In the preset pool i have 43 sounds and 1-16 are on led 1 of page 1. I can press page and it will move to led 2/page 2 and i can get sounds 17-32 and led 3/page 3 gives me what’s left,you get the idea.
If i want to go back to page 2 by holding page and the left cursor arrow it initiates a tempo reduction of 14bpm and if i hold page and the right cursor arrow it gives me a increase of 14bpm(i think this is a dj beat matching option thing)
I’ve definitely seen a video where a guy is in the preset pool and he uses the page + cursor arrows to navigate banks of 16 sounds from the preset pool.

It could be a setting im missing but im not sure.
I have tried to reach Elektron support but my phone wont accept a support code aarrrggghhh

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I know im 15 years late to the party with this , but i realized that for many users, new(or even experienced), the Birdseye view is missing, at last for me it was.

For the longest i knew the functions, i knew what keys to press in order to get what i needed, but i lacked a view of the total architectural concept that made everything else click at once.

Ive see a bunch of tutorials over the years but they were mostly about what button to press, but not a theoretical understanding of the concept and components in simple words, So i came up with something really simple '“child proof” analogy and map, and also a sheet that shows what it looks like and can double as a “Patch Sheet” as it were.
Coming from decades of Modular, it all clicked.

So here it is, for whoever may enjoy it, and for those who see it this way already - you dont need it.

Hopefully it will demystify a lot of the unnecessary daunting aspect of this unbelievably powerful and, in fact, Only device on the market that behaves like this without having to use a bunch of devices patched up together.

This portion deals only with the Recorders, Playback and signal flow/mapping and overview concept. Not the sequencer and other features, for which im making more Pages like this.

Enjoy!

First page is blank and following a few examples for how to draw and plan patches for different use cases.

Octatrack_Signal_Map.pdf (454.8 KB)

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My issue is the following: how can I optimize all of this? The Syntakt is cool for making kicks, subs, and basslines. However, I find that the sound is less cohesive (‘glued’) than when I sample its tracks and play them back on the Digitakt 2. (Sidechain, compression etc)

I’m looking to create a portable setup with a shared, consistent workflow. Not one track that is 80% Digitakt, then another that is 90% Syntakt, and a third that is 70% TR-8S! I am looking for a versatile configuration where each machine has a precise role.
Right now, only the TR-8S has a clear role: hi-hats, snare rolls, and on-the-fly percussion.

The problem comes from the roles of the Digitakt 2 and Syntakt, which tend to overlap on the same territory. I know that for live performance, this is a source of mistakes and an ergonomic issue that requires too much memory (pattern matching, track order, who does what, ‘I forgot’ or ‘shoot, I blanked out under stress’… etc.)."

I would like some architectural advice or workflow ideas to solve this overlap between Syntakt and Digitakt 2 for my live sets?

I’m not english speaker. So, I’ve used ia for translation. Sorry.

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I have the latest firmware on the Digitakt 1 and the latest Overbridge software installed on my Mac, but Overbridge doesn’t appear in system settings, login items & extensions. I don’t have anything else connected to my Mac which may cause conflict

my details are

OS Tahoe 26.7.1
Mac Studio M2 Ultra 192 RAM
Overbridge 2.26.10
Digitakt 1 (1.54 firmware)

Could you please help?

Thanks

Ian

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Let’s get back to why most(?) of us came here in the first place.

We’re supposed to be musicians, right?

So let’s talk about that for once.

Like what brought you to electronic music?

What are your ambitions as a musician?

What are your influences, how do they inform your practice?

Where do you see your music 10 years from now?

How do you find time for music making (if it’s not already your main occupation)?

I dunno, let’s just try and talk about music for a bit, yeah?

I’ll even entertain a bit of psytrance chat…

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Show us where AHFX makes a difference in your work.

