I transferred the dnsnd files to my DN2 and everything sounds good. Really good!
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Thank you very much. Really good to know. 
Thanks for the support!
Because I didn’t put a read me file yet. Just few things to know. For the physical modelling patches ( when you see KS) because they use a lot of feedback and resonance, so I don’t know how would be the sound from your monitors. If it is something on high end you don’t like just lower the resonance a little bit or the envelope depth of the filter.
And one last thing . I don’t use any reverbs and delays but all ways there is an exception. There are some patches KS that the y have a little send of delay but because there is so much feedback pay attention not to scream…
if you have any questions or how some patches work feel free to ask.
Have fun !
P.s Soon I will update also the manual.
One more thing: the PC section they are tiny particles and made for the extreme high end if you don’t hear anything just open up a little the HP filter.
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This is wonderful! Open up so many possibilities with more LFOs 
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The manual is really good! Reading it gives the right frame of mind to start experimenting with the sounds.
Lots of exploration and new compositions hopefully! Thank you for this.
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Great work @eocyte ! I love the proposal!
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Thank you very much @Tchu for the support
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Looking forward to listen to your creations!
New sounds on the way.
Drone impro. No sequencer has been used.
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This is an outstanding study !
The manual is comprehensive and very interesting.
These patches load perfectly into DN2, which further expands the possibilities.
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Thank you mate for your comment and support!
I hope you will enjoy it.
Keep in mind that these patches are designed for extreme frequencies ex. C0-C1 and/ or C8-C10 .
You will challenge your hearing and your monitors!
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Very impressive! 
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I’m very impressed with these sounds. Some of the percs work very well across the entire frequency spectrum and the glitch sounds are fabulous, I’ve been playing with them for the past few hours. It’ll also be fun to study and learn from how these were designed.
One bit of feedback, or maybe you made this decision by choice?
You can adjust the default octave in the Digitone settings
I was wondering if on the BD patches, it would make sense to have them default to being -2 to -4 octaves down as this is the intended range they should be played at. This makes previewing the sounds much easier from the preset browser. This could also be applied to the other patches that are intended to be played at higher frequencies (like some of the needles).
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Another completely random thought 
In mathematics, the “golden ratio” is in a sense, the most “irrational” of the numbers. It has the property that it is the most difficult to approximate with rational numbers.
You use pi for some of the inharmonic patches, have you tried the golden ratio (1.618)?
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Thanks my friend for the feedback. I really appreciate your creative comments.
I admit that I didn’t know how to set the default Octave onn a patch. This really makes easier to play and preview the presets! I will adjust the patches and this will be a big improvement.
I did on some patches Key Scaling and Filter keytrack which are on the same page, on Sound Set up menu, but I didn’t arrive to Octave!
Fun fact that , while working on the patches and re-reading the manual just discovered the Control All function, after years of using it. There is always space for improvement and discovering new things on this incredible little machine.
Regarding the ratios you are right. The golden ratio is found in patterns in nature but in the acoustics is the most irrational number! I have used it for some metals.
I also used 3.14 because never perfectly aligns with the carrier (1), so the sidebands are spread out across the spectrum.
I wanted a metallic texture, grit. It sounds real because it’s wrong!
Beyond the mathematical precision is all about a musical choice. The last to judge is our ears. If you like what you hear or not.
Would be fun reverse engineering the patches. Set the ratios and then slowly increase the amount of modulation and feedback to find the sweet spot. There is where the magic happens.
If you are interested on a certain patch or why I used specific ratios, feel free to ask . I will be happy to discuss.
Enjoy your music!
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This is a widely believed myth but sadly not true.
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There is a lot of exaggeration about sightings of the golden ratio in nature, but it is the limit of the ratio of two successive Fibonacci numbers, and there is a certain amount of Fibonacci behaviour in plant shoots, so there is at least some approximation to it in nature some of the time. That said, there is nothing magical about the golden ratio (though its mathematical properties are definitely interesting), and I don’t think it will do much for musical synthesis.
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You are right! But we are humans and we like myths, magic numbers and patterns. We need to put in patterns everything to justify the existence. But a shell is beautiful as it is and doesn’t need any explanation. Anyway if the myth is true or not is irrelevant to the music.
Regarding magic numbers in musical context doesn’t have any sense, especially for analog synthesisers. But in FM synthesis, using non integer ratios you can create inharmonic content , bell or metal like timbres. And the 0.01 ratio matters.
Thanks for your comments.
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Lovely! Bought
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Thanks for the support!
Enjoy
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I have updated the SYS_cdx file on Gumroad with default OCTAVE adjusted. Now sounds really better for preview and playability…
You can download from Gumroad then drag and drop to Transfer.
Thank you guys.
Enjoy your music!
Thank you @Miro
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