Well, I thought I might not get a single reply to this one but apparently it’s a thing!
I’m sat here with my DT and Subharmonicon and having a techno wig-out (hello Steve Davis) and I’m wondering if the ST is the odd one out now. I haven’t actually tried sampling the Subharmonicon yet (it’s only been here since Saturday) but I probably ought to do that.
Thanks for all the awesome setup info, fascinating to see what people are using.
One self-contained device is the absolute sweet spot for me. I’m down to either making music on the m8 or the op-1f. Rarely do I ever connect them. Sometimes I plug my guitar into them or sample something from a pocket operator. I’ll try to bring the song I’m working on as close to the finish line as I get on the device itself and then add the finishing touches/final mix with bitwig. Very simple, easy to stay focused, good fun.
As much as I do believe that it’s better to have fewer devices you know very well instead of having a room full of gear, it’s a good idea to have at least one alternative instrument/small setup to your main one, just in case the juices aren’t flowing (which just happens from time to time).
DT can timestretch?
Not really. Theres a hack using LFOs.
Kinda works if you really want time stretch in your life and you really want to do it with DT. The method will be on this forum somewhere. Seemed like way too much effort for me when I had a DT. Plus I dont like time stretch anyway 
I usually condense my set up to core machines, where the majority of work will be done on the core machines and then i add bits and pieces which i feel is needed.
right now my core set up is Monomachine and a 6u70hp Modular which is basically a small groovebox/monosynth. i then have OP-1 and Microcosm as the added flavor.
whenever i think of music in this fashion i dont get so overwhelmed. it is when i start thinking that i need to incorporate everything i have on the desk that i get overwhelmed. But if start by exploring a specific machine, i usually come into a creative flow much faster.
I’ve had the same conclusion. Every time I get a new piece of gear I spend the entire evening routing it so it works with all the other pieces. Frustrating since I’ve reached the limit of my Audio Interface and I am literally forcing myself to use everything at once. It’s too much.
I now have the OT DT DN, a midi controller and Ableton. Putting the DN up for sale again prolly as I am always reaching for the DAW anyways. I have the OT on my desk but I use it standalone or with the DT more often. Feels fine to just accept to not always use all things.
I currently have 2 setups in my house. My living room has my “analog meditation station” which is the Make Noise semi-modular trinity, Neutron, Medusa, a few FX, and some utility modules. Then I have my full studio with my Elekton digi-trinity, computer, full monitors, etc.
It’s nice having the 2 different setups for different moods and vibes.
Very familiar indeed.
I have (way too) many machines and they indeed work rather contra-productive. Too much choise, distraction, options, … and too much frustration if midi or audio routing needs adjustments.
So a few steps I did or still must do:
Setup 1: Elektrons
Setup 2: Classics I will never sell (Moog Sub 37) + Other nice machines (for fun and a little extra).
Setup 3: my ‘noise’ section: noise modules and machines (Moffenzeef, Lyra, drone machines,…)
Step to take: try to convince myself to sell all my smaller machines (Micromonsta2, Dreadbox, Mopho desktop, … I like this little monsters a lot, but in the end, I only use them to ‘play’ with and I spent time I actually still need to get deeper into my main (setup1) machines.
I have 2 different setups.
Computer - Ableton + NL2x, Boog, MS-20, MicroFreak. (Plus Push 2 and a keyboard)
Couch - DN, DT, or ST, used one at a time, with headphones. Maybe one day I’ll combine them all. But right now I enjoy playing/exploring one Elektron at a time on my lap.
Haven’t had time or desire to dive into OverBridge. I think of the Elektrons as boxes to play with away from the computer.
Love to work with small setups. I can’t handle a massive studio setup with loads of things running at once, it’s too much to manage mentally, so I’ll typically focus on one machine at a time, or a very small setup with a main sequencer and a couple of synths. Elektrons are so good for this, you can comfortably write a track start to finish on the Octatrack/Digitone/etc but if you want to add in a couple of extra bits, you’ve got the inputs for it. I like to have a couple of projects on the go at any time, typically an Elektron setup somewhere and then a portable setup (currently M8 tracker, previously Nintendo DS with KORG DS-10) and then something completely different, maybe acoustic recordings. Make a few tracks with a setup, switch things about etc.
Keeps things fresh and simple setups means I’m never troubleshooting or trying to figure out where to fit things etc. Switch on the Elektron/M8, grab an instrument and a recorder, whatever, just means there are as few barriers as possible between wanting to write and getting stuck into it.
This has actually changed a bit:
…but not really. The upper A4 (still with Jomox/DFAM) is just for percussion, and the lower (in conjunction with a Rev2) is for melodic/arp/chord/fx stuff. Each go straight to the DAW via Overbridge… effectively two “mini setups”.
(Another point is that the audio outs of these still go to a line mixer so I can monitor and write before turning on the DAW… I look at screens all day at work and nothing kills inspiration quicker than dickin’ around with a mouse 
)
The remaining instruments around (SP-16, Lyras, MS-20, distortion boxes) go into a SSL2+ via patchbay to record… these sources don’t need to be super tight timing-wise which for me is the main advantage of the A4’s using OB.
I tried to split my setup once but in the end, I want to have everything available if I need it in a Track. So, everything is hooked up and synced (Drums, Synths, FX pedals, …). I save everything on my Elektron devices (sequences and PC) and each Synth and FX patches are saved on the device itself. I rarely use every pieces of gear in a Track. I have enough MIDI Channels on the DT, OT and DN to handle everything.
