My NEW Tonverk Workflow

[Music]

[Applause] [Music] What's up, folks? My name's Matthew, aka Easybot, and today we're going to talk

about integrating the new Elektron Tone Verc into your existing ecosystem.

I've had the Tone Verc now Sorry, I was blowing something out of my face. I've had the Tone Verc now for

face. I've had the Tone Verc now for quite some time and um you know, trying to figure out exactly what I'd like to do with the unit because it does a lot of really

interesting stuff and it makes a lot of fantastic sounds and I really want to get that working in my system and uh I kind of had like a little epiphany uh

yesterday afternoon and I was tinkering with the Tone Verc and right now my Tone Verc and my Elektron gear running seamlessly together. I'm not having any

seamlessly together. I'm not having any sort of MIDI issues.

Um which is dope. So, I've actually been able to integrate it and I want to talk about um how I'm doing that and this concept a little bit it's a little bit about how I

already do my general integrations with my electronic hardware and how I use my Octatrack, how I use the Digitecht, the Digitone, and my Tracker and any other piece of equipment. I have this formula that I do for all of my setups and I've

kind of, you know, it's just the way I like to perform and um I found a way because the Tone Verc has multiple outputs. I don't know why it

multiple outputs. I don't know why it didn't click with me immediately when I first got the Tone Verc on to do this, but I want to explain it to you and uh make it so that you

or demonstrate why this is a cool idea and uh maybe you'll adopt it into your system and it'll give you some ideas and something that you could do with the Tone Verc or any instrument that has multiple outputs.

Um let's just replace Tone Verc with anything that can do exactly what the Tone Verc does. Not many instruments do what the Tone Verc does, but some of them can. So, let's talk about it.

them can. So, let's talk about it.

I want to integrate. Roly Miller, you got it, dude.

You must. We must.

You must integrate. I also want to mention that folks were asking me if I was going to build a template for the Noise Engineering side drop for my Hybrid Performance Mixer 4x4 and I've almost completed the template for the Hybrid Performance Mixer for the

Octatrack. So, if you are on my Patreon

Octatrack. So, if you are on my Patreon and or on Coffee, I'll probably put it on Coffee for free. Um but if you're on my Patreon or on Coffee I'll have this uploaded uh either today

or tomorrow and it will be a free download. So, for those of you who have

download. So, for those of you who have Noise Engineering side drop want to use it with my template, free download for you.

Uh gives you a couple more effects and breaks open some of the less immediate controls from the Octatrack.

That was just a little side side quest which we've completed for all the XP that we could possibly get from it. Now,

let's talk about this integration.

Okay.

So, here's what's going on.

The outputs of A and B of my Tone Verc, they are running into my Digitecht. And

I'll tell you why I ended up thinking these thoughts and doing this exact workflow. The outputs of C and D are

workflow. The outputs of C and D are running into my Digitones inputs. So,

this is being split and first let me say this is my drum machine. This is my melody machine, okay? They both can do melody, they both can do drums, but they have primary purposes in my workflow.

Typically in a lot of those these performance templates I like to design on the Octatrack and why I like doing this on the Octatrack is because I can separate these drums and melody elements.

I love that idea of separating drums and melody. It makes it really great for

melody. It makes it really great for making custom performance effects. It

also is just a good way to write music.

Drum bus, melody bus, treating them differently, different compressors, different effects, different filters, all that kind of stuff, different compression. Um all that kind of stuff

compression. Um all that kind of stuff makes sense on a melody and a drum bus.

We do this in our DAW, we do this in our hardware. We emulate the DAW in our

hardware. We emulate the DAW in our hardware to the best of our ability.

That's what we should be doing.

Um I'm sure there's an argument somebody would make, why don't you just go do it on your DAW? That's cuz I don't like doing it there. It's not as fun for me.

So, let's just get that part out of the way.

I enjoy this process and I enjoy finding these cool integrations and I found another one.

So, because I can integrate because I can choose what tracks and what buses go out which output on my Tone Verc, I can send my melody out into one of these

machines and I can send my drums that I have in here or weird ethereal drum sounds into another machine giving me the ability to process them separately with different effects depending on

what, you know, stuff I'm doing on my Octatrack, but also just allowing me to think of them in two different ways.

And the reason why this came up let me tell you.

This part's important. The reason why this came up all together is because there isn't still even though Um Umenavox, I'm saying their YouTube name wrong. Even though they came up

name wrong. Even though they came up with a pretty solid way to do sidechain ducking on the Tone Verc um solid enough until they actually fix whatever's causing this to not have that and add

the inputs in the compressor. There's a

mod envelope on the Tone Verc which should allow you to do really cool, fantastically complex and good, perfect sidechain ducking um or just ducking is what it should be

called. It's not sidechain, just ducking

called. It's not sidechain, just ducking using an envelope. Um but it doesn't work yet. And uh it will for sure, I

work yet. And uh it will for sure, I know that for a fact, but it's it's in the works. I've spoken with Elektron.

the works. I've spoken with Elektron.

That kind of stuff is in the works, but it's not ready quite yet. So, I was like, oh no, I don't want to wait. I

want to play with my Tone Verc now. I

think this thing sounds really fun. I

really love the effects and what I've been doing with my little modular skiff is exactly what I've done with the Tone Verc today.

And that's what I want to talk about.

