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Anyway, this time around, I don’t have a theme exactly. This one is about time periods.

Something that I’ve thought about every now and then is how often we reach back to the 60s, 70s, and 80s to source our samples. And that’s about as true today as it was back in the 80s and 90s when most of us started getting interested in hip-hop and other sample based music. At the time, those songs would have been maybe 10 or 20 years old. But songs that are 20 years old now would have come out in 2006.

So here’s my challenge. I want everyone to make some beats based off of samples that are no more than 20 years old. To that end, if you want to enter, post up a song from no earlier than 2006. I don’t want to put any hard limits on what kinds of songs to post except to say that they should be tracks that aren’t themselves built around samples. But other than that, any genre is fine.

So here are the rules:

You must post a song to sample in the thread. That song must have been released no earlier than the year 2006.

To make your beat, you can use any song in the thread, even your own. But you must use at least one song that another person has posted.

You can also use any drums you want. Any kits you want to use are fine. Drum samples from records are exempt from the year requirement. So if you want to loop up Impeach the President, that is perfectly fine.

Any other instruments that you want to add are fine, as long as you play them. So if you want to lay down some synth chords or something, you can do that. You just can’t, for example, use a synth loop you found on splice, or something you found on a record that’s not in this thread.

You can use an acapella if you want. But your acapella also needs to be from a record released no earlier than 2006.

Your beat should be no longer than 3 minutes.

Once you’re done, you can dm it to me. Please include your name in the subject.

Deadline: July, 24th

I will start. Here’s a cool track that my youtube algorithm bestowed on me a little while back that I like a lot:

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Nothing happened, i checked what was wrong, saw the issue, connected correctly and now the display does light on but it does’t boot anymore.

Is this fixable or can i throw it away now?

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does anyone have experience with this company and the quality of their DSP?
Obviously it´s all digital, but it looks like the converters are good quality…

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It’s crazy how cheap you can get things shipped to Europe. So, I thought we could share some smaller Makers from Japan, who do cool Stuff!

I got the MONOS CV and it’s awesome. You dig Rob Hordijk’s stuff, but Blippoo Box prices make you cry? Get this one. I think it’s actually cooler and it’s 90% cheaper

I got the Harmonics and it’s ace! A little Wavetable synth for awesome Drones

NOW YOU!

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D16 Group Audio Software

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I tried to assign MW and BC (CC 1, CC 2) - while it allows me to send Digitone CC out, I cannot receive it back in, which matters because if I change a kit on the drum machine VST, the Digitone params need to update.

Curious if anyone has any clever ideas!

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This project started in March 2020 but got fucked off by the plague for a few years. Restarted about this time last year and has been a good laugh.

There’s two of us, me doing all the music and my guy James doing all the vocals, it’s 99% Ableton based. The whole idea is kind of trying to bridge the gaps between extreme metal, noise, electronics and hip-hop.

Album should be out soon, it was originally planned for Easter, but my house keeps trying to fall down.

The two tracks on our bandcamp are not quite finished, hence calling them demos, but they’re about 90% there.

More will follow in time.

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Before

After

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The one thing I’m struggling with is melody sequencing.

• Are most people just selecting random steps and then p locking to scale? I’m new to music production so I don’t have any experience with an instrument but it seems a lot of people play live and then adjust?

• Since you don’t have much of a visual of what notes are being played, how do you expand on your melody and translate it to your bass or chords?

One thing I miss from the DAW workflow, is being able to input notes and try out different notes + lengths but the DT2 seems to favor 1/16th notes.

Sorry if this seems very beginner but any advice would be much appreciated.

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For example, you can loop single-cycle waveforms in a sampler, so that’s kind of like a basic synth engine. And then if you run those through a rectifier, then you kind of get wavefolding.

But if wanted something the DNII Swarmer or Waveform on an A4 or TV, is there a way to get close with engines+effects? Or the Wavefinder with a DNII? Does this kind of information exist anywhere? Also kind of hoping the answer isn’t just “sample everything first.”

Lots of decision fatigue in trying to decide between boxes and what you lose between them in terms of sound design. If it helps, I’m specifically looking between the TV, DNII and A4. Thanks in advance.

