I think it would translate somewhat, yes. The Peak has endless sweet spots. And recently, a shit load of high quality artist preset banks to explore that’ll start you off.
I’ve often thought it’d be my desert island synth - largely because it does everything, so so well. With such beautiful onboard FX, it’s hard to beat. I’m currently obsessed with my Boomstar, as a purely analog knob based mono, but I don’t make any tracks without the Peak. It covers whatever base I need.
FWIW, I had an Analog Keys, which had a lot of appealing features, but ultimately it’s really not a poly. It’s four monos. In that respect, I never loved the intrinsic sound anywhere near enough as a mono compared to other things. And as a poly, it just didn’t work. You need at least 8 voices and not the faff of assigning them etc etc.
Alongside what you have, the Peak would be an excellent addition! The only reason not to, would be if you have a particular love / lust for an OB6 or Prophet or an original Juno or something - all of which will likely cost more…
Funny you should mention original Juno as I had a Juno6 for about 15 years and ultimately sold it as I felt I was just gathering dust - I tend to prefer weird digital stuff or deep synthesis I can get lost in. Fast forward another 5 and I’m starting to feel the itch for a really hands-on polysynth that I can just play lush pads and strings for the sheer joy. And the Peak is looking like a strong contender as my research suggests it’ll do that in spades plus continue to scratch my itch for adventurous synthesising… this thread is not lessening those thoughts at all.
Indeed, it can cover both lush pads, and adventures into the weird! There are some other out there that can get weirder… But can’t do the lushness anywhere near as well. Shame about the Juno - personally, if I could afford to add a 60 to my studio, I’d definitely get one!
Thought this was quite a good example of some of the different places you can take the Peak in terms of lushness/atmospheric stuff. Really shows off the quality of the reverb.
There is a separate delay value in the envelope menu, ons for amp, one for mod1 and one for mod2. The delay goes up to about 9 seconds . At least with summit, i assume it is the same on peak.
Hi guys, I’ve bought some Elektron gear (DT, DN, AH). Planning to connect them via Hub to OB to write full-length songs.
And I see some videos and threads where people use DN together with Peak. I really like how Peak sounds and looks, but can’t justify (and understand) why I would need it, already having DN which basically doing the same thing (ok, apart from the fact it’s digital).
Is there any features that Peak has, that can be used together with (and not instead of) Digitone?
Otherwise why have Digitone if I will be using it only as a sequencer for Peak?
I own both. Totally different beasts if you ask me. Sound territory quite different. You can totally justify having both. Alone for the sequencer of the DN.
Different type of synthesis also. Digitone is not a wavetable synth, nor a subtractive synth, which Peak handles both wonderfully. Digitone is able to sequence with 8-note polyphony also, which makes it a nice match with Peak’s 8 voices. In my productions, I always seem to be hungry for more voices, and so the Peak plays a similar role to digital piano (never worrying about voice stealing), whereas Digitone handles leads/atmosphere. Plus the Peak reacts super quickly to program changes, so p-locks are all the more powerful.
FM synthesis and subtractive synthesis are two very different methods of designing sounds, so I would look at the DN and Peak as two very different instruments.
Yes, that’s the biggest difference for me - not whether either of them can do bass, or resonant filter sweeps, or pads, or an electric piano sound, but how you get there. Very different interfaces and workflows. And when you have that it can lead you to different places.
I only just got a DN. Today I wanted to add a little pitch vibrato to a pad sound, tried an LFO on “all pitch”, turned the depth knob a little and the patch went absolutely bananas - in the best possible way. Wouldn’t have happened on the Peak, but the Peak has plenty of its own happy accidents as well.
Digitone represents our vision of how FM synthesis can be revitalized and modernized. Here’s how: combine FM sound generation with a classic subtractive synthesis signal flow.
It’s worth noting that while the 2nd and 3rd envelope controls are shared - for a lot of patches two envelopes will do just fine in which case both envelopes are available on the front panel. One thing I’ll do When using all three envelopes is use the third envelope for something that won’t require much tweaking after the fact - short pitch envelope for instance - which leaves me free to adjust the main two envelopes without getting confused.
Also , since the amplitude envelope doesn’t share any controls with the other two envelopes you always know what’s going on with the overall shape.
How about the three in-line analogue distortion/overdrive circuits that each sit in a different place in the signal chain and can all be used simultaneously? That’s a pretty compelling feature!
I have Blofeld + Peak. A4 I had once but well … it was my first piece of hardware and it felt very limited with only 4 voices at the time (not knowing a thing about synthesis).
The blofeld is a beast. I dislike the UI and display though. But it’s a super nice synth. I would buy all three if I had the space.