So, basically what I'm doing with the Tone Verc is kind of replacing my little pallet case that I love so much because it makes all these huge sounds cuz I have all these stacks of effects in it.

That's really what it was was a poly synth with a bunch of effects and it worked really well.

But now I'm just using my Tone Verc.

So, this all came up because your the way that I do my sidechain bus. And by

the way, I have this um very deep video coming out this week on how do you how I believe you should and me and everyone else who's using a Digitecht or

Digitone should be setting up their sidechain ducking in this bus format that um that just works really, really well and the video's already edited. It's ready

to go. I'm going to drop it this week and give everybody all the knowledge that I've come up with this and and every reason why possible.

But I'm utilizing this exact same idea in this workflow where my incoming audio, let me give you an example here.

Right now, track dog hairs. Dog hairs everywhere. Right

dog hairs. Dog hairs everywhere. Right

now, track 16 is my sidechain bus trigger and this video that's coming out will explain this further. I'm not going to go into tons of details with it. But

essentially, this has its own sidechain bus, this has its own sidechain bus and I run stuff into it. It's not being triggered by the kick drum or anything like that. It's being triggered by its

like that. It's being triggered by its own separate track that is the sidechain bus track.

Do with that knowledge what you will. If

you already understand that, then you get it. Go forth. Wreak havoc with your

get it. Go forth. Wreak havoc with your sidechain pumping extravaganza.

I wanted my Tone Verc to pump. I want these huge sounds to pump and so what I did is I took my output, I ran it into my Digitecht and frankly, I did it wrong and I'm just thinking about it. I should

have run I should have Well, I can switch it up.

This doesn't matter. I can switch this up. But But essentially, what I'm doing

up. But But essentially, what I'm doing is I'm pumping my Tone Verc from my Digitecht. Let's check it out. So, let's

Digitecht. Let's check it out. So, let's

just remove all the sounds, leave my pumping track. We got this going. I'm

pumping track. We got this going. I'm

just going to turn the volume off on the Actually, we'll just mute.

What's going on in here? Nothing.

All right, this is my Tone Verc making all the sounds.

[Music] No pumping.

[Music] Okay. So, I'm pumping my Tone Verc, but

Okay. So, I'm pumping my Tone Verc, but I don't always want to have everything from the Tone Verc pumping and that's the advantage is that the Tone Verc has multiple outputs. So, I

can have one of my buses get pumped when I want it to be pumped and I can also take the turn and turn the pumping on and off on a per input basis based on these machines.

Which is just fine with me cuz this machine is more of an external chaos box. It's like it's providing

chaos box. It's like it's providing things that these boxes just don't do naturally. It's got this huge amount of

naturally. It's got this huge amount of polyphony, 64 voices, all these different effects, weird modulation, extra modulators a different workflow that's a little

counterintuitive to the Diggy workflow.

I do believe that it will be more intuitive to this workflow as they start adding the feature set from Digitecht 2 and Digitone 2 more into the Tone Verc.

Um but at the moment, what it resembles the most is an Elektron sequencer and modular synth in a box. That's what I feel like it is.

And uh like I said, I'm having zero MIDI issues right now. That has been resolved for me.

Um it will be resolved for everyone soon.

And um so, it's really fun to use and I'm ready to start using it in my system and uh yeah. So, this is what it sounds like

yeah. So, this is what it sounds like currently. I want to work on this a

currently. I want to work on this a little bit further, but I really wanted to talk about this idea. And the idea is run A and B into left and right. Run C

and D into left and right on your other machines. Separate them into two buses,

machines. Separate them into two buses, not necessarily you know, the tracks. You put whatever track you want into those buses and you bring them into these elements separately. And so, like you have part

separately. And so, like you have part of this that works with the melody and you have part of this that works with your your drums and you think about that separately and you make these effects for it and it'll be really cool in this way and

fashion and you actually get a kind of you know, um, monitor what's going on via these machines, which is already so natural for you because you're already Digitone user. You're already a Digitone

Digitone user. You're already a Digitone user and you already know how to use the Tone Work because you're a Digitone and Digitakt user.

So, the integration is very simple, it's very fast, and I think that once you see this or what now that you've seen it, you know that it works

and that it sounds dope.

[Music] We got drums on the Digitakt here.

We have this synth wavy bassline on my Digitone, and then we have these more interesting sounds coming from the Tone Work.

[Music] And what I want to do [Music] is um add like a lead that's coming out a

separate bus that's not going through the sidechain bus.

And that's kind of the idea, right? Is that I want to have sidechain

right? Is that I want to have sidechain ducking and I want to have tracks that aren't sidechain ducked so that I can have melodic elements go over the ducking elements because the ducking

creates this vacuum experience that's very rhythmic and very tightening. It

sounds like a tightening of a track, and I love that. That makes a a track sound tight is what I'm kind of getting at.

And then when you throw something that is not ducked on top of that, it sounds extremely intentional. It sounds very

extremely intentional. It sounds very finished. Um, very clean

finished. Um, very clean uh, feeling, very clean sound.

So, I'm actually going to switch where these tracks go out. Right now

they're going into my Digitakt. I'm

going to have them go into my Digitone.

Let me see something here.

So, I'm going to go [Music] and, uh, turn up its input and then I'm going to go into my setup, compressor routing.

I'm going to get my left and right input. I'm going to go over to my

input. I'm going to go over to my Digitakt.

And I'm going to actually remove uh, the inputs of left and right.

