I’m just saying, if you want a stereo sample, you can totally have it, and “losing” a track is not a big deal if you’ve really got to have that stereo, especially since you can lock samples per step within a track. It’s pretty easy to build an entire drum loop in just 2 tracks, let alone 6. I almost always have at least one free track on any DT project, sometimes 3 or 4. Do you use every track on every DT project? If so, you can probably use it in a smarter way and sample lock certain elements of your track within a track that’s already being used for something else, making sure it’s not something you’ll want independently mutable for performance. Also yea it’s not that difficult to tweak a filter or whatever on two tracks, track switching takes an instant and the param page is persistent…
Anyway, I think it’s really fun to figure out how to do different things on the Digitakt, it’s an instant machine but also turns into a little puzzle when trying to get timings/trig dependencies/mix/etc all working and gelling together, it’s not as if it’s work… so any time I’ve ever thought I wanted something in stereo, I just use one extra track.
The way I work lends itself more to the one-type-of-sound per track than having a full loop in 2 tracks. While it’s obviously an option, it doesn’t always work, and it can make huge project management and mixing a bigger pain. I def. use sample and parameter locks like nuts, but, for example, all the snare sounds are on the same track even if there are different snares for each hit.
I think if I were using only the DT, I’d have no choice but to get a bit more creative, but with the DT/DN/iPad, I only have so many hands for live management and manipulation. Damn humanity and it’s measly 2 arms.
Very little. I bought it in 2017, but it’s file management, bugs and no Overbridge shelved it. With 1.30, I’m currently going through an evaluation phase, so I’ve dedicated some time to suss out whether I’m keeping it. I’ve finally got over the quirky file management block, so I’m at the beginning of the road with it creatively.
I know my MPC2500 inside out, I create ideas and then track out all 10 outs simultaneously, finishing projects in Ableton. The MPC also has restrictions, but it’s very different with huge outboard mixing potential. I’m not used to one set of outputs.
Yes thats very true. I do take a lot of time in assembling the sounds. This is just a different beast to what I am used to. I am starting to believe this problem is actually to do with using Overdrive on many sounds instead of thinking out the volume options.
Aha! I think you’re onto something there. Overdrive naturally thins out the bottom end. Try to keep your sub bass content a little cleaner. Plus, overdrive creates extra harmonics all over the place, which may be why your mixes seem congested and lacking space. It definitely worth trying a cleaner mix to see if you prefer it to your older ones.
Ok - after spending some time last night I did the following… through my monitors I want to add…
1 . Mixer Volumes all on 127
2. All Overdrive at 0 on all tracks
3. Compressor off - Dry 100%
4. Track 1 - Kick - set this at volume at 100
5. Set Master Volume to max
6. Set my A&H mixer inputs to zero dB.
7. Set other volumes for for each track.
8. Set filters for each track (as required) to reduce frequency overlap.
If anyone can add any other stages I’m missing in their mixing workflow I would appreciate it, or modify my approach entirely.
With all the overdrives off, the volume a lot lower, things seem much better, but I still feel a big question mark / restricted with just a single set of outputs, no EQ.
Thanks for all the constructive comments. You have all been very helpful.
Much better
However, maxing out the mixer volumes is unnecessary. The only thing this accomplices is that you can only turn down the last volume stage on tracks and not set then louder. Set these all to 100 so you have some headroom left to work with.
Also the master volume, leave at 12 o clock. Give yourself some headroom to work with and don’t max things out. And as stated earlier try to use the different volume stages to drive things through the flow. Src volume to drive louder through the overdrive if you want, amp volume to then set the volume lower to compensate or louder to drive through the filters and the track mix volume to set the correct volume of the track for the entire mix.
The first filter page contains a single band eq option with 5 different Qs. However, using the second filter page’s base width filter is key as well. Especially to make sure you remove low end from samples that are not needed to have low end. In addition make sure on the delay and reverb pages you do the same (not a rule but for most purposes it’s best to carve away some low end from the delay and reverbs as to not clutter up the low end.)
Now add proper panning of percussion etc. In the stereo field and your sound will have improved :).
If you want to multi track: overbridge. But I’d keep at it and try to create as good a sound as possible.
As suggested , maybe post a short recording for some more specific advise.
What’s your relationship with the default patterns that come with the Digitakt? Elektron really knows what they’re doing when they put their defaults in there, so just listening to them and studying what’s going on there, goes a long way to understand how to make the Digitakt shine.
I didn’t know there were default patterns. I’ve seen the sounds and waveforms. It’s not second hand so I guess they must be in there. That’s a good idea if you believe they are an example of a template set up.
Ok I will - that makes sense, I work with 100 and lift if all else fails
Yes that makes sense too. I’ll set my A&H mixer to match.
I haven’t made it to this page yet, I’ll do some manual reading and experiment. Noted regarding the delays and reverb low end too.
Yes I will that’s a good idea, as mentioned earlier. I’ll get it as good as can and make a quick 2min performance . I’m away again, I spent an hour mixing the patterns before I left, so I’ll work on the ideas and report back.
It doesn’t have to be zero. It’s a useful tool (I use it on near enough all my individual tracks) but dialled to taste. So, on a kick for example, gradually turn it up till it either starts robbing the bass or sounds too gnarly for the track your making then turn it down again until it’s sitting nicely with the other tracks. Use it for sound not volume. And maybe reduce the track/amp volume to compensate.
This is a useful signal flow chart from the DT manual. You can see, for example, that the base-width filter comes before the main resonant multi mode filter despite being on the second page. And also that the overdrive happens really early on in the chain, so those extra harmonics can be dialled in to taste then filtered if they’re overloading the highs/lows. Also, the amp volume will drive the filters harder, which may or may not be desirable.
That’s a good point. I wasn’t expecting those characteristics to occur from Overdrive. I’ll listen more intently at this and experiment. With my ‘zero’ approach, I can build overdrive into the sound and see what’s happening, rather than starting with volumes too low and boosting the overdrive as I was before.
Definitely experiment with Elektrons Presets project, it’s worth doing a ‘Save As’ so you can get destructive with them.
These are a really good indicator of what you can do with the DT, and its easy to use them as templates for your own tracks.
Yeah, one way to approach it is to browse Elektron’s factory patterns, find one you like, delete the pattern data but keep the pattern settings, and just write your own tracks. It’s like having a perfectly calibrated band but having them play your song instead of theirs, and learn why it sounds so damn good at their settings.