Cool same here. For my setups: Elektrons, Rolands and modular.
I have everything (potentially) connected to my Mac with Ableton with individuals inputs and common midi-sync, but to tinker i have several idea starter “areas”:
Sofa:
Yes.
Some gear works really well together – like ESQ-1 + Mirage MIDI’d up in a two-tier keyboard stand, or like various Elektron gear.
Some gear are like Legos: fit perfectly together in limited space, or are aesthetically pleasing together. Controller keyboards with wide open panels leave room for specific gear: W-30 loves Syntakt (or other Digi-format), East Beast, or an iPad mini. Mirage loves Mopho Desktop (black + yellow for the win). Analog Keys with Volca Modular or various POs. I don’t know much about feng shui, but suspect it applies here.
Smaller setups are often easier to record audio without having to fool around or boot up a DAW.
I have multiple setups arranged around a main computer desk and audio interface (in a rather small office / studio room):
Two Norns, one with a pair of Launchpad Minis substituting for a Grid, that have multiple USB/Midi outs connected to the modular or keyboards (see 2 to 4 below) as well as various devices (Axoloti, NTS-1, Micro Modular, MicroMonsta 2 going into a small mixer with an MS70-CDR on aux sends. I can switch this on and plug away whenever I feel like it.
A DX-7, Juno 60 and Dominion Club plus various FX (T-Resonator 2, EHX 2880 looper) more or less permanently connected to a Yamaha QX21 for instant midi recording via another mixer with an Analog Drive on insert duty to warm up / shred the DX-7 when needed. All of the keyboards can be synced by midi to the Norns and each other, but I often just play them together when the mood strikes.
A modular setup which is currently focused on rhythm and percussion (BIA, Dysmetria, Hades) and drones (Antiphon, Grendel DC-2e, Lyra-FX) and modulation with or without two UO_c and a Temps Utile. It’s all synced to numerous semi-modulars and sequencers (Volca Modular, Erebus, Nyx, Kraftzwerg 2, Urzwerg, 0-Coast, SQ-1s) and everything can be patched into a 0-Ctrl for playing around alone or in various combinations.
Pretty much everything else is arranged together on a couple of mixers : Analog 4, Typhon, MC-202, MS-20, Electribes (EMX/ESX) synced by midi or din with FX like PT Delay, Boss SX-700 and Bastl Thyme available to be connected via a patchbay.
In theory everything can be lead and/or synced by the Norns if I want them to, or sometimes the A4 will lead. I can switch between everything or combinations of 1-4 in one large setup for recording live mixes ; or each can be run independently into the audio interface for more in-depth explorations without having to unplug anything.
It’s reasonably flexible and allows me to concentrate on specific areas and ways of playing (programmatically / generatively via the Norns - keys with the venerable synths - patching with the modulars - sequencing with the A4 / Electribes) as the mood strikes, and there’s sundry little boxes (Volcas, MFB synths and FX) and a tape deck that can be added in when required.
Apart from 1), each setup is not really that mini, mind.
I use these in a variety of ways but right now thinking along similar lines.
OT / Tempest - samples and live percussion
DR2 / P23 - sending wonky clock from pulsar to Modor and jamming out
P10/ NF-1 - stacking these two for synth adventures.
There’s a quick version that only requires two trigs and a little LFO and sample start setup. After some practice, I can now quickly (in seconds) and consistently get clean 1, 2 and 4 bar time stretched loops going. I’m so used to doing it that it now feels more like a “hidden feature” than a hack. YMMV
Today, I’m going to experiment with track scale and LFO settings to see if I can get 8 or 16 bar samples to work properly. I’m 99% sure that will work too.
EDIT: It works fine for 8 or 16 bar sample loops. I only had to change track scale and make sure the trigger’s play length was set to the new loop length or greater.
Certainly not what the DT was intended for, but it certainly expands my palette of options.
Not on paper, but there are a couple of variations of a time stretch hack out there. I’ve managed to get good enough at it that it’s now a regular part of my arsenal and even though it isn’t as simple as an “enable time stretch” toggle, the technique is now easy enough for me that it doesn’t disrupt my flow to put it on a track here or there.
Basically, this technique, but with a couple minor variations.
I definitely have mini setups, I’ve never tried to connect everything together and I think it would be option paralysis if I did. Plus, I play live frequently and wouldn’t want to transport and troubleshoot every piece of gear. Here are a few mini setups I currently use.
Digitone - my main workhouse for song-in-a-box. Doesn’t need anything else. The lack of tracks doesn’t bother me since I p-lock everything to hell anyways.
Digitakt + Moog Sub37 - Currently I find it difficult to compose full tracks on the DT, I always feel like its missing something. So I use it as a really weird drum machine with Sub 37 playing basses, leads and other atmospheric stuff.
DFAM+Strega - These instruments are made for each other! Strega loves to be agitated by the DFAM’s craziness. Both semi-modular with lots of interesting patch points between the two. The DFAM really benefits from some FX as well. Really you can through anything through Strega, but this pairing is great for live improv.
DFAM + Model:Cycles - The M:C is currently the only other piece of hardware sync to the DFAM via audio click. Adding high hats and other random percussion really lets the DFAM do its hybrid drum/bass thing.
Syntakt - I just got it but I have a feeling 12 tracks is going to be enough on its own for full tracks.