1 - Upload an example or two showing what the AHFX adds to the sound, and what the material sounds like without it

2 - Share the AHFX preset or a guide to your setup and use case

This box is amazingly deep and I want a place where we can show off and trade techniques like the appreciation threads for other boxes. I hope there’s enough of us to make this A Thing

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I am squaring up to build a case and purchase the Instruō Arbhar as my first module after 2 years of semi-modular use. Looking for advice on this particular rack I came up with. It consists of pretty expensive stuff that’ll take me a while to build up, mainly looking for experienced modular folks to chime in on the build early on and confirm if it fulfills what I want it to do. I am very adamant on purchasing very conservatively and nerding out about each module on its own until I master them, only then progressing to the next bunch. Here it is:

Supposed to be a granular audio processor - I have a few months of experience with the Supercell in VCV rack by now. I also want stereo filters and the Planar 2 for audio mixing/routing but also use the joystick as a dedicated modulation source with CV to MIDI out (especially for modulating my Wavestate native and my PPG Wave VST in my DAW).

Feel like the Burst mode from Quadrax could be amazing for triggering grains on the Arbhar/Supercell as well. I use a SP404mk2 and a DN2 so I am not really looking for voices and would feed those in through the Arbhar and the Supercell ins. Also looking to get the new Outbox 8 at some point, so no MIDI to CV module therefore (or is the Befaco CV thing capable of MIDI to CV? I haven’t checked its manual yet).

It seems I won’t really need a serious clock module before the Quadrax/Planar purchase, so I thought the funnest way of a buying order would be Arbhar + Filter 8 as a first and then continue with modulation source + clock. I alredy own a KORG SQ-1 which’ll suffice as clock.

Most important question: will the power work? lol. So stoked about all the features of the Arbhar and the filter 8, I cannot wait to play them.

Cheers, have a nice Sunday eve

EDIT: Looks like the modular grid link isn’t updating properly, it displays an earlier version. Clink the picture to see the final draft, please!

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As a beginner, I know a DAW is best but opening Ableton and trying to create something seems daunting and uninspiring vs any of the grooveboxes I’ve tried. I think I enjoy having the tactile aspect of music making to keep me engaged.

The challenge with groove boxes is they all have their pros and cons, so is it just a matter of picking one and trying to master it?

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If you’re buying one used, checking everything properly is such a pain. There are six velocity-sensitive pads, all the trig buttons, encoders, the level/data knob, outputs, MIDI, USB etc.

The pads are probably the worst part because they’re already pretty stiff normally, so if one feels a bit weird you can’t immediately tell if it’s actually faulty or if that’s just how the pads are.

Then you end up sitting there pressing every button, turning every encoder back and forth, comparing pad velocities, checking the outputs… basically doing your own hardware QC.

On the bigger Elektron boxes you can just boot into test mode and check most of this stuff immediately.

Why leave it out on the Model series? If anything, these are probably some of the most commonly bought and sold used Elektron boxes.

Even a really basic diagnostic screen showing button presses, encoder movement and raw pad velocity would make used-unit checks so much easier.

Would be nice to see this added at some point.

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Helpful new user tutorial

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Also are there any good Simmons soundpacks for the AR?

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Videosync seems alright but I would like a bit of return before buying it.

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How much QA do you think is being done on these hacked firmwares by comparison ?

I don’t know, but it’s something you have to take into account.

I honestly don’t have a problem with Elektron saying they don’t want to this forum to actively encourage independent firmware (because they anticipate backlash when there are crashes or bricked devices). Those firmwares will be created anyway, whatever Elektron do, but its reasonable to protect themselves against a backlash.

NOTE: this is an amended version of a flagged comment. I missed the window for editing that to address the flagging, so this may look like a re-post to some. It has however been edited.

LINK: Elektron’s policy

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Longtime Elektron user here, who finally found the time to really dig into their Tonverk for more than some small experiments.

One thing I wonder (and this is something I run into on all modern Elektron boxes): How do you keep the sounds of multiple patterns in sync?
You create a pattern, want to create a variation, so: Copy it to the next pattern, make adjustments there. Now you have two patterns, where any small tweak to the sound will need to be tediously copied over. When you’ve got a whole song on there, we’re talking about a lot of patterns, a lot of tracks.

Am I missing an easy way to copy over all pattern data except for trigs?
If not, what’s everyone’s method for dealing with this?

Ofcourse I enjoy the power of being able to make these changes per pattern, but I’d prefer a toggle like on per-track length/speed.