And then I'm going to swap where these tracks are going out. So, track one, the bus is here in the effects menu. I want to make

the bus go out C and D.

And this one I want the bus to go out in C and D.

[Music] Now it's much louder.

And that's because there's makeup gain

on my compressor.

[Music]

Oh, that makes me realize that the reason why it was sounding so much different is because it's not getting my send effects. So,

it's not getting my reverb because the reverb goes out the main outs.

So, I have to put a reverb on these tracks.

This is Okay, this is what we're talking about. This is what we're going through

about. This is what we're going through here.

So, I want I made these tracks go out C and D instead of A and B, but my my reverb and my delay, my send reverbs, they go out A and B and there's not anything you can do. There's That's just the way it is.

Um, but if I want, we can add we can throw them through a bus. That's

what we want to do.

So, I'm going to take these tracks and bus them into bus one.

And bus this one into bus one.

Then we're going to go to bus one and we're going to send that out C and D, but on bus one I want to have my own

reverb.

Supervoid reverb.

Maybe I actually want to have the delay first.

And then I want a supervoid reverb.

Because I don't have my master sends.

So, we're we're creating a master send with this bus essentially.

And now I'm going to go back to these tracks and remove these things because I don't want them going out the mains.

And we go into the bus instead and we do it there.

And yeah.

What's that?

[Music] Oh, wait, what am I doing? Those are the sends again. I need to do it on the

sends again. I need to do it on the actual reverb.

I'm a genius. Here we go.

This will sound better. I was like, what am I doing wrong here?

Let's get these sounding the way I like them.

There we go. All right, we did it.

[Music] Right, we got our ducking back. We got

our reverb and our delay back. We used

our buses. We took advantage of the signal flow. We did the thing I wanted

signal flow. We did the thing I wanted to do. It works. Proof of concept

to do. It works. Proof of concept is valid.

This totally works for what we wanted to do.

Ducking on my Digitone. I got my separate drum bus. Now, my main outs from here can run into my Digitakt and I can do percussive things. I can do weird texture things. I can do leads that are

texture things. I can do leads that are on top of this that get processed through my Digitakt separately.

Everything works just as expected. Very

cool.

So, if I go track three, which is going out the main outs, we could find another sound if we want. Go to

multiplayer.

And [Music] I don't know why these are so quiet.

This bus is super loud.

Is there like an amp on the bus?

Uh, if we go to do do do do do do do master mix.

I guess I want these tracks to be a little quieter.

Let's see.

[Music]

Okay. Let's go back to track three.

Okay. Let's go back to track three.

[Music] Cool.

[Music] Now my dog's now going nuts. Perfect.

[Music] [Applause] [Music] [Applause]

[Music] We can use these effects.

[Applause] [Music] Switch over.

[Music] [Applause] [Music]

Who let the dog out? I know, my dog.

I just got back from the vet with her.

She was sick.

[Applause] [Music] [Applause] [Applause] [Music]

I don't know if that's the right sound for it, but I could be dark.

[Music] What's cool and you know, and I can make this and I can pump this sound if I want.

If I go back in here.

[Applause] [Applause] [Music] [Applause]

[Music]

[Applause]

[Music]

Pretty cool what you can do.

[Music]

Put some fills in.

[Music] I remember where did I put that?

Here.

I got this layered snare sound on here.

[Music]

Some fill conditions in.

[Music]

Check this out.

[Music] Stuff like this is like I think these are like little gold mines.

Like it's so bizarre sounding.

[Music] This is a live performance effects, but I could actually just sample this whole workflow.

[Music] [Applause] [Music]

[Music]

[Applause]

[Music]

[Applause] [Music] [Music]

[Music] [Music] I love modulating that.

Filter spread.

[Music] [Applause]

[Music] [Applause] [Music] [Music]

[Music] [Music]

[Music] [Music]

I mean it sounds so good.

[Music] Just having access to electron sequencer plus all the send effects and the the routing the routing with the other electron boxes, this is where I think this

finally makes sense for me. Like I love the idea that I had separate buses. I

did already. I didn't care that it didn't I didn't even think about this integration at the time when it came out. And then yesterday, this all came

out. And then yesterday, this all came together for me. I was like, "Oh, wait a second. I really want to play with my

second. I really want to play with my tone verb. How do I use it with my

tone verb. How do I use it with my system?" And then this

system?" And then this just happened and it was just instantly made sense to split these up and send them into this unit. When I want to sample, I still have access to that. I

can still sample because my main out still goes here and I can use the main mix. So, I can put my inputs here and I

mix. So, I can put my inputs here and I can sample into the tone verb. And if I want to bypass sampling in the tone verb, I can sample into my Digitone. And

if I want to bypass sampling into my Digitone, I can sample into my Octatrack. So, all three of these

Octatrack. So, all three of these samplers fed by one single input.

One input, three samplers, stereo sampling.

I can apply effects here. I can apply effects here. And I can apply

effects here. And I can apply hit a sampler, do effects, do weird stuff, hit a sampler, do effects, do weird stuff, and then hit the craziest sampler of them all in the Octatrack and do even more weird stuff with all our time stretching that we don't have in the other boxes really. When we do have

here but I digress on that unit.

