I want to create this topic to share my patch design process, and learn from others. There are only a few people, that i know of, who share their ways to make sounds, yet there are so many DN users.
Hi! Its been almost a year since i started learning DN ways and its been such a joy!
I knew quite a bit of FM theory before i got my feet wet in it, and i think understanding it is a lot different than using it. Only now im beginning to hear predictable and desirable results from tweaking parameters.
I noticed that i approach sound design in mainly three ways:
Start with harmonics/filters
Useful for bread and butter sounds. In this method ratios and algo comes last and acts as additional texture layer.
Start with ratios/algo
FM fundation allows for deeper and more evolving sounds. Harmonics and filters act as “modifiers” rather than texture.
Start with envelopes/LFO
For when i know which type of sound i want to go for. Its easier to adjust nuanced motions with barebones sound before adding life to it.
FX usually come later unless they are part of the sound (i try to avoid “part of sound” FX for ease of use in projects). ARP is generally song specific and gets added when needed.
Currently my favorite way is to start with ratios/algo. Its definitely more difficult to create something musical this way, but its also very fun to stumble into awesome sounds.
What are your ways to patch creation and starting points? Unique techniques? How are you using tools at your disposal?
I’m not sure I’ve a set method, usually a need a simple loop first (it’s the same way I tweak my guitar pedal board, put looper at start of chain, set loop then tweak).
So typically I start with finding a preset for either lead, background or bass, turn on a simple arp, record it, let it keep playing then work my way through the fm engine, filters and keep taking effects in and out regularly tweaking while the arp plays. Once I have it nice, delete the arp and recording then work the sound into my track.
i’m just getting back into programming 4-op FM sounds on Digitone, many years after having a DX-11. it’s a little like riding a bike but also there’s a lot different about the Digitone workflow. i generally start with Algos and Ratios, but at the same time having a specific sound I’m working toward – if it’s a bass sound, i know the ratios are generally going to be low, for leads, probably higher. also have to keep reminding myself how much the operator levels (and now the X/Y operator mixer) affects the overall sound timbre. filter and ASDR envelopes usually come after i’ve arrived at a general “sound” that is interesting.
but i’m still pretty early days in getting the basics down so incorporating multiple LFOs or the mod wheels are more of a second order operation. i assume, like the DX-11, it’ll eventually get to the point where i have second-nature recall of which Algos are best for which types of sound, e.g., Algo 8 is the classic starting point for any kind of organ sound.
FM can be a real pain in the ass, and Digitone has so many more parameters than the old DX 4-ops, the sounds you get out of it (eventually) blow the best DX sounds away
I’ve done this quite a bit in the last month, when I’ve really only started digging into the sound design possibilities on the Digitone. For a long time it was essentially a preset machine for me, which is also probably why I had an ambivalent relationship with it - didn’t know if I loved or hated it.
But yeah, I often start with the LFO (usually adjust A and B levels and X/Y mix a little bit first) but not when I want a specific sound. I set LFO depth quite high so that I can really hear what it does and then start scrolling through destinations. Once I hear something interesting in the way the sound is moving, I start adjusting LFO1 settings into a more subtle direction. Then work with algos, ratios, envelopes etc.
I try to save LFO2 for last but often I like LFO1 speed or multiplier as a destination for LFO2 cos that’s yet again a great way to make the sound move and change in a subtle way. But I often find myself greedily wanting for more LFOs on the DN, ha!
But this is the way I ”work”, which is similar to my overall approach to music cos I often like to have an open mind and don’t have a specific preconceived plan or idea I want to execute on an instrument. Just get immersed in sound and music and see where it takes me, let it surprise me. Having the DN sound design possibilities plus the Elektron sequencer lets me do so much, and I’m only just starting to scratch the surface.
ive been really eyeing that feature a lot!
i want to try making 1 sound out of two.
trying to create a natural piano patch, and either low or high notes sound good, so i want to try making part A and part B, where i cut lows and highs from each part, combining into one.
Also theres idea of 32 osc drone patch.
randomize is such a nice feature to have when you are feeling stuck.
i hope they add ARP randomization too. I think elektron team is already working on making arp notes follow tracks scale.
try this video for midi loopback, it works same way on DT and DN afaik.
Dang that’s powerful… so that means I could have 4 more LFO’s on digitone? 8 more LFO’s on digitakt and syntakt has 12 tracks, but sadly you have to substitute tracks for midi, although I wish they’d allow the 4 modifiers to be midi if you wish.
I’m trying to think of how I can use this feature with the way I have it set now.
I have digitone into syntakt into digitakt using midi out to midi in from digitone to syntakt and midi out to midi in from syntakt to digitakt… So only midi thru is left open.
Also have a analog four mk1 coming in a day or two that will sync up with them.
Stupid me, I completely forget about the randomize function Gotta try that some day.
I usually just start to mess around on the SYN1 and SYN2 pages until I find something I like. Feels like the core of the Digitone is on those pages. It depends a lot on the type of sound though. I’m still in the explorative phase with the DN. I hope to always stay there
You’d select modulation wheel and breath controller as LFO destinations. That means the total of 16 parameters can be modulated at same time with midi LFOs.
Hope Elektron would allow the internal connection for MIDI sequencer as LFO through MIDI loopback is interpolated and it is difficult to attain a smooth modulation.
Gotta try that some day.