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https://shop.sylviamassy.com/

She also ist selling odd and rare vintage gear btw…

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I’m having an issue with my Octatrack MKII. A specific cluster of adjacent buttons - YES, NO, UP, and LEFT - are completely unresponsive.

Here are the key technical details:

• LED Behavior: On startup, the LEDs under all of these affected buttons light up properly during the initial LED sequence animation. So power and basic LED control line are clearly active.
• Test Mode: Running the FUNCTION TEST gives [OK] / [*] OK for all main components (DRAM, SRAM, DSP, ATA, CODEC, etc.). However, in Test Mode, pressing any of these 4 buttons produces ‘no reaction’ on the trig matrix LEDs.
• Physical feel: The buttons physically click normally and don’t seem mechanically jammed.

Maybe a dedicated input/readout line on the UI board or ribbon cable connector might be failing.

Has anyone experienced a similar issue with this specific group of buttons? Was it resolved by re-seating/cleaning the internal UI ribbon cable, cleaning a master switch in the matrix, or replacing the button board entirely?

Thanks in advance for any insights or repair tips!

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Thanks

Ian

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So please forgive my noobness. I’ve had mt Digitakt 2 ( only bit of kit) for nearly a year and certainly not given it enough time. Life get in the way.

So I’m slowly learning new stuff on the box and at times I’m like yeah that sounds good. Then I go down rabbit holes and end up getting tired and turning the box off for the night. I’m mainly using single shot samples and sometimes longer loops to try and make dark, raw techno stuff.
I’m just jamming and messing about really. I’ve hardly touched on Filter or Amp pages. using Slice and Grid , Re trig , velocity and trig conditions.

I’m trying to reproduce an effect I hear in dark techno. The Illusion of distance when a sample, sound is being played and coming closer and closer or further and further away. not just delay.
I’ve tried panning with LFO but need to spend more time on this to fully understand what I’m doing. maybe an LFO assigned to volume and pan?

some example of the Illusion of distance and delay that I like.

Feels like the synth noises / sounds are coming in and out and panning around a little.
can’t just be volume and delay levels right ?

Also

With this style of techno it feels super compressed, deep and fair bit of reverb.
Am I going to need some kind of effects pedal to get this kind of effect. Would that be a worthwhile investment?

Again don’t really know what I’m doing or if I’m explaining what I’m hearing correctly.

Any advice would be good.

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Thoughts?

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Last weekend was a big step for me, because I played my first Liveact show combined with audio reactive visuals, that I programmed in TouchDesigner And my Macbook did something really stupid :*D

Like before, my Liveact is based around the Analog Rytm MK2 as my “Deck” with lots of tracks I arrange in real time. The Octatrack works as a “DJ Mixer” with the loop transition workflow. Business as usual I could say

But this time all those MIDI and Audio data from the AR and OT went into TouchDesigner and from there audio reactive visuals were created. So my goal was to make my performance and audio visible on a canvas and build a connection between images and performace (and actually one composition)

To give this whole visual idea a solid foundation in terms of aesthetic, each track were connected to one photograph of my friend Michael Pliwischkies. So my performance, track building and transition brought the images to life

What made this set so special for me was the duality, because on the one side I had to concentrate on making music, rehearse the performance etc. But on the other side I had to think of TouchDesigner coding, portability of the equipment, visual aesthetic and the hope, that everything went fine. And I am not a coder, more a beginner in this field.

One really really stupid thing happened that evening: the HDMI connection of my Macbook for the Beamer didn’t work (but before that it worked on all other monitors, beamers etc. I tried). So luckily I had an Anker USB C Hub with me and that HDMI connection worked fine :*D Besides that, every other stuff I had to manage went fine and I had a really good experience with good feedback

I am really curious what you all thinking about this “AV composition”. It’s a whole new discipline for me and I am just at the beginning of this journey

Thanks for reading.

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With the Digitakt 2 I’ve posted about here recently one of the encoders/pots(C) feels a bit rougher then the others(it is a used unit, no idea how old)

Have looked around for solution to this and found Deoxit F100L-L25C. Would buying and applying this resolve this or should I just make do and leave it ?

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I just released a deep dive on this mixer.

Very honored to say that I was able to provide a lot of feedback on early prototypes. This mixer is really aimed at live performance and I provided feedback to Union Audio as much as possible to make every function performable.

