I still have no idea how you use the voice sequencer on your patches, even when looking at the patch!
You used it yourself in your own tracks didnāt you? Let me know if you have any questions about it.
ābroken DAC of the YM2612ā
Can you tell a bit more about that plz ?
Someone made a great demo showing the MKII sound presets (if you have an MK1, I strongly recommend installing the new sounds)
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summary: Yamaha YM2612 - Wikipedia
deep dive with examples: The rigs we've created for chipsynth MD's emulation. - YouTube
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Very interesting, ty!
For sure: itās planned for april 
Thanks for your interest!
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Curious, how does everyone have their EFMs positioned in their setups? Despite being originally a rack-mount device, I feel like the ergonomics of the EFM are optimized in the MK2 units sitting flat on a desk top; this seems to give both the perfect angle and perfect height to interact with the screen.
For purposes of general reorganization Iād like to move my EFM from a desktop position to a rack position right at eye level ā this seems optimal for viewing, but less so for long bouts of programming as Iād need to engage with the touch screen w/ raised elbows.
Yeah, I have my mkI in a rack because I donāt have the desktop space. And (for me, anyway) itās fine for tweaking but a pain to spend a lot of time holding my arms up to the touchscreen when making a whole new patch or something. Iāve created a number of templates to start from, which helps. And I now tend to interleave setting up OPs with testing them out on a keyboard rather than looping a sequence as I used to do.
But none of this feels particular to the EFM. Itās the same with all my rackmount gear ā just that maybe the EFM letās me get deeper into sound design than most, so Iām tempted to spend more time at it.
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I really want a FS1r
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Iām enjoying my EFM, but am having thoughts about consolidating to something like Tracktion Fāem for the greater modulation possibilities. My sense is that the EFM is built to emphasize layering and playing rather than deep modulation ā e.g. in the sole per-voice LFO which has often been lamented. The looping envelopes arenāt as practical for me in the context of rhythmic music because they canāt be syncāed to an external clock like the LFO can. CC modulation does work well, but also ends up being a bit cumbersome to set up, whereas in Ableton itās as simple as point-and-click to assign mods.
Canāt decide if Iām just GASāing for some outboard upgrades I could make in place of the EFM, or if Iād indeed be better off putting my FM energies elsewhere.
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I donāt. 
Just curious, (I donāt own one currently) but what happens when you assign the MIDI Clock modulation matrix source to the envelope matrix destinations? Does it just filter it out, or does it do something, but not what you want? I was just looking through the manual, and figured it must do SOMETHING, but itās not clear what, or if only some types of sources apply to some destinations.
Thatās a very interesting question ā I hadnāt noticed that.
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Just scored a mint mkII for 700 eurosā¦Iām impressed by how intuitive it is to navigate !
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Great price! I love mine
did you have a Digitone before? as much as i appreciate the āun-FMā sounds a Digitone can produce I donāt find programming it especially intuitive (yet). but also donāt know how much easier a Kodomo would be to learn from scratch if I ever switched
I actually had two digitone ! 
Digitone is more of a ālarge sweetspot, canāt sound badā type of device. One patch can easily replace anotherā¦And everything is avaliable immediately.
With EFM I have the impression that you need to have a clear vision of what you want to achieve because the synth wonāt give it to you for freeā¦But each building block is crystal clear and putting them one after another gets you further and further ! Great sense of acomplishment !
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Been making patches for a couple hours on my EFM. So fun. Still donāt know how @Soarer pulls off some of his patches!
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Me like ! 
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