My brother in law has that!
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Sorry I didnāt catch that, I wasnāt listening.
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You gotta learn to play the update cycles. I noticed itās always a big update and hype right before whatever it is becomes a penny stock lmao
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I donāt like hyperbole and try to avoid rating instruments during the honeymoon phase. So I largely held off from praising the DT2 when it came out. But my feelings now are the same as then - the DT2 is a significant step up from the DT1 in every conceivable way.
Massively enhanced sample storage, increased project memory, double the tracks, stereo sample support, the chorus, the comb filter, the separation of probability and conditional trig logic, extra LFOs, sample slicing, MIDI learn and more!
Itās genuinely overwhelming to think about the possibilities available in the DT2, and it sounds so good!
The DT1 is still worth owning and serves as a jack-of-all-trades drum machine replacement. Who needs those mono voice vintage drum machines when you can play round robin sample chain chops of your classic devices? And why buy a separate MIDI sequencer for modules when you can use the DT1ās fun and expressive sequencer to breathe life into your gear.
Iām happy itās available at a reasonably affordable price as it represents an excellent stepping stone for new musicians as well as a nifty sound source for thrifty pros.
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I meant to sell my Digitakt after I got my Octatrack but really dilly dallied about exporting my samples and session files. Then the DTII came out and here we are!
@Kegeratorz Iāll sell you mine after I get all these files sorted!
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Enabler to my sampler addiction!
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any kind of public intervention in culture creates a distortion. Itās not merit-based ā it reflects elections, politics, and whatever values happen to be popular at the moment.
Public funding doesnāt just appear out of thin air. It comes from people who might have zero interest in paying for my ambient electronic music and itās perfectly fine.
So thereās always going to be some central authority deciding what counts as āworthyā art, based on its own priorities. Naturally, the money flows where itās safest and most convenient for those deciding.
Calling public funding āessentialā is subjective, and it assumes that societies without it would produce fewer artistic movements.
History doesnāt really back that up. In the 20th century, socialist states funded art heavily, but their official output didnāt hit the artistic peaks of humanity.
Anything truly groundbreaking usually came from the underground, from dissent, from people pushing against the system ā not from inside it.
Value itās subjective.
If my art makes no money, then itās worth no money and thatās no oneās fault. Iām not entitled to any public funding to keep doing it. Itās my responsibility to find the resources I need if I want to continue.
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I was wondering just recently if now is the time we might get a relatively good deal selling an OG DT to guitar centerā¦
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I think they take current used selling price and cut it by a percentage. They are not intentionally taking a hit.
Trading in gear is like trading in cars. You know youāre not making as much but itās super easy!
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Make money with the music youāve made on the machine, so that the ālowā resale value doesnt even matter anymore!
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Lots of twists and turns in this thread. I think resale of digital vs analog gear is key hereā¦?
My first electronic hardware gear was a VERY long time ago. It was super expensive to purchase and virtually worthless very quickly. All digital gear. My Roland S-50 cost just over $3k new and 20 years later I literally gave it away. Same with my Korg Triton Plus. Well over $4k and it sits in a closet now. I still have no regrets because that shit was fun. Digital tech was just moving too fast. Same applied to my digital multitrack tape recorders, DAT decks, etc.
The good news is that unlike most of the expensive crap I had, the OG DT is still a fantastic instrument
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I like Digitakts
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Are you just saying you like things that are in the room?
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I like OG
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just picked up and og dt + dn bundle for less than half the price of a new dt 2. Thatās a lot of power for the $.
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Itās a buyerās market right now. Also the Digitakt v1 has 2 outputs only. So you have to use overbridge basically, which makes this a software tethered machine for a lot of people.
I have listed stuff on this site at obscenely low prices and barely ever sell, and instead it gets bought on reverb. So I just donāt think people are buying much gear unless itās at a crazy deal they canāt resist. I would find it quite difficult to spend more than $500 in a DT1 when I could spend a little more and get the v2 which has double the track count and stereo.
A bit more of a hot take, but I think Elektron has lost its mojo a bit. They havenāt made any real classic machines that resell well on the used market. The Tonverk could maybe become one, but they will need to make some big strides with it. For now, itās the old stuff like the Machinedrum that holds its value, and the consumer focused releases just donāt.
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Theyāre musical instruments, not investments. The joy should come from writing, playing and peforming, and the memories you have from that experience.
That said, values can go up and down over time. I bought my Roland MC-202 for like $250 about 23 years ago. At that time, that was less than half of orginal MSRP so youād have a paper loss as the original buyer. What do they sell for now?
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Off-topic chat on the topic of government arts funding
I mostly agree. As far as I can see, government funding for art leads to disappointingly little great work being produced. Those who benefit tend to be mediocre artists who are good at writing grant submissions and saying the right things.
But ā I do think there are other forms of government support that are good. Funding for venues, for instance, when the venues arenāt fully self-sustainable. That allows a larger pool of artists to try things. Infrastructure rather than specific artists. And sometimes there are positive spill-overs from projects that arenāt explicitly arts funding; for instance, a well-funded public radio station can afford to build a studio that local musicians use for free, if people with the right attitude are running things.
I used to think that artist-UBI schemes were a good idea. I canāt really justify it anymore though. Weāve removed all the gatekeepers; no one in the culture industry is allowed to say that my dogshit sculptures or illiterate limericks or incompetent ukulele solos are worth less than anyone elseās work. The whole idea of standards has been eviscerated as bigoted and classist and all the rest of it. So a UBI for artists is really a UBI for all; which is an idea Iām open to, but should be argued on its own merits.
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Totally agree with this. Iām lucky enough to live somewhere with a decent choice of freeform listener-supported radio stations, and they all rely on government grants to do their often super weirdo stuff. Now that that fundingās being cut (on the order of tens of thousands of $s), a lot or even most of them could stop broadcasting very soon. Less weirdo stuff for me.
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Thanks to cheap tech we all have access to an entire world of millions of radio stations / music streams etc
Also tv channels , film channels , videos , art , photography, graphic design , poetry , stories , scripts , comics ā¦ etc etc
All this , covering basically all historic examples since writing / recording / photography was invented up to today .
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