But this is really what I wanted to talk about. It wasn't even necessarily about

about. It wasn't even necessarily about making tunes today. It was more like you know, borderline philosophy on how to integrate the tone verb into your existing electron setup. And I think that this is a cool idea. I think that

this is worth some study. I think it's worth studying this process and uh taking some efforts in trying to integrate this unit in this fashion cuz

I think that this is how I will use it from moving forward because this seems to be the best use case for my tone verb. It doesn't disrupt my signal flow.

verb. It doesn't disrupt my signal flow.

It adds to my signal chain. It gives me access to a larger and a more um you know, uncapped poly synth with 64 voices and all the kinds of sounds that

I can integrate into that. Now I can like, you know, use pianos and orchestral stuff with the electron sequencer instead of, you know, FM and virtual analog on the Digitone because it has a particular sound that you can't

escape from. It sounds like an FM synth.

escape from. It sounds like an FM synth.

It sounds like the Digitone. It sounds

like a virtual analog synthesizer.

This sounds like whatever you want it to sound like. This has got great sample

sound like. This has got great sample bit rate and it can, you know, multi sample. So, there's not really a a cap

sample. So, there's not really a a cap on what it can sound like. It does

whatever you want it to sound like.

Um but with polyphony. So, to me, this seems like the method.

But I would love to hear people's thoughts on this. What do you think about this idea? Is this

cool to you, too? Like do you did you get excited when I when I talked about this the way that I'm excited about it right now? Because um I feel like this

right now? Because um I feel like this is how this becomes piece number three to my setup. And I really want the Tone Work integrated in my setup because it offers sounds that I don't have.

And because it's smaller and easier to carry than my modular synth requires no patching. I just still love my modular and all, but

I just can do so much more in a groove box, especially in the electron ecosystem where I know everything so well.

What's up, chat?

Loving the setup, stealing it, right on.

That's what I'm talking about.

All right, I'm going to go back up the chat and work my way down.

I just can try I I just tried controlling Tone Work with Oxy and can't believe the multi MIDI integration isn't added yet.

Split Tone Work on top either boxes is so smart. Thanks.

so smart. Thanks.

Thanks Vimto.

Yeah, about that. Could that controller replace the Octa when the Tone Work has a few updates?

I Yeah, in in a few weird situations, yeah, I'm not going to lie.

There's You You potentially could kind of do it.

I mean in my opinion, no, it can't because it's just they're not the same thing. The

Tone Work, yeah, just cuz it has effects and this can do timing based modulations.

Yes, there's some truth to that. Um

will it function in the same way as something with a sequencer on it and recorder tricks and stuff like that? No,

but it will have a similar function.

This is very smart. Oh, thank you.

Uh only issue, I love using the DN2 for drums. Use the DN2 for drums. What's wrong with that?

I don't think it really matters what you're using for what. The idea is to split these buses and to use your your existing internal inputs and then you have access to two side chain

you have access to two compressors. And

I told you I'm really I'm going to release this video this week explaining exactly how I set up the side chain compressors and why it's a great way to go.

And you're I honestly believe that if you haven't already integrated it the way that I'm going to explain in this video, you're already going to want to You're going to want to do it. And it

will help you with this this Tone Work integration as well.

Tell us more I got the half ax plane drums a sub track.

Uh could you pronounce I don't know what you guys are talking about. The Tone Work currently only

about. The Tone Work currently only accepts MIDI over the auto channel as far as I can see. I believe that they plan to add multi MIDI functionality soon though like other boxes.

100% they're going to add all the functionality that you would expect.

There's no doubt.

Who else feels Tone Work to be kind of useless? Asking for a friend.

useless? Asking for a friend.

Well, I don't.

I mean, no one's paying me to talk about the Tone Work right now. I'm I've been excited about the Tone Work since it came out. It's an electron box with 64

came out. It's an electron box with 64 voices of polyphony, buses, and external outputs. If you are an electron user

outputs. If you are an electron user like me and you've been a hardcore die hard electron user for as many years as I have, there's no reason why the Tone Work shouldn't be exciting to you. I

understand you could be frustrated with the release situation, with how it released with some functionalities missing and some In fact, some of the things on the unit itself aren't even integrated, things

that are written on the unit. And I get that. I'm annoyed at that, for sure.

that. I'm annoyed at that, for sure.

Like that's just that's life. That's annoying stuff. But

that's life. That's annoying stuff. But

if you're a die hard electron fan and you know electron and you've been with the company for a while, like you know that you're going to get what you want for, you know, I don't know how quickly it'll come here, but you know that those features are coming. Doesn't

I'm not saying that you shouldn't be annoyed. You can be annoyed. You have

annoyed. You can be annoyed. You have

your right to do whatever you want. But

if you're excited about electron stuff and you love the electron sequencer and now you have access to multi samples, which you've never had before and you have access to insert effects again like the Octatrack, which you haven't had since the Octatrack, and you have

multiple outputs, which you haven't had with insert effects except for with the Octatrack.

And new effects, then you should be excited. Straight up. If you're not, I

excited. Straight up. If you're not, I don't know why. I maybe you're bitter.

I'm not sure, but if you're an electron fan like I am, if it's your main workflow, then yeah, you should be excited regardless to the situation, I think.

I mean, that's how I feel about it.

Um and that's just cuz I love I love this gear, man. I love this gear.

Straight up.

Looks like I'm falling off the screen cuz that's my mouse is so far away, but I'm scrolling through the chat right now.

Best setup you can get.

That's what I'm saying.

