Hi,
I’m quite new here, and to Elektron world. I love the Elektron workflow.
Been using Digitakt2 now for about a month and it’s really lovely.
Working on finishing a first proper song now.
I am relatively new to music theory (just 8 months or so),
but I do love the hobby and want to expand more later.
So… considering buying another device to make sounds to record into DT2.
I think A4Mk2 is one of the best options of dozens of synths, grooveboxes etc.
that I have seen, watched on yt, and read reviews of.
Another option is Novation Peak.
If you do know A4Mk2, I wonder if there are any alternatives, but kinda similar?
Lots of cool synths that cost over 2000 but I’m a student so like wow nope.
I have a decent 61-keys usb-keyboard,
so a synth module is probably the best way to go, no need for keyboard anymore.
The Roland Jupiters and bunch of others just sound … generic? uninteresting?
The Analog Four seems like one could really create interesting sounds,
but it does have its limits. And I’m just a wee slightly worried,
how hard it is to learn. DT2 has been fun to learn but its got a lot
of tutorials to help out.
Any comments appreciated.
Sorry for a newbie post.
Cheers,
In my opinion, the main thing to learn with the A4 is subtractive synthesis. The A4 is four very well featured monophonic (ish) analog subtractive synths, plus controls for sequencing, assinging the four synths for polyphonic duty, FX and more. If you can wrap your head round a Digitakt, and around synthesis, you’ll be fine with the A4.
Well, i think the Peak sounds better than the A4, but A4 is more hmmm agressive and can do lots of gnarly techno stuff, that is why i love him. I have two of them.
I often come back to it, but it needs a bit more work than the peak. The peak is also a very good choice, because it has lots of controls
I just say, dosent matter which synth: spend a year on any new synth befor buying the next thing, or better stay with one synth and support it with vst. (serum /pigments) Many search for a specific sound, when its mostly knowlege you need.
Context: I have an A4mk1 and a Peak. No A4mk2, so fwiw.
You asked about the Peak. It will do a lot and like @Sternenlicht said, it has many controls for the basic subtractive synth functions (oscs, filter, fx, first 2 envelopes, first 2 LFOs). Part of how many people learned synthesis is to just start fooling with the knobs and see what happens.
Peak also should be controlled nicely from the DT2’s MIDI tracks … I’ve seen it done with a DT1 (see videos below, not mine).
Only drawback of the Peak is that it only plays one timbre at a time—you can’t assign 6 voices to a pad timbre and 2 voices to a bass. A4 has only 4 total voices but can assign them to 4 timbres at once.
Of course this isn’t a problem unless you want all your tracks to play at once without a computer. If you’re DAWless, then you might eventually want some kind of analog monosynth to complete the setup.
I always liked Ehsan Gelsi’s stuff with this kind of setup:
Edit - Afterthought: Another alternative might be a Sequential Rev2 module, 8 voice or 16 voice. I never owned one, didn’t like the sound of that series when I heard them … but I always thought the sort of midrange-heavy sound of the Rev2 was similar to the A4 mk1, dunno about mk2.
When you sample, the limit of the peak istnt that bad, creating lots of samples you can reuse is probably most efficient, you dont have so many arms anyway. A4 is doable because of macros, but avoid that trap need to have all voices to be alive and tweakable. Render/sample and forward is the way to go if you want to finish tracks.
The Rev2 is excellent. I picked it over a Peak but don’t have a strong reason why. It was a close decision. The Rev2 is indeed a bit aggressive and mid-forward. With some work it can get swampy, or pillowy, in ways I struggle to replicate on the A4. The Rev2 is so easy to use, has great depth of sound design options. I had the keyboard version and feel it made an excellent performance instrument. I have mild regrets about selling it. It’s the only synth I’ve sold that I think about buying again.
But in contrast, the A4 sounds more brittle and “computer-y” by default. It can get wilder and stranger more easily. It can do soft and gentle tones but I find you need great self restraint not to start adding sync or modulations that take it weird. It has more LFOs but fewer envelopes per voice than the Rev2. The A4 sequencer is much more powerful whilst also being easier to use. It’s not as immediately “nice” or “wow” as the Rev2, but I find it much more useful. It can even be used as an FX processor for external signals, and as such would be an excellent companion for a sampler. It’s in my top two favorite bits of kit.
Thank you, Octagonist.
Subtractive synthesis is what I spent last spring learning (Reaper + Vital VST+ a nice little subtractive synthesis course).
So this sounds a point for A4 then
I bookmarked Syntorial for later, but that thread seems more like my league indeed.
