Introducing Digitakt


You will still only hear it in its given position.
Stereo sample would be heard around parts of spectrum depending how wide would you set it up.

So in a sense yes, you are right. You can have artificial stereo output but it’s not real stereo till that single sound spreads across spectrum at each given time it sounds… ugh my English is not good enough to explain this in proper words haha.

The difference is that Heat is a stereo processor. One that you can use to a subtle degree. When you process mono sample that is set at center of PAN through heat, even at very small and hard to pick up distortion it will have two phases instead of one.
To me they are complimentary and fit possible “modular” approach of Elektron as some people are suggesting.
By no means necessary to have them both. I better state that clear haha


So is the reverb inside the DT. You can pan samples and add reverb, that means you can place them anywhere you want in the stereo field.


Not arguing here. Just trying to show the difference.
And to your previous post i totally agree.
Drums are pretty much always mixed in mono due to the fact that you will always hear them in same way no matter where you are.

I’m gonna stop now.
My DT is still not here and I’m actually happy now it is coming :).
And I will hunt the Heat second hand :smile: I think it sounds really good.


My point was without FX but with FX you get true spread.
The problem with reverb is that it saturates the spectrum a lot. Not a good idea to use it on everything.


All understood now. :smiley:

Hmm… Looking at prices, Digitakt + Analog Heat is about the same price as Analog Rytm.
Somehow I never thought of comparing such options until this stereo discussion.


Drums and also basses are also kept close to mono because of sound systems in clubs and such. Nobody cares that much about stereo in a club, you’ll miss half the song if you’re in the wrong spot :sweat_smile:

One of fav bands records their albums with 1 microphone in front of their guitar/bass amp and drums and just play a set and be done with it. And guess what, it sounds pretty good!


The reverb has a stereo setting where you can adjust how much it spreads out or stays in the center. At least that’s how it is on the OT.


It does but when you use a frequency meter/analizer you will still see that the sound is there even though at some point your ears don’t pick it up.
Problem with this is most of us hear things different which is why mono is great for situations where you are unable to precisely control audio spread. Simply some people would hear stuff and other will look at them and say WTF!? :smiley:
Hence drums and bass (as Joshua said in one of the above posts) have the unwritten rule of being mono. At least that way everybody will dance to the rhythm and hear them well :slight_smile:


Of course you shouldn’t drown everything in it. It’s all about good measure. But I wouldn’t mind using a little bit on everything. You can set the send level individually for each track to add a touch depending on how far you want to place that track in the back of the room.


Lesson 2:

Mid Side


But seriously. The OB capable M/S processing in Heat would be rather interesting on DT.


It is what it is! The input recordings are summed to mono. You still get reverb and ping pong delay and pan left and pan right so (I’m not an expert, I just make bleeps and bloops for fun) that to me = stereo.

I’ve been thinking a lot about “creative limitations” and once I latched on to that concept I started to hear other people talking about it too! So WITHIN the confines of the system you are working in, play, just play. Work around what is not straight forward. Use the machine as it is (hopefully yours is not crashing) and make it do as much as it possibly can and then push it a little further.

All this is easier said than done of course hehe :joy: but I’m about to go load up some vinyl samples and see if I can get to level 2 with this box!


Sorry, my response was super delayed, and it’s not really responding, I just wanted to cite a piece of trivia.

Alan Licht stated that the decline of western civilzation began with stereo separation. He’s a nutty guy, guitarman, writer ordinaire etc.

He went on, “mono is truer and more powerful sound replication than stereo … the sound is thicker and more focused … Multi-tracking diffuses the sound,” – I suppose that this is a commonly held understanding… the discussion here just reminded me of that bit about stereo separation.

the excerpt is from an emotional memoir of martha quinn , it’s an amusing book about music and pop culture.


That is an interesting statement! I learned recently that when you mix and master, to do it in MONO so that your ears don’t get tricked into thinking a sound is lower than it really is because of stereo separation. Anyone ever use that trick?


messing with waveforms and some factory synth noise.
running through analog heat.
a little more ambient than normal stuff i do.

the synth pad is on 2 channels to get a little more stereo width.


Me in clubs:


the lid, by the way, is VERY snug. and besides having it for the obvious surface dust, or “dont touch” message, the gaps between some of the keys are large enough to show the circuit board… which, i also dont want dust on…


What’s the best reasonable way to hook an op1 as midi slave to digitakt?
using my laptop as host would that work?
or an Iconnect mio2 would that do the job?
I wanna sequence the op1 synths on the DT. thanks :slight_smile:


I think both of those options would work. I have one suggestion too. I had an OP-1 for a long time, and mine used to get pretty noisy when running on midi sync over USB whether it was running from my laptop, iConnect or the Oplab. I bought a cheap USB noise filter which really helped to clean up the sound.

I don’t know if you have experienced / will experience this but a $5 noise filter can really help with MIDI sync on the OP-1


Noticed this too, think its for vent reasons.


Get an axoloti and use the patch for USB midi to din midi