The ability to route to different outputs and reroute effects on the fly is why I'm keeping the Tone Work. There

you go. Bam, despite your disappointment. That's fine.

disappointment. That's fine.

Welcome to Easybot's vacuum experience.

Yeah.

Easy and now if you add the analog heat plus effects, you will kill. I have the analog heat plus effects. I don't think that's ever I don't think that's I don't think that's in it for me.

I'd rather just use the Tone Work.

The heat in the heat plus effects, I think is best used as with your DAW to have access to analog distortion circuits. I don't care about

distortion circuits. I don't care about the effects. They're cool. They're great

the effects. They're cool. They're great

to use as an effects box, but it's a huge effects huge effects box to use.

So, I don't know. I think it sounds good. I definitely think the warmth on

good. I definitely think the warmth on your entire mix is fantastic. There's

nothing nothing wrong with doing that, but I'm not adding another giant ass box into my setup just just for that.

It doesn't do enough for me personally.

Degrader is your new favorite effects.

Degrader's pretty sick. I'd say like my favorite effect in the Tone Work is still this this pitch delay because it sounds like beads, honestly.

And I know I know because someone said that there was in the launch of Tone Work, someone said I think on Electronauts that there was um a granular engine

in the presets. I didn't see it myself.

It's just something that was said on on Electronauts. But if it's true, then we

Electronauts. But if it's true, then we are getting granular synthesis in Tone Work. And if we get granular synthesis

Work. And if we get granular synthesis in Tone Work, then everybody who was hating on on it will go buy it again. Cuz they're all going to wish that they had an electron

sequencer with granular synthesis.

Cuz everybody loves granular.

Everybody's a freak for granular. You

all freaks over granular.

Honestly, the Tone Work seems complex and different. I agree.

and different. I agree.

It's definitely complex. I got to say like it's not, you know, it's not easy.

It's not easy unit to use. Honestly, I

find it a little confusing um as I'm navigating around the unit. I

just like what it does, you know, is it's workflow? I don't know. I don't

it's workflow? I don't know. I don't

know. I'm I'm not in love with all the workflow of the Tone Work. What I I'm in love with my workflow and how I'm using the Tone Work in my workflow. I'm making

this work. And it works very well, but I would say on the Tone Work itself, just diving into it, I don't like the idea that I don't have the red lights. I want You know, it's

got 16 pages, crazy 16 pages. I mean,

that's crazy. We did from 8 to 16 in 1 year. We leaped from four pages to 8 to

year. We leaped from four pages to 8 to 16 in 2025 on the electron ecosystem.

But to see your 16 pages, you got to look at this thing is like nigh invisible.

Nigh. Nigh invisible.

But you can also I mean, if you're not in mute mode, you can hold down page and uh it'll show you all your pages, right?

One page popped up cuz I'm only using one page in this current track, I guess. Let's see. Go here.

There you go. Two pages. Okay. And I can bounce through my pages this way. So,

like I think if you really want to see your pages on here, this is the way to go, but that's like been a confusing part for me cuz I really liked this setup, but you can still watch your pages bounce on the screen. Like they're

they're always there. You can't even see them from your perspective.

Cuz you guys are in like you know, you're in a satellite right now looking down at this stuff basically.

Easybot, I didn't even think about putting Tone Work through the DT2. Love

it. That's what I'm talking about, right? This is cool. This is cool.

right? This is cool. This is cool.

Ducking my Diggy like you wanted me calling me Is easier than the other boxes. It's

very simple track sub bus mix. That's

all.

Right.

Uh I think you're welcome here as long as you're a polite and respectful. I agree.

If you're polite and respectful, please stick around, hang out.

If you can multi sample Omnisphere contact banks, you can.

So somebody on another YouTube channel and I doubt I downloaded it. I haven't put it on my

downloaded it. I haven't put it on my Tone Work yet. But somebody on another YouTube channel and I forget the YouTube channel. I forgive me, YouTuber, whoever

channel. I forgive me, YouTuber, whoever you are.

Uh made a Tone Work sample pack and you could get a free just regular grand piano that you could put into your Tone Work. And so, I was immediately like, I want a grand piano in my Tone Work.

But also, you know, I'm assuming that what they did is they multi sampled the their computer because you can't multi sample a grand piano from the Tone Work. That's not how the Tone Work

Work. That's not how the Tone Work works.

Um it doesn't wait for you to trigger another note. It should have a manual

another note. It should have a manual multi sample integration. That's a much deeper

integration. That's a much deeper process than what it has. Right now, it just does everything for you, which is very nice. And that's really what you want as

nice. And that's really what you want as a, you know, pretty basic scenario just to keep things going, but they should add a manual multi sampling process because you want to get acoustic

instruments. Like if I want to get my

instruments. Like if I want to get my Gibson 1957 acoustic which has a very particular sound cuz it's old as dirt. I even have

super old strings on it. And it's got a sound. If I want to put that in my Tone

sound. If I want to put that in my Tone Work um I can't.

But I would like to. So, they to add the manual.

The manual sampler.

But I love this flow. I'm going to talk about the workflow again just so that people popped in here they understand what I'm talking about why this is sick.

We got a couple of retracted messages.

Are people saying stuff they shouldn't say?

What's going on? Love how you're making that tone verb verb.

Tone verb in this track.

Thank you.

This is the track.

[Music] Actually this sound right here

it sounds like one of those What are they called?

I'm so fried guys. Um

What was that those big instruments?

Somebody knows.