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MIDIPLUS

WINDKEY-MIDIPLUS

   

SPECIFICATIONS

▸ 37 mini keys
▸ Octave ± Buttons
▸ Volume slider
▸ Battery or USB powered
▸ MIDI over USB-C
▸ Transpose ± 12 semitones
▸ LED Display with 6 menu buttons for adjusting parameters

JACK SPECIFICATIONS

▸ 3.5mm Headphone output interface
▸ USB-Type C interface

FEATURES

▸ Keyboard mode allows for play without breath control
▸ Built-in Adjustable Reverb
▸ Handle for standing play
▸ Comes with Hose and Mouthpiece – also compatible with mouthpieces by other popular melodica brands

Built-in 10 TONES

1. E. Melodica
2. Accordion
3. Harmonica
4. Reed Organ
5. Synth Lead
6. Strings
7. Sax
8. Clarinet
9. Flute
10. Recorder

Manual [Engl.]

https://www.midiplus.com.tw/MIDIPLUS-Download-detail/0/Manual_Of_Winkey_EN/

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at the time of writing this, it is super hot here in Europe, I‘m sure some of you will have noticed

As it is basically impossible to exist in my studio during the heatwave, I grabbed my Tonverk and fled to our backyard. Accompanied by just two samples, a dictaphone-mic to crumble paper into and a handheld recorder to capture a performance.

Usually when I perform my tracks to record them to tape, the sound design and composition stages are already done and I improvise with the track structures, mixes, etc.

For this performance, I decided to change things up and create the whole piece while recording. The Tonverk was key here, as it allows me to cue individual tracks to my headphones and then seamlessly fade them into the main mix once I‘m happy with a new sound.

All the sound design is happening inside the machine. With a lot of resampling. This leads to a slow-moving, droney experience. But I‘m really happy with the outcome and at least to me it reflects the temperature well.

I put the audio on bandcamp as a name-your-price download:

I hope you enjoy it.

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I’m currently trying to figure out, how to use the different fill options, bc I normally only use the “basic” fill mode.

With basic I mean, I press fill and some additional drums play, or I’ve prepared a separate page with reverse fills, mute current page, swap to reverse fill page, press fill, back to other page → transition done.

So if you’ve got some interesting ideas to great bridges, transitions and so on, feel free to comment

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Inside, you’ll find 105 original presets covering everything from deep basses, punchy kicks, and hypnotic arps to rich pads, sharp hats, textured percussions, snares, cymbals, leads, sequences, and sound design textures.
Every patch is built to push the Digitone II to its creative limits bold, expressive, and ready for live or studio use.

Whether you’re producing floor-ready tracks or exploring atmospheric grooves, this pack is made to inspire, perform, and stand out. Unlock your sound now available.

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A complete and carefully organised sound pack for the Elektron Syntakt, designed for techno and electronic music production.

The pack contains 16 project ideas and 192 original sound-design presets, covering the main elements needed to start building a track: kicks, basses, snares, claps, hi-hats, percussion, synths, chords, pads, and rides.

Each project follows the same track layout:

• Track 1: Snare / Clap
• Track 2: Hi-Hat 1
• Track 3: Hi-Hat 2
• Track 4: Hi-Hat 3
• Track 5: Bass
• Track 6: Synth
• Track 7: Chords
• Track 8: Percussion 1
• Track 9: Kick
• Track 10: Pad
• Track 11: Percussion 2
• Track 12: Ride

This consistent structure makes every project easy to understand and navigate. You always know where each type of sound is located, allowing you to move quickly between ideas without losing your workflow.

How to use the pack

Load a project into your Syntakt and use it as a starting point for a new track. You can keep the original sounds, modify the parameters, change the sequences, create new patterns, mute and unmute elements, or combine ideas from different projects.

The projects are not intended to be finished songs. They are creative foundations that you can transform into your own productions and live performances.

Suitable for:

Techno, hypnotic techno, melodic techno, raw techno, minimal, electro, and other electronic music styles.

All sounds were designed directly on the Syntakt and organised to provide a fast, intuitive, and inspiring hardware workflow.

DEMO :

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I found a bug but I can’t remake it. It looks like it happens randomly. I use the m8 with the syntakt. I use a midi track on the syntakt to control midi CC on the m8. Most of the time I can tweak all midi parameters and I can reload the pattern and it resets all the midi CC on the m8. But sometimes it doesn’t work anymore and I can’t make it work again. I reload the pattern on the syntakt but the CC value on m8 stay the same. On my midi track on the syntakt the encoders are visually reloaded but not the parameters on the m8.

