u/ForcesOfOdin

I brought the power of the mighty tonverk together with the willing partnership of the digitone 2, along with some multisampled help from a Dreadbox Typhon to bring you this slightly IDMish cyber punk song.

The power of the two devices continues to blow me away. The digitone 2 is absolutely capable of near analog polysynth territory, and the tonverk is just an incredible swiss army knife of effect driven polyphonic sound design and percussion.

Here the tonverk turns the lush monophonic sounds of the dreadbox into a polyphonic synth through multisampling, greatly increasing the value of the Typhon.

Enjoy!

Yeah this isn't going to surprise anyone on here. But I just managed to get access to an emulated Access Virus C and the presets are some of the best Ive heard. Im not a preset hater, I love the discovery of sound design, but Ill take whatever the song wants. But ive never heard presets this good. Makes me itch to try more access stuff, and to maybe pick up a hardware unit.

What's your favorite thing about the access line up?

What's your favorite device and why?

This synth interests me a lot. It's probably the top synth id genie wish to have. The demos Ive zeen, however, are all from people who are obsessed with creating familiar sounds, which it does well, but it seems obvious this thing has the potential to make a sound design explorer go wild! I want to hear it from people who like to take sound far, to explore. I don't care about creating whatever synth sound is on X record from X decade as all the demos ive seen seem to limit themselves to. Ive even heard the presets, while good, are all very safe.

Does anyone here have this and can speak to its ability to create amazing novel sounds? One of the things I love about elektron boxes is how immediate and deep sound design can get with all the knobs and lfos begging you to explore, and get unique and useable sounds quickly.

I love my kronos but the page system is not as friendly for this. The leviasynth seems absolutely superpowered for rich playful exploration with its tactile interface, incredibly deep synthesis, and unique features. But maybe this thing is just another expensive fm synth, mired in page diving, with only a few gimmicks to add to the competition?

Greetings. I'm going to Paris to see a friend play on Halloween, but I'm considering a broader trip to include Berlin as a Mecca of techno and electronic music in the week or two leading up to the Paris stop. Any tips for things to see or other places to go to match this idea of techno tourism? Cool synth shops, clubs I can actually get into, inspiring places? Thanks!

I was hesitant to share this because it's a bit rough in parts, but it has enough cool elements and shows off some of the monster sound design power the Tonverk has.

I intended this song to be dark, moody, horror themed but with an IDM or elektro ish drum kit and relatively stable bass. I threw in some organ and piano for good measure.

Ive got many multi samples from my Kronos doing work here. The periodic laugh is a choir sound, through granular, then arped. There's comb filter, the bass is a wave table, all the tools helped me craft the sounds I wanted, way beyond typical synthesis. You can make WORLDS with this thing. As someone whose musical goal is to create little sonic worlds to inhabit, this device is perfect for me. I already have another track in progress on this device, it's a very exciting machine.

Ive had the box for a week. My first day with it felt like I made a mistake. It has weird bugs with multisample and subsamples not previewing right,but overall im in love now.

Also can I just say that having the one octave of buttons separate from the trigs makes it so easy to place chords into trigs! I wish my digitone 2 had that.

The only non tonverk thing in this song is the bass sound at the very beginning which was recorded with a digitone 2, and mixed and filtered with an sp404.

The entire song is dawless. For better or worse. Just a LITTLE ableton glue compression on the master.

Hope you enjoy. Give me your Tonverk tips and stories!

I keep coming back to the syntakt. It's such a fun box. Can hit hard, get weird, and the fx lane is awesome.

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I tried my damndest to harness its energy once more for my third purely syntakt song. I was aiming to break my 120bpm ways and pumped up the jam to 155bpm.

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I got stuck on this one a few times, was trying to fix some boring parts on my first take using ableton grain delay lol, and filter cross fades on a rough transition. Went back to the drawing board, wrote out a few new patterns, practiced my performance path a few times, then recorded this take which Im happy with.

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I did overbridge recording into Ableton (amazing stuff!), but after a lot of fuss with some track level mastering all I ended up keeping was a very gentle glue compressor and some resonance cuts at 75hz and 1010hz on master with EQ 8.

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Hope you enjoy the song, and let's talk SYNTAKT. How are you using yours? Do you have one? Are you curious? Does it repulse your sense of honor? Do you have tricks to share?

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I’ve been building a partially generative live-performance setup around the Kronos 3, and this is some of the most fun I’ve had with a hardware rig.

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The core is a custom electro-pluck patch driven by KARMA: I send it chords and notes, then it turns that into evolving arpeggiation and rhythmic movement. From there I can conduct the arrangement live:

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- Swap KARMA scenes and drum patterns to change the energy/feel

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- Control filter, resonance, reverb, and stereo width from the panel

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- Use the lower joystick +Y as a transition control: filter the synths while reversing the drums : my attempt at an “Octatrack crossfader” type move

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- Use lower joystick -Y to bring in grain delay on the synths without touching the drums

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- Toggle phaser on the synth and delay throws on the drums with a switch

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- Run the master through an SP-404 for filtering or extra delay

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- Switch H90 effects programs from an iPad over Bluetooth while playing

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Normally I finish tracks through a mix of hardware and Ableton, but this more immediate “conduct the machine” approach is ridiculously exciting. I want to keep adding layers, performance controls, and effects routings until it becomes its own playable world.

I'm not a smart man. I have more cents than sense. So I got a Tonverk! It should arrive tomorrow. It will pair with my digitone 2. My plan is to multisample sick patches from my kronos. And to use it for drum one shots. But also, and most importantly, I really love love love sound design on the elektron boxes. Im excited to try tonverk's wave table. Im also a big fan of effects forward sound design, and this has long been a weakness of elektron boxes, that I think the tonverk has addressed with many effect types, harking back to the elektribe emx1, whose effects severely elevated its modest and simplistic oscillators. So all that rambling aside, please give me some fun things to try when I get my new baby.

