How did you achieve that? ?
This sound like a fun experiment with the Models pads + A4
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Grey all day.
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The digitone has more a mk1 form faktor IMO (measures of the box). Only AR and A4 stick out (not even OT mk2). Do you mean UI/UX/Display etc?
I have the Digitone, A4/AR - I mean I want an A4 MkII form factor, that’s an FM synth. Extra LFOs, FX track, more buttons, etc.
DIigitone Keys is close with its individual outs and extra encoders, but I want the AR/A4 MkII experience
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Me too. And in grey (or some other colour with contrast between the case and the buttons).
a4. solo.
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Wait one more year
The tonwerk or whatever, will be a dt formfactor with a combination of a4 and dn I side 
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Lovely!
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Thanks! 
I have to try harder to get such perfect metallic tones, I really love yours!
Wouldn’t mind some tips 
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Scratching my head… it’s mostly some basic FM tricks played in upper registers. Might come up with some more detailed hinting if I find some time later.
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That’s where I’ll start for sure.
Another few hints:
- Understand basic FM techniques
- Modulate the FM intensity/depth with an envelope or fading LFO or one-shot
- Set OSC2 to silent and pitch up significantly higher than OSC1 (e.g. +24/+36). Then use LFO2 (fork mode) to modulate OSC1
- Try odd values/combinations for modulation speed/intensity
- Stepping through integer values (LFO depth) one by one also let’s you explore unexpected sonic territory
- Use all kinds of LFO waveform for modulation
- Start from a clean OSC waveform (there’s a few ways to achieve sine waves also)
- What sounds nice in low key breaks apart/glitches/aliases in higher regions often
Edit: Some FM Metal Sheets I posted a while ago somewhere else
Edit 2: It’s sometimes useful to have an idea of the sound you want to create. Think about the physics of metal objects and how they sound when being hit hard (metal to metal – lots of harmonics aka noise on the hit) or softly (cleaner tone, ringing, …). Then from initial impact to the tone (bell resonating long, deep and harmonically clean), metal sheets more dirty, rattling, broken … and so on. Analog FM being a bit unpredictable at times can still yield very nice results for the same reason.
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just curious - why bother pitching OSC2 up if it’s silent and you use the LFO for FM?
Because pitch tracking LFO2 follows the OSC2 (pitch tracking LFO1 tracks OSC1).
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ah ok, i did not know that
Apart from what @LyingDalai said there’s another reason why I’m doing that:
If you use LFO1 to pitch modulate OSC1 in pitch tracked mode, the tracked pitch kind of feeds back (because it tracks to a pitch that modulates itself). If you use LFO2 on OSC1 you have a more stable result, because the modulation source and target (or modulator/carrier) don’t influence each other.
Sounds a bit complicated… But just try it with the same settings of LFO1 first and then LFO2 on OSC1s pitch in comparison and hear the difference.
Edit: Visually proven here…
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Oh! Of course!
Hadn’t thought of this! Which explains why I find this noisy, failing to make clean metallic tones…
Totally makes sense!
Thank you @B_LD for opening my mind!!! 
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Excellent FM tips in those last few posts 
When making my last bunch of sounds, I was also trying to use the fork (FM) LFOs routed to other things, like filter modulation and PWM… it definitely sounds different than standard LFOs on most destinations.
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