Sternenlicht, gnarly is a point for A4 as well… thanks, love the word
Yeah I do want to go DAWless (and broke while doing so lol)
Peak seems excellent choice, but possibly not for
“I want a computer involved only in file transfers” - setups.
percussionboy, thank you for a great overview!
Sequential’s module of Prophet REV2-8 seems interesting,
I’ll check some videos on REV2-8.
Anything higher tier from that is definitely Nope, as even this is a bit further than I feel comfortable.
I love sampling old vinyl on DT2, this takes care of all my sampling needs.
… yeah “great self restraint” sounds like a nice challenge. I already made
rookie mistakes on my first song, so many that I don’t even want to finish that one.
It got way too odd and too unlistenable. I learned from that some restraint
Yeah… I suppose skills and attitude is what are more important than the synth in the end. These seem all great choices. Maybe I’ll just stay with Elektron family for now and get that A4… I’ll manage that earlier than a pricier Sequential (which I’ll probably end up getting when I’m older lol)… And Peak may not be enough in the long run (for me at least).
I would not get a second unit with a sequencer, you already have DT with 16 tracks to sequence with and 8 bars. What i’d get is a true poly too unlike A4. I suggest Pro-800 or if you want to spend more then Rev2 is indeed great. TEO module too.
I loved having the A4 (sold it a while back) but I wouldn’t recommend it if you’re kind of new to Elektron and are already using a DT2. For me, having more than one Elektron seq is overkill with these new 16-track digis.
I made lots of cool sounds on the A4 but that’s all I really did. I didnt write much music, as I ended up endlessly tweaking stuff (fun if that’s all you want…?). On the flipside, I wrote much more music with just the DT and the Bass Station 2 because it was such an immediate combo.
So I’d get a nice polysynth (Peak etc) and sequence it/sample it/multitrack it/mangle it on the DT2.
I’m the opposite. For me, the “dedicated polysynth” was the route to endless noodling, whereass the A4 in combination with the Rytm has given me a really productive setup. I’m fine with two Elektron sequencers. I almost always have them sync’d so Pattern B3 on one plays with B3 on the other, and I only have to “play” one sequencer when performing/recording.
I’m not trying to devalue your experience. We’re all different, with our own favorite/most ergonomic setups. What works for me wont work for you and may or may not work for @NoodleSoup .
As someone who owns no elektrons atm, one thing I wondered was whether you get a sense of immediacy with 2 boxes. I’ve considered diving into elektron land and one of the things I’m weighing up is the fluency of the 2 boxes hooking up and the Elektron sequencers talking to each other vs using that with another device with either no sequencer or a different sequencing approach. I tried this with the Circuits and it was quite handy to translate knowledge from one to the other (and literally in terms of matching scenes in songs etc…)
In my case, two Elektrons makes for a comfy and productive setup. As I said earlier, I particularly like the A4+Rytm conbo. The matching workflows (in terms of UI, Kit structure, sequencer modes etc) makes for a fairly smooth experience. I imagine people using multiple Digis feel similarly.
A4MKII is an amazing synth. I would even go so far as to say that you’re wrong to say “it has its limits” because it’s a pretty deep and powerful synth. It’s limited in the number of voices of course but there’s a huge range of potential for what you can do with it.
If you’re going to use it synced together with the DT2 using both sequencers, it’s a great choice. But if you’re just planning on sampling individual sounds, it would probably make more sense to get a simpler knob per function monosynth.
A more traditional polysynth like some are recommending wouldn’t give you the flexibility that the A4 has to mix and match between 4 part mono and 4 voice poly. You could do stuff like record a bassline on the A4 sequencer, then an arp part on track 2 and a lead line on track 3. Then say you want to add some chord stabs, stop the sequencer and chose a poly sound for track 4 and sample that into the DT. Best of both worlds really.
A4 mk2 is an amazing synth.
It needs patience and exploration to make it shine, though.
Peak or Rev2 are more immediate.
I sold the Peak and now have both the Rev2 and A4 mk2.
I would recommend the Rev2 as a first synth: it’s the most straightforward of the 3 and as immediately rewarding as deep. Plus it’s bitimbral, which goes pretty well with the DTII.
Now if you got such money, maybe consider the DNII: it’s IMO one of the best Elektron.
