After watching the Let’s Learn FM video above, I’d love to learn how to smash the sounds together like the intro tunes Ess plays.
I’ve searched online and can’t find the video sadly 
Anyone got any tips for achieving this - my experiments so far haven’t been very successful at all.
@sid6581 Maybe these soundpacks + patterns are a good starting point.
Granules (https://0daysysex.bandcamp.com/album/granules) and Mindmelt (https://0daysysex.bandcamp.com/album/mindmelt) by Auvrel (Ess)
This might have been mentioned, but I just discovered that you can avoid clicks with bassy mono tracks on the Digitone by turning off the oscillator reset on the Syn2 (2/2) page.
Also, for amp envelopes with longer decay you can turn off the Amp envelope reset on the Amp (2/2) page to avoid having the envelope level resetting to zero on a trig. For the longest time I just used poly tracks and made sure the trig lengths didn’t overlap to avoid the clicks.
tip related to sync resets on syn2 page - you cant parameter lock them!
so if you plan to work on a song and then later go in and de-click it, its not going to work for sound pool sounds. Generally if you dont need a precise phase, or using a mono sound, you want to save that sound with osc reset off before using it in a project (by default its reset ALL)
tip that made me lose my marbles:
Default state of LFO.T is ignored in trigless locks unless you activate it to be something. So if your trigless lock says that its LFO.T is ON because sound has it by default, it will not trigger the LFO.
But, if you set it to be LFO.T ON (highlighted as a lock), it will trigger the LFO.
In other words, both options say that its activated, but they are not equal.
This is important to make any sort of smooth automation work reliably, and its insane ive never seen this mentioned on the forum or the manual. Everything is so much easier now. This logic might also apply to other parameters, but i havent had a need to test it yet.
EDIT 1: trigless LFO phase resets are very confusing, ill do more research and update the post later.
EDIT 2: digitones lfo’s keep gaslighting me. initial post is correct. you have to highlight LFO.T in plock for it to start from the beginning of the lfo shape. otherwise its ignored.
I have had all sorts of issues with the phase reset of the LFOs on this device. This kinda of explains things.
Was watching Hexwave’s video on YouTube going over some of the layering on the DN2 but it applies to the DN1 as well. I never thought about panning 2 layered tracks full left and right and you can get some really nice binaural sounds this way. Slightly tweak the ratios or patches or LFOs to get some subtle movement.
A quick question for anyone still interested in the original Digitone -
Is there any control for changing the pitch of a sound without using an LFO on ‘syn pitch all’ or changing the midi note?
I learnt Elektron on M:C which has a dedicated pitch knob - for live performance it’s great for mangling sound, (especially combined with ctrl-all and some delay).
Can this be replicated on DN1?
Externally via pitch bend (or midi loop back)
You can also try to use the ratio offsets, which can have a similar effect or wild effect depending on the algorithm 
and has a limited range obviously.
Dont sleep on page randomization.
Starting your journey of discovering a sound can get repetative because you always start from INIT patch, from same point of reference every time.
Randomize pages a few times until you find an interesting sound, and treat it as your new start point. Making you explore places you wouldnt even think of going before.
Randomization tips:
It takes a few seconds to stumble into something that you havent heard before from your DN, really cool. Using randomized sounds as INIT patches opened a whole new dimension for me.
Just to play devil’s advocate…starting from init patches may help the user to better understand sound design. Slow and steady wins the race, right?
I have not used the method you’re describing and will have to try it. “Usable” sounds for my projects (accompaniments for students) tend to be more in the lower orbit of init sounds than in the outer realms of random-all. I wonder if it’d take longer to tame a randomly produced sound…compared to building a sound from init.
This is definitely a type of tip that you should try after you spent some time with FM. I learned by building up from clean INIT patch too.
Idea is - if you feel like starting fresh steers you into making certain types of sound over and over, try random INIT. Its like shifting 0 on coordinate system, or origin point on the map.
Obviously if you have a sound that you want to make in mind already, its easier to start clean. This is more of an inspirational tool, for when you want to hear something new 
You can use pitch bend (or any other external modulation) internally using the level data knob.
Certainly but not as direct obviously.
Indeed. Was really hoping they would give us a performance page like we have on the A4 but really don’t think it’s going to happen now unfortunately.
I do tend to end up with similar sounds. And I’m not always happy about that. So, I will definitely be trying your suggestion.
Lately I’ve been using ratio offsets a lot.
I use them to slightly detune oscillators and get some phase effects, from low (.001 to .005) to wilder (>.020)
The idea is to go do for C and up for B for instance. A nice way to start the exploration, I’ve found.
Sometimes, if I have a bass sound and I am unhappy with its decay, I’ll adjust one the ratio offsets a tiny amount. Generally speaking, this hastens the apparent decay of the sound. A similar effect can sometimes be produced by turning up the detune.
New tip just dropped:
Do you enjoy using CTRL ALL but generally neglect it because it messes up your drums too much?
Do you usually FUNC NO reload after it even if something sounds cool?
… Thing is, instead of reloading the whole pattern, you can just T1+NO. Keep the cool sounds, restore others.
Its something so simple, but i only now used it for the first time. Theres other ways about it for sure, but this has to be the easiest one.
Bonus micro tip: sound locked trigs are not affected by control all. Lock your kicks, have fun.