Sounds kind of like that but I'm using a um um [Music]

Chrono pitch. Didgeridoo. Thank you.

Chrono pitch. Didgeridoo. Thank you.

That wall. Sounds like a didgeridoo.

Thank you. Thank you. Thank you.

The didgeridoo sound is coming from this. So I had this idea as I was

this. So I had this idea as I was playing with this.

Let me do a temporary. We'll do a memorized recall.

Um so I was doing this and I was playing with tune. I was just pushing down.

with tune. I was just pushing down.

[Music] And this is uh chrono pitch.

So what I did is on my sequence I was locking across four different pages different pitches in chrono pitch.

And um it would have to like it would slide up to those pitches but it was good like basically a granular tiny little samples.

And so it sounds like this. This is

without it.

[Music] So you can hear tone of chrono pitch still a lot, right?

It's a cool patch on its own by the way.

This is chrono pitch. It's the one making the didgeridoo sound.

[Music] This is how I started this track.

And then I was like there was no bass here then I just threw down this silly open hat thing.

And then started ducking this in my Digitone or Digitone. Whichever one is ducking.

or Digitone. Whichever one is ducking.

This one's ducking in now cuz we we switched the routing cuz that's something you can do.

[Music] Arpeggiator.

Couple of the spots missing in the arpeggiation. We're using the Swarm

arpeggiation. We're using the Swarm synth.

[Music] A lot of overdrive.

Good amount of chorus.

[Music] That effect is so sick.

Something to get this going. I always

forget there's different mutes. Function

doesn't bring up your mutes on here.

You got to go into mute. This is

something they need to change.

I don't want to hit mute. I want to hit function. I'm used to doing that on the

function. I'm used to doing that on the other machines.

Keep them aligned Elektron. Keep them

aligned.

[Music] I do love that effect.

Down down down.

[Music]

[Applause]

[Music]

[Music] [Music] These sounds are crazy.

[Music] [Applause] This is insane.

[Music] And if I take this bassline out and these sounds we just play with this.

[Music]

We have vibrato.

[Music] [Music]

Crazy.

[Music] Hey.

[Music] [Music] [Music] [Music] This is the one issue.

[Music]

Oh that's really messing with my skull.

[Music]

[Applause] [Music] Stuff is so cool.

It's going to be like a hat.

[Music]

I gave it its own reverb.

This is supposed to go Oh, it's going out the main out, so I can give it I can just use this.

[Music]

[Music] [Music] It doesn't work.

[Music] Anyway, I just started falling in love with this sound. That's what we're doing. I just got so distracted by how

doing. I just got so distracted by how cool this sounds.

All the modulators and all the effects, all the king's men and [Music] Humpty Dumpty, huh?

We're getting Humpty Dumpty over here.

[Music] I like the chord the guide light. It's

nice.

[Music] Stick with the 13 1357 for sure.

Getting distracted by that.

[Music]

[Music]

[Music]

Cool. Hopefully you can see where my

Cool. Hopefully you can see where my head's at with this. So, it's like again, the idea is that you separate like we've separated our Digitakt and our Digitone. If you're an Octatrack

our Digitone. If you're an Octatrack user like I am, let me just talk I'm going to talk through this process one more time for people who haven't who weren't here earlier.

So, what we've done is we have the Digitakt running into inputs A and B on our Octatrack. We have the Digitone

our Octatrack. We have the Digitone running as an input C and D on our Octatrack. A lot of these things I like

Octatrack. A lot of these things I like to do with the Octatrack. I personally

like to split these into drums and melody and then on my Octatrack I treat them differently. I give I put a

them differently. I give I put a different kind of filter effect on the drums than I do on the on the melody and stuff like that. So, and I build these performance templates and stuff that you can find on my Patreon if you're

interested. Um but that's how I like to

interested. Um but that's how I like to treat stuff. I like to split them into

treat stuff. I like to split them into two different buses. The Tone Verc has two different buses. Has four buses, but has two different output buses. Um it

has a main out and has a C and D out and then it has uh an input stereo input.

So, what I've done is I've taken my A and B outs, run them into the inputs on uh the two inputs on my Digitakt, which allows me to treat the Tone Verc to whatever I'm doing on my Digitakt. So,

if I'm doing side chain ducking over here or something like that, I can do that to the bus from the Tone Verc. The

main out bus from the Tone Verc can run through the Digitakt. So, on and so forth, which also gives me access to the sampler on the Digitakt via the Tone Verc. So, I can actually sample post

Verc. So, I can actually sample post Tone Verc effects on my Digitakt and then I can also sample again if I want into my Octatrack. So, it's crazy sampling workflow that I've never had before even thought about doing.

But then I also have C and D outs going into my Digitones, which I can treat as like this more heavy melodic stuff and run that into the Digitone and then process things in side chain and all

that kind of stuff within my Digitone cuz you can side chain your incoming audio um from its own special side chain track as well. So,

as well. So, that just allows me to have like two different side chain rhythms for one or whether or not I want to side chain the stuff from the drum side or whether or not I want to side chain the stuff from

the melodic side. Still gives me access to the sampler. Gives me access to Tone Verc's 64 voices and all the crazy effects that it has on my melodic and my drum side of my incoming workflow and

doesn't impede anything in my existing setup and I even currently right now have this connected in this whole conjunction. This is my performance rig

conjunction. This is my performance rig at the moment. Check this out.