If you have little money, nothing wrong with starting small with e.g. the Roland S-1, very capable and good sounding cheap synth I still use regularly.
agree that a4 is amazing and stupid deep. posted this elsewhere, but i got my a4 mk1 for $400 and i really can’t believe how much you get for that. really one of the best synth deals i can imagine.
rev2 was my first hardware synth years ago and i really didn’t like the filters. it’s powerful for sound design, but make sure it’s the flavor you’re looking for. same with p6 for me. definitely wouldn’t be my first choice for synths over $1k (ob-6 desktop though…. chefs kiss with that filter)
dsi evolver desktop is also stupid powerful (can find them for ~$500). for me, it oozes detroit techno and can get really dirty/nasty. had a go at one a few weeks ago and i was blown away. a4 + evolver would keep me happy for life.
I find the A4 very musical and it has lots of cool features that aren’t very common on other synths.
For example on a lot of synths you can use either the arp or the sequencer but not both. And the arp is often before the sequencer so you can record the arp into the sequence. On the A4 the arp is after the sequencer so can record a sequence but then continue to tweak the arp settings live to create some variations. I think DT might be the same way? Unfortunately you can’t p-lock those arp settings though.
Similarly on a lot of synths the scale modes just affect the keyboard itself. On the A4 scale comes after the arp and the transposition. So you can transpose and tweak arp settings in real time and everything stays in key. Not sure if DT is the same. Very musical and very playable imo and you can also of course copy and paste a pattern and make these variations to build different sections.
Direct Jump is something I’ve barely scratched the surface of but is very cool. When you change patterns it changes immediately and the next pattern continues from whatever the current step was. What this means is that you can copy and paste your pattern a few times, make some musical variations, and then directly jump between those variations. It’s much more performative, musical and fluid imo than setting up trig conditions or using fill. I don’t think DT has this does it?
Or since kits are tied to patterns you can copy and paste your pattern and kit and make sonic variations instead so that direct jump changes up the whole sound and works almost like the OT or AR scenes. Of course you can do both pattern and kit variations and really mix things up.
I have an original A4. They are a fantastic deal at the used prices you see. The biggest drawback is the crappy old screen, but if you can deal with it you can can dial in some stellar bass and lead tones with little effort (I think it works better in mono mode rather than stacking voices). When I picked up the DT2 I started using it to sequence the A4 and control and automate parameters via CCs. This was a game changer. It got me away from the awful A4 screen while consolidating my setup into one powerful box (managing multiple Elektron boxes can start to get a bit unwieldy, as some users will attest).
Lately I’ve been approaching the A4/DT2 as a hybrid analog-digital-sample-based drum machine, like a hopped up Syntakt or something. The A4 does amazing core drum sounds while the DT2 fills in the rest and adds whatever else your imagination can dream up. It’s a lot of fun.
I also have the Peak as my main poly. I never get bored with it. It’s so flexible with its programming, its generous knobby layout and clear and streamlined UI. It blends well with anything and capably covers a vast array of sounds. It’s also fun to sample pads and other basic ideas into the DT and see what production tricks and sample mangling you can achieve. And although the Peak’s onboard fx sound really good, adding external stereo fx (such as Strymon’s Volante and Night Sky) takes it into a whole new atmospheric realm. It starts to sound like a synth worth twice the price. Lovely.
My no 2 synth after the Peak is the Microfreak. That’s another synth that sounds great on its own but really comes to life with fx and seems to blend effortlessly into any mix. It’s without a doubt the best value synth out there.
For what I’m doing, it’s way easier and faster if I have one sequencer running drums and one sequencer running melodies.
I like to focus on one Elektron doing like 80% of the heavy lifting of a track, but have another sequencer running for additional things.
The fact that Elektrons always force you to have all of the note information for each track stored within one pattern means that when I’m only using one box, I quickly have lots of patterns although there’s maybe just 1-2 tracks that have changed. I find these projects way harder to finish and a lot more confusing if I come back after a break.
That’s highly subjective though, lots of people work best when only using one sequencer. I can see how my method will get confusing when you exploit the sequencer to the max.
Rev2 was also my first “big boy synth” and I agree with @LyingDalai that’s its easy to use and learn (because it almost always sounds great) but also very deep and rewarding. While A4 was only deep for me and rarely rewarding, but that’s a personal thing, some hate it, others love it to death.
Two sequencer action sounds interesting… But yeah probably have to find my way into that slowly…
So many ways to get things done…
Recently finally enjoyed euclidean sequencer, though at first it felt too artificial.
After I saw in a tutorial video that you can copy the steps to the pattern while you turn the euclidean one off, ended up with some nice stuff to work with.
Maybe that is also how two regular sequencer can help, making order in (too much) chaos …?
