I love my Digitone. When it first come out, I mocked it being only 4 tracks and 8 voices, and while both of those limitations kind of peeve me in this day and age of computer processing, it is still my favorite synth to play with. I feel like I am pretty proficient with it in many ways, as well. However, I totally recognize that my actual understanding of the FM architecture (and FM in general) is sorely lacking. That’s something I want to change. One thing I’ve considered doing is trying to make Digitone patches in other FM synths, mainly something like NFM (similar layout to NI FM8) on the iPad. I’m wondering, however, if if it’s even doable given the DN’s routing and architecture. I figure I could probably do the same kind of routing in NFM, and it has envelope, fixed and fine ratio control, feedback, and individual outs for each operator. It seems to be missing the easy detune and harmonics settings, and I can’t see anywhere to offset start times of A and B, plus it doesn’t have the B1/B2 connected to each other.
The problem (to me) is that ops prerouted and numbers of algorithms in digitone is very limited, so it makes it difficult to understand FM.
Take a look at dexed ? It’s free, and nice, and there are more algorithms. It helped me at FM (I still have the feeling I do not understand FM but I understood some of it).
The digitones fm algos differ from others. Also the thing with x and y output and the mixing makes it not easy to reproduce on other fm synths.
Perhaps a modular setup where you can patch as you like, or maybe the kodamo essence fm can do it?
I know in theory Operator should be more powerful than Digitone but any time I try to apply my DN patch-making process to it I fail miserably.
User-defined operator shapes in Operator is cool but I much prefer the immediacy of the Harmonics parameter. I also know I can use as many M4L lfos as I want but working with the two DN gives me provides much better results.
My takeaway is I should spend more time learning Operator but Digitone is so much more enjoyable for me to program.
yeah, thats what I mean.
you need to have a very modular fm synth to replicate the digitone.
perhaps a digitone would be the best tool to replicate the digiteon.
i only know of kodamo where you can do this.
or vcv rack perhaps if you are into noodles.
i honestly don’t know any other atm available fm synth on the market that allowes the algorithms and mixing of the outputs like digitone. it’s kinda unique.
yes.
its expensive.
that’s whats holding me back getting one.
but think of this: 300 voice poly vs. 8. and by that it’s nuff mentioned the multitimbrality.
but i think those two synths are different. you can perhaps do with kodamo things “like” digitone if you ignore the fact of plocking, etc. you would need a proper sequencer on top of kodamo i guess. but never the other way around. you couldn’t get 300 voices with digitone, no mather how hard you try.
Yes, the sequencer of the Kodamo is limited. I Sequence it with a Pyramid.
The Kodamo is a great unit. It’s very powerful. And indeed the polyphony is insane. I sometimes add 3 or 4 layers only to beef the sound.
All in all, with the great UI, the fx and all, it’s not really expensive for what it is. I was just mentioning that it’s expensive “as a learning tool”!
Im still learning mine. It’s my one synth that doesn’t always make it into my tracks, which is frustrating to me. In fact for many FMish sounds, I find myself using the BIA module and sequencing it with my DN.
One thing that has started to get me places is sending a sequence from my keystep, like an arp or chord progression, and recording that into my DN, and then Plocking the result. Its a great way to get that stepped filter sound, for example.
So now I sequence my DN with another sequencer and sequence my modular with my DN sequencer. Lol…crazy but it seems to be working better for me.
This looks pretty accurate. I’d maybe add the various filters the DN has, the X/Y mix, and of course the reverb.
Of course, if you want to learn FM, there’s a reason these “extras” don’t exist in most FM synths, and it might still be rewarding trying to reproduce these patches to figure out why.
For example, the DN’s harmonics control: The whole point of FM synths is to add harmonics by modulating a carrier with an operator. Given a large enough number of operators and flexible enough routing (like on the NFM) there’s no reason you can’t reproduce those waveforms with plain-old-FM. The DN includes it as a shortcut and a way to get more complex sounds with just 4 ops.
Or the filters. Again, if FM is about adding harmonics to harmonicless sine waves, and filters are about subtracting harmonics from harmonicfull saws, squares, etc. then technically filters and FM are at cross-purposes. If you want a sound without certain harmoics on FM, you don’t remove them. You just don’t add them in the first place. But again, with so few operators (and a focus on tweakability and live performance) the DN puts them in as a short cut.
Playing with FM8 (which is an amazing synth) is also a good way to see why the Digitone is so amazing. You can really get a feel in FM8 for just how much territory there is that sounds terrible and/or unusable. I think the architecture of the Digitone is genius–they managed to leave tons of potential to explore all kinds of FM, while making it quick and having huge ranges of usable material.
If you play with FM8 I think you can see how the choices they made on the Digitone were not obvious–it would be easy to restrict FM in a way that’s too restrictive and is always boring. I think the balance they hit with Digitone is really something special.
In the VST realm, I would recommend U-He Bazille as another (0-Hz and regular; linear/exponential) FM/Phase distortion/Wavefolder beast. It sounds gorgeous, and it complements really well the Digitone due to its modularity. I sequence it with the digitakt, and it is really cool!
If you can find Bazille CM, it is a great free way to get a taste of the power of this synth.
Digitone is IMO one of the simplest synth to learn FM.
Isolate C and A with feedback: you have a 2 operators FM synth.
Play with A depth, then A op envelope.
Play with A offset to explore the weirdest part of FM…
Tame the high frequencies with the filter…
Then go further, add complexity, step by step, until you get it what each part brings.
By isolating each parameter you’ll have a better comprehension of what it brings to the whole picture.