All internal parameters of the syntakt are reloaded right.

Someone ever experienced this ?

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I want to share my setup for Octatrack / “The Drop” style scenes on Overbridge supported devices.

Here is a quick demo on the Digitakt 1

The idea is that we get in depth machine control by manipulating via the Elektron Overbridge + VST
The current version is basically just Octatrack style scenes + “The Drop” style automated sweeps.

More features coming soon!

Check out the project here:

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I’ve found a used Digitone for usd370 an d wondering if the prices will go any lower in the near future

Cheers

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Ideally id like to have ability to dial in with a encoder notes values of adjustable lengths and to also send this data via midi to external synths (as the cycles does)

Is there a a work around for this on the samples ?

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Thanks for the help!

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On the Digitone II i can’t replicate this behavior. When i place multiple trigs on a channel their note values automatically become p-locked so when i rotate the note encoder in the “Trig” menu the notes do not change in real time. Additionally i can’t hold a trig and press in the note encoder to remove the note p-lock. Note p-locks remain in place. I can hold down a trig, then rotate the encoder to change the notes in real time but this is much more cumbersome than being able to change the note value of the entire pattern in real time. Does anyone know a workaround so i can make the Digitone II act like a Digitakt II in this aspect?

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Check it out and try it. I don’t own most of these devices so I can’t properly test most of this, so any help trying this out would be greatly appreciated.

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A while back, I posted about trying to achieve SOPHIE’s material-based, physics-engine-like sound design on the Digitone II. Huge thanks to @juliaen for pointing me towards Jeanne’s Hypervault soundpack! Exploring those 128 presets and 12 patterns has been an incredible masterclass in pushing the Digitone II into true IDM, Experimental, and Glitch territories.

Now, I want to pivot to another Elektron holy grail: Autechre’s Untilted and Quaristice era.

We all know Autechre heavily relied on the Monomachine SFX-6 and Machinedrum SPS-1UW during this period to create some of their most chaotic, generative, and violently rhythmic tracks. I’m endlessly fascinated by how they abused the Elektron sequencer to create structures that feel simultaneously deterministic and completely out of control.

I’m currently aiming to carve out this specific brutalist architecture using the Digitone II. Has anyone been experimenting with building Autechre-style systems on the Digitone II? I’d love to hear your approaches, specifically regarding:

Algorithmic Drum Deconstruction: How are you setting up FM ratios or utilizing the new machine types to get those dry, hyper-compressed Machinedrum-style clanks and percussive hits? Are you using specific LFO routings to randomize decay times or filter states per step?

Generative & Micro-tuned Melodies: Autechre’s synth lines often feel like they are melting or floating off-grid. How are you utilizing the Digitone II’s LFOs on pitch, combined with the sequencer’s probability/conditional trigs, to emulate that Monomachine generative sequencing where a pattern never repeats exactly the same way?

Extreme Parameter Locking for Glitch: Any tips on parameter locking different FM ratios, harmonics, or effects on a single track to create a rapid, disjointed sequence of morphing textures?

I’m aiming to start from init patches and really build up these complex, chaotic systems from scratch. Any conceptual advice, modulation routing tricks, or thoughts on bridging that mid-2000s Monomachine/Machinedrum mindset to the Digitone II would be massively appreciated.

Thanks!

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Panacousticon Series
A collection of Max for Live instruments for industrial atmospheres, decaying textures and cinematic drones with a complete exploration of modern granular synthesis. Fully mapped for Ableton Push.

Panacousticon takes its sonic vocabulary from a specific moment in the history of recorded sound: the cold, lo-fi tape-and-synthesizer culture of early-1980s European industrial and death-ambient music.

Listeners who know the catalogues of labels like Cold Meat Industry, the early tape work of Atrax Morgue, or the more contemporary palette of Hospital Productions will recognise some of the same instincts at work here.

All the info inside website here

Youtube Video
https://youtube.com/playlist?list=PLbFriy2uAtqs&si=c69K2Un646t1004M

I hope there are some Cold Meat Industry fans here, and listeners who appreciate music that is both rugged and deeply funereal

A presto! Emiliano
emilianopennisi.net

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