It was a bit of an impulse buy, off the hype etc. Im new, Im already releasing a track a week, so do I need another several hundred dollar box? Absolutely not, but I'm so glad I'm an idiot because I immediately fell in love with this beautiful little sonic playground.

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This machine's ability to create intriguing, layerable, evolving sounds is top top notch. It makes everything so fun and exploratory that you don't even realize you're deep into sound synthesis, pushing LFOs, crafting envelopes, tweaking operators. The built-in patches are incredible launch points too, and the feature set is immense. It feels perfect for me. I like to create little worlds of sound to inhabit, that is my artistic vision, and this thing is the diamond pick axe for mining out these worlds.

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So this song was born out of exploration a mood of adventure with synths, and also me playing with sculpting a synth pad into a percussion element by shaping the envelopes and trig steps in real time. I decided I didn't think the fm chip tune drums were enough so I paired with my cycles. I think I may have gone a little overzealous there, but Im reasonably happy with how this turned out. Already working on my next song with this bad boy.

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I love the M8. Had a lot of fun making this one on my train rides to and from work. Long live dirtywave!!

I've rendered stems on dirty wave m8 version 6.5.2.c, and dragged them into Ableton, and disabled warping, but it still sounds fucky. Is there a good process for getting stems to easily sum to the master? Otherwise this feature is useless to me and I will just record one track unmuted at a time.

I think it came out kinda like a rhythm forward ghost level in Mario, which wasn't what I intended, but let me know what you think!

As usual I'm leaving my 'producer notes' below which may be of help to other people new to production and electron like me.

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Notes:

I performed this track from about 6 patterns I had written on Syntakt. I let it be one take, but there were many practice takes (and botched recordings) before hand.

The air raid siren is actually just pulse width modulation on Sy bits, set its wave to the max and nudge triangle shape LFO to start at max and fall.

The choir bit is a twinshot sample from my korg kronos. Kick is doubled.

I used one of the patterns as a home base, which helped me give the track a slightly more arranged feel.

I freaking love that the quick save and load is per pattern! Great for performance.

I discovered I much prefer pattern mutes over global mutes. Takes more setup time, but it can make transitions hit harder, and pattern mutes respond to the quick save/load.

I also discovered i really like creating variation by modifying a pattern, copying it to another slot, then quick loading the original slot back. Helps me avoid the trap of accidentally making so much variation the track loses identity.

I did find that the analogue and fm kicks i used combined with the SY tone engine created an unpleasant crackle or feedback,seemingly overwhelming the sound engine. There wasn't any amount i could stop with adjustments to the SY tone. But the silver lining is it forced me to manage it with mutes which I think actually helped the song, where otherwise I may have let that SY tone track ride too long.

You know I feel dumb now (rtfm moment), but at first I didn't understand the fx lane at all. There's already per track delay and reverb and overdrive! Then it clicked for me, it lets you filter everything routed, turn on and off delay like track mutes, boost sound further, and even emulate side chain.

I really love the filter on the analog stuff. Audio rate lfos are fun on kicks. The non analog machines really have range too, and quite enjoying the new twin shot, though I didn't use that for this song. I made a sound pack for my tein shit I'll probably share on here after some more polish.

The biggest joy of syntakt for me is just dialing in a pattern, then live playing it with quick save to get back, hitting filters, tweaking knobs, it is brilliant for that.

I always fall in love with a sound, then beat my head against a wall for a week trying to lift it up to a song without accidentally mutating it so much Im slamming two songs together. I guess that gets easier over time.

This song was composed with about 5 or 6 syntakt patterns, several live takes, recorded into Ableton, chopped and glued. I also used one of the syntakt sounds in the song, and ran it through a grain delay manipulating it like a kaoss pad, then running volume automation with it to the kick to add some spice to a section I didn't love.

Hope some of my ramblings help other noobs. Enjoy the song.

Here is my song “darkcrunch.” Please use headphones for the full experience.

I’m going to document this little sonic world I built using the Syntakt for those interested.

I turned the stock Toy machine on Track 5 into black metal “guitars.” I wrote a 16-step pattern at 30 BPM, then ran it through an Eventide H90 using the Storyteller program. After that, I did two passes of filter + overdrive resampling on the SP-404MKII.

I recorded the result into Ableton, loaded it into Simpler, and built a huge effects chain around it: amp sim, echo, erosion, grain delay, etc. Each MIDI note only triggers a small piece of the sample.

The echo created a really wide stereo image, but to make it survive on terrible phone speakers, I duplicated the track and removed the stereo echo from the copy so it reinforced the center channel.

There’s more going on, but that’s the core idea behind turning the Syntakt’s gritty digital sound into a distorted wall-of-sound black metal texture.

Toy settings: (tune: -24 ratio: 1.000 pnch: on dec:127

FDBK:45 MOD: 100 MENV:76 OVER:88)

H90 Settings: default

Sp404mk2 filter+ overdrive setting: (cutoff: 785, res: 1, overdrive:13)

Ableton Amp: heavy

Ableton Echo: ping pong

Erosion and grain delay: light touch!

Happy exploring elektronauts

I really enjoy deep frying samples on the sp404 mk2, add effects pitch down/up, repeat, until you have sounds or fragments that sound totally alien. I also love the elektron sequencer, I own a syntakt. Was curious what community thought would be the better sampler for this particular laboratory experiment style sample mangling + sequencing

Sorry for misspelling

Oktotrak (seems very powerful but a bit oldschool, no over bridge)?

Digitakt 2

Tonwerk

Thanks!