[Music] [Music]

Let's see that again.

[Music] I mean, if I don't have the ultimate insane workflow

that I've ever had, I don't know. This

has got to be the craziest stuff I've ever put together and on my system.

Honestly, I only need this. The rest of it is just bonus. This is like what I was saying the other day with the the Noise Engineering drop some of its extra features are just like extra cheese on your pizza. This is more extra cheese,

your pizza. This is more extra cheese, but this is stuff that I didn't have before, so I think it's a total bonus to have these extras, right? I want these extra voices. I want these extra

extra voices. I want these extra synthesizers. Do we need more updates on

synthesizers. Do we need more updates on our Tone Verc? Abs-freaking-lutely. This

thing is still not there yet, you know?

I want to acknowledge that fact.

Um but I am also but I am still very excited about it and and me just integrating this and getting this going and uh knowing that the MIDI jitter

issue will no longer be an issue um very soon for everybody is really sick, too.

Um Elektron said so on the Elektron forum and as you can see, I'm having no MIDI issue stuff myself. So,

um it's very sick what I've got going on here. Have I played with it very much?

here. Have I played with it very much?

No, I just set this up yesterday.

Yesterday evening when I was like trying to figure out what I want to do with my Tone Verc and uh so I haven't, you know, I got as far as this track that you heard. This was my test track.

And uh I ended up, you know, sitting it was like 1:00 in the morning when I finished tinkering on this, getting this little rhythm together and I was feeling a little inspired by the Tron soundtrack from the new Tron movie cuz I had recently gone and seen that. So, there

was some like more darker elements that seem a little synth-wavy right?

Um so, I I got to say like I'm not it's not fully prepared. Like I haven't got this whole idea totally locked in and I'm not super used to I'm not extremely used to I'm not very used to navigating

the Tone Verc yet when I'm so used to navigating the Digitakt and the Digitone. So, I'm still I'm still a

Digitone. So, I'm still I'm still a little all over the place. I'm still

making mistakes pretty often on it. Um

making poor choices on it so far. Like

I'm not figuring things out exactly because I haven't been putting as much effort into it because we've been kind of waiting for these updates to come out to make it something that we could use.

But right now it's in a state for me where I have things set up in a way that that we're good. Um

and totally useful.

Uh is Tone Verc considered a flagship from Elektron? In my opinion, I would

from Elektron? In my opinion, I would say yes.

I would say like Tone Verc is the newest flagship for from Elektron.

It has the price tag of of all the flagships.

Um it's their newest platform. It has

the most CPU. It uses a compact flash card. It's got 4 gigs of RAM.

card. It's got 4 gigs of RAM.

Um and if they add all the features that we have in the Digitone, which is what I expect and I'll be frustrated if they didn't, to be frank.

Um it will absolutely be a powerhouse of a flagship.

Uh Wega, you like that I'm honest. Thank

you.

Um well, I mean there's no reason to tell I mean like I'm not the American government over here, okay? We're telling the truth on

here, okay? We're telling the truth on this channel.

We tell the truth over here.

Release the Tone Verc files.

Release the update files.

That's what we want.

Do you think the drop style controllers will be the future of controllers?

It sure appears that way because the drop was announced a while back and very quickly the oxi controller um

the oxi 16 or whatever I think it's called, something like that.

It was also announced not that long after drop but drop had been announced and I don't know how quick I don't know how quickly they go around making devices or if everybody kind of came to the same conclusion at the same time

um about controllers but it it would appear that these controllers are all kind of they're all kind of coming out right now and uh

we've figured out that people want automated stuff, automated effects and this the snapshot scenes and stuff apparently can be done and we have small enough chips to fit in skinny controllers. The noites

I drop is very skinny.

Um extremely robust.

Like really hardcore. I mean like I went and looked I didn't know how much it cost cuz noites I sent me the unit.

Okay, I didn't know how much noites I drops cost. I'm not going to lie. I had

drops cost. I'm not going to lie. I had

no idea.

And then somebody in chat was like wow, it's expensive and I went and looked and man, yeah, no kidding. It's a

thousand dollars US dollars. Um

and the economy is total garbage right now. So I imagine that that's like

now. So I imagine that that's like people really feel that thousand dollars for MIDI controller. But I got to say that like if you have, you know, if you have expendable income or if you're really dedicated to whatever craft you got going on and you need this

functionality and you need the MIDI router and you need the encoders and you love the scenes and stuff, like it's totally kick ass. So

I mean it's it's legit. It is it is exactly what it says it is and it is a total badass. There's other videos on

total badass. There's other videos on YouTube that are like this thing is amazing and this da da da da. They're

right. They're actually right. It really

is amazing. It really is kind of mind-blowing. I'm very fast on it now.

mind-blowing. I'm very fast on it now.

Like I feel like I know it pretty well.

Um the only thing I'm not using is the merger cuz I don't need it. But um

it's just too much. I also want to like a bunch of 3.5 mm cables and dongles connected to it. It's

annoying to me. I don't like that. So

I'm kind of avoiding it. I could use a bunch of 3.5 inch cables and use like a bunch of retro kits RK 001s I believe they're or RK TS TS RX or something.

TS something like anyway.

That would be a useful idea but these alone are $15 a piece and that's a whole it's a whole another thing, you know what I mean? But I do like that idea better than I like using

the dongles.

