Elektron stuff was awesome to me, I never used it that much and it was hard. I tried to use them standalone but I like music with harmony and melody and a single elektron box wasn’t enough, or too much as I felt I wasn’t using them to their full potential.
SO I finally gave up on elektron instruments and I went with more simple and hands on gear (system8) and all the complex sequencing and automation I prefer to do it in a DAW, but interested in stuff like Heat in the near future.
Well I’m not talking about “potential sound” - I’m talking about “potential music”
If I’m not mistaken music is made of sound
what is and what isn’t music to you is not really something i care to debate.
I’m not debating it, music is made of sound though
Why are you reading it?
at its most base level. the sound of a fan whirring is music to a postmodernist. music anyone cares about in any substantial way is made up of far, far more than than just sound.
apparently he replaced it with a mpc live.