Some of the suggestions that made it into the final design:

• Removing the panning knob in favor of a titl EQ which wasn’t there before. And leave the panning cv so that panning is still an option by simply connecting cv control.
• There a various custom settings you can make on the back panel with jumpers: Channel 1 comp bypass so that you can use the comp as a true sidechain comp. (the comp has an external sc input). So plug your kick in channel one, split that signal and send that to the sc input of the comp. pre/post fader option for the Aux sends. And aux 1 and 2 link options (changes the send volume behavior)
• Some tweaks to the workings of the filter (e.g. higher resonance just short of self oscillation and it scales down when changing filter freq to lower frequencies)
• aux send on the filter like on the Elara 6, which also opens this mixer up to feedback looping fun
• Morphing compressor ratio which goes from low ratios until 12 o clock, to heavy comp, and even negative ratio comp while also,from about 1 o’clock onwards if I remember correctly, mixing in the dry signal for paralel compression. So the higher the ratio knob beyond 12 o’clock the heavier the compression mixed in with the dry signal. Which makes for a mega punchy yet forward sounding sound. It really sounds incredible (making things sound good in hardware is all Andy Rigby Jones of course ! I merely propsed the idea)
• Some other small suggestions for user improvement.

Regarding the mono sends:
This was a request from me as well, but unfortunately there was simply no space left on the PCB to do this. Honestly a minor downside when used as send fx. You could also use the headphone out as an extra stereo send.

It’s a really great sounding mixer, as can be expected from the designer of the xone 92/96/db4/model 1/elara 6.

Enjoy the deep dive Let me know if you have any questions. Happy to answer them.

You find the mixer on union audios website and your favorite retailer.

https://www.unionaudio.co.uk/products/area-6-eurorack-mixer

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I like to run through the presets on any device and reduce it down to the “best sounding” ones. But over the years I’ve realized I’m just picking the presets with the most amount of harmonic content and then mashing them together into a wall of mud and noise.

On a computer this is easy to fix with EQ so I never thought hard about it. Now I want to get better at identifying presets that sound weak in isolation, but amazing when pieced together with supporting sounds.

I do understand basic mixing practices and have put together some full albums worth of music that passes amateur judgement. Stuff “High-pass-everything” and removing unnecessary harmonic content from each sound I get.

But I want to develop the ability to identify or craft a sound that will not need the EQ carving live. I want a collection of parts ready to be combined freely during a live improvisation

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I’m looking for an all-in-one drum machine for live techno to complement my modular system (DFAM, Braids, Eowave Titan, BF-22, fx… modulation sequencing…

My priorities:

• Powerful, deep and physical kicks
• Warm, punchy sound — not cold, thin or overly digital because the rack sounds huge
• Good built-in FX, especially delay / ping-pong
• Fast per-part FX sends and hands-on controls
• Quick and practical for live performance

I previously had an Elektron Model:Cycles and really disliked its sound: cold/metallic hi-hats and weak kicks, at least to my ears.

I also had a Jomox MBase 09 MK2, which was by far the best kick I’ve ever had, so I don’t want to sacrifice too much kick quality.

I used to have most of my percussion in Eurorack, but now I want to move the drums outside the modular and have a fast, complete solution With a nice price sound and functions.

I’m considering the Sonicware Deconstruct MINIMAL because of its workflow and per-track FX sends, but I’m worried it may sound too thin or digital, i have stereo Drive/ saturation on the modular to use With the deconstruct or the drumlogue, and an old mackie onyx 1220 which i like a lot, clean and Powerful sound, i could make some eq If i need more lows…also i could use 2 Kick sounds in one With the deconstruct and maybe It sounds nice…

How does the Deconstruct actually sound in a real techno mix compared with the Drumlogue? And are there any other machines around this price that I should consider?

I also could use the deconstruct, and add a dedicated Powerful analog Kick module on the rack, but i prefer all in one drum machine as i said.

The prices of both are very good used on UE 250/300€ and they have fx, lot of sounds, hands on playing…also they have synth engines, the ácid bass on the deconstruct sounds very nice also has sub…seems fun!

Thanks a lot to all!

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