I have only just started with the M8 (had my first session out of the house, on a train, just yesterday) but part of what attracted me to M8 was that it had, in its Sampler and FM Synth, significant chunks of my DT and DN. Specifically, for this discussion, M8’s FM Synth has the basic structure of a DN track. I think DN was an inspiration for the design, and I’ve heard that there might even have been some advice from a certain legendary figure involved in DN development, who is also a big M8 fan. The sequencers also have a number of similarities.
As such, from my perspective, neither DT2 nor DN2 would be ideal companions. Each of the three has features that the other lacks, but maybe not quite enough separation. I have the Roland S-1 and the Micromonsta 2, both of which people have enjoyed pairing with M8, and I look forward to trying those pairings. I don’t mean to discourage you from pairing M8 with either DN2 or DT2 if you think those are what you’re looking for. But maybe check in the M8 Tracker thread here or on the Dirtywave Discord for a wider set of possibilities?
also the fact that it now has KeyTracking as a modulation source …
So you can e.g. apply -8.00 on an OSC tuning to negate its keytracking - therefore either side of -8.00 you are microtuning and of course you can extend intervals between notes
this is massive for other parameter variety as it gives life without much effort
great for subtle gamelan stuffor for broadening the frequency range of your keyboard zone in focus
It’s the thing i think is most significant for sound design flexibility - i’ve wanted this for years
Keytracking as a modulation source is something I have been wanting forever, I use it in modular all the time.
The only thing left is LFOs that can adjust rate to match the note played, then we could use LFOs as audio rate modulation and totally unlock the FM fun! I think the A4 has something like that.
put LFO speed as a destination in the Key Tracking Mod source page, it has four slots
depending on how the depth is weighted it might be possible to get a ratio matching the pitch - so LFO could be a pseudo Oscillator if it were used in turn to amplify sound
I get it now, reread the manual. Yeah, i see why they put it where they did, but because it’s now under two menus I can no longer use it as a performance feature. On the OG DN i simply press the Voices button and then twist the Layer knob for instant changes. Now it’s obviously more of a compositional feature, so I can’t perform my tracks the way I do now. I was really hoping to twist a knob and select between a bunch of different layers of the 16 tracks, so now I have to keep my OG DN.
Pay me for that and I will too!
The most dificult is to choose the right algorithm imho.
DN2 isn’t much more complex especially if you have a DT2, the workflow is very similar.
I was frustrated by the 4 DN tracks limitation (I know soundlocks) and mutes. Sold for ST, that frustrates me for other reasons. The new DN2 machines are really appealing too, simple soustractive approach possibilities, dedicated drum synthesis…
16 notes per step on Midi tracks !
So yeah, no need to master FM TONE machines anymore anyway.
The update looks awesome, though I still enjoy my DN1.
Still, it’s a bit disappointing that the DN1 never got any significant updates, Elektron could have done the same as DT1 before releasing the DT2, and give it an update with new machines (even 1 would be nice).
As for DN2, the first things that came to my head when I first saw it:
Yes!!! All black!
No!!! Why they didn’t went with the regular DT/ST keys and kept the thin keys
16 flexible midi/synths tracks is really great though. The usual gripes are:
Why no midi retrig/arp? (even if it’s limited in number of track, to preserve midi bandwidth)
With a basic sample machine, it would be the final all in one groovebox, but then you wouldn’t need a DTII…
yes the DN simply doesn’t have this feature. What it does have is a means of setting an “input mask” to stop you from adding nodes outside of the mask (scale). This is a cool feature which allows you to jam with chords in a key, record it then modify each trigger as you please, perhaps with notes from another scale. A feature I have to admit I have not used enough.
The only “post pattern data” modifications that are made to notes (ignoring arp) is the transposition. And just like transposition doesn’t modify the pattern data a note quantizer similarly would not, it would just modify the current note value to one that fits the current scale.
btw, I tested programming a chromatic chord, C, C#, D, D# in the OT then applied the scale of C major and it played (as expected) C, D, E - dropping one note as two input notes quantized to the same output note.
I think for the ability to have more intuitive controls of synthesis/parameter- you also need to invest in an external controller…mapping it out to a faderfox takes time…extra money…and it’s a problem of parameter jump from pattern to pattern…I wish to see a real performance with this…technical review is fine…but performance?
Can Track Layering be used to trigger a MIDI track with an audio track, or vice versa? Or only audio tracks triggering other audio tracks? If audio and MIDI tracks can trigger each other with Layering, would be cool for triggering DT or OT for synth+sample layering
The Digitone is my favorite synth of all time. This new release is extremely exciting for me. It’s an instant buy. Everything I like about the Digitone has been multiplied and supplemented and I can’t wait to try out all the new additions. I think this is an excellent sequel. I’ll know for sure once I work with it.
Also, for what it’s worth for anyone on the fence: if you need to convince yourself to buy something, you might not need to buy it.
I think gear purchases need to make sense… we shouldn’t have to make it make sense
I don’t think you know how production processes work. Most electronic components come from
the same place. Where they are put together is a separate process called assembly and what you are supposedly referring to. They’re not made in Sweden or Poland or China. They’re assembled in those countries.
I don’t know why I am bothering with this reply though because this is low level baiting / trolling and you repeat this comment over and over wherever you can. If someone is actually interested in the differences and what goes into production processes I already explained this here:
They were all made with the FM Tone machine.