But yeah, it's a good instrument. I do

think people are moving in that direction. What do you think of using

direction. What do you think of using Tone Verc for vocals? I love that idea, Philip. Great question. So yesterday I

Philip. Great question. So yesterday I was actually in my garage digging through boxes cuz I moved into my home my new home couple of months ago and if anybody who's moved into a new

house and they own a music studio, I have a pretty robust music studio. I've

had a lot of gear. I've collected gear for years. I worked at a synth shop for

for years. I worked at a synth shop for 5 years. I got a lot of deals. I've had

5 years. I got a lot of deals. I've had

opportunities to buy a lot of gear that at a really good price and so I've collected more gear than the average user um with less money and um anyway, I

have boxes full of stuff that I'd never touch but uh I have a preamp in there.

It's a vocal preamp and I was like, "Oh, wouldn't this be fantastic to take this vocal preamp?" It's a art cheap cheap

vocal preamp?" It's a art cheap cheap cheap vocal preamp but just take this cheap vocal preamp and um the microphone

What is the brand?

Uh anyway, I love this microphone. It's

like uh it's a dynamic microphone but it kind of like has a some similarities to a condenser in the way that it sounds.

Um anyway, by warm audio. I think it's a something 181 or 8, something like that.

Anyway, W18 or something.

And um I had this idea of taking that microphone and that preamp and running that into my A&B inputs or running that into a summing mixer and then running that into the A&B inputs and then

processing vocals with stuff like the pitch thing and the distortions. I I

figured this song would sound really good with like some distorted vocals or something, you know, some like very uh high passed middle resonant vocal with some

crunchiness to it. Um something like we're talking on a you know, airplane microphone or something like that. I thought that would sound really dope. I could

actually run it through the Tone Verc, process it through the effects and sample it onto the digitakt.

Which is something I can do because of the workflow that we're using today.

Because we're running cuz we're using those multiple outputs and treating this is my like mix this is my second mixer now. Tone Verc is mixer number two.

now. Tone Verc is mixer number two.

Octatrack is end of chain mixer. Tone

Verc is beginning of chain mixer. It's

like a whole another perspective for me to try and compartmentalize and process this workflow but I think it's pretty cool.

That fader punk looks dope. Fader punk

does look cool. It seems to put the fader fox controllers to shame. Fader

fox controllers are very old.

Those fader fox controllers, they are like I mean the EC4 came out like 6 years ago and that's that's a long time ago in in technology.

Um they're extremely robust. The price

tag is far more suitable than that of probably that oxi controller and or the noites I drop. So you can get an EC4 for a lot cheaper and it's going to do the same stuff. They even added macro to the

same stuff. They even added macro to the EC4. Um I think it's only two

EC4. Um I think it's only two destinations but it does have min max macro and like that's really all you need to make some cool stuff.

So I wouldn't say it puts it to shame cuz if we're talking price to real estate it's not to shame.

But it is definitely a more robust controller.

Is it possible to morph dynamic layers with the multi sample instruments like in contact fashion if you map the mod wheel to the sample layer or will simply jump from sample to sample? To sample

layer?

I don't think that's a poss I don't think this is an option.

Sample layer is like So here's where Tone Verc's at right now.

When you go into your sampler on Tone Verc, we can't see this very well. I

like I said, you guys are in you guys are in deep space watching this from some satellite. But um in our source

some satellite. But um in our source menu, all we have is vibrato and the fade between the samples. Like we don't have a sample layer. The sample layer happens during the sampling process so we can't do anything about that. So So

you can't actually modulate between the layers. That's not a part of Tone Verc

layers. That's not a part of Tone Verc yet.

I do think and I don't know and I'm being totally frank with you. I do

communicate with Elektron and I do sometimes know stuff before you know stuff because of my relationship with them. But I'm telling you, I'm not lying

them. But I'm telling you, I'm not lying right now. I have no idea what they're

right now. I have no idea what they're adding to the Tone Verc and I do not know if they're adding what they're adding to the multiplayer. My hope is that what they're adding to the

multiplayer is that they break that stuff out so that we can see the layers.

Cuz right now we don't even have a velocity mod. Right? We can't modify

velocity mod. Right? We can't modify what's happening on the Tone Verc via the velocity. The velocity is strictly

the velocity. The velocity is strictly tied to the volume. Yeah, explicitly is what I mean to say. Explicitly tied to the volume and that's all you can do.

And I think that's okay and I I think I understand the reason why they did that right now is because it would be a lot for the Tone Verc to handle in its current state at the very least but maybe just in general, maybe

that will always be the case on the Tone Verc um because the multi samples do have velocity layers during the sampling process and the sampling or in the velocity will trigger different layers.

However, you don't have access to what's happening on those layers.

Does that make sense? You'd have to set that up in your machine that you're sampling.

You meant sample layer selection. Yeah,

that's what I'm saying, party K. You

can't do that.

Tone Verc looks darker. The unit is darker.

It is darker. It's a different material than this material. This material is got a flat finish. This has a bit more of what do they call it? Eggshell?

I'm not sure. It has a flat finish too but you can see that it's, you know, there's something about it that's that's darker. And I put it in light

that's darker. And I put it in light like this, they almost look identical, right?

Still darker.

They look closer when I do that though.

But it is darker.

And harder to use.

Still very is you know, it's still a very interesting interesting instrument to me about like what are we going what is going to happen with it yet? And like this is similar to the octatrack and I know like

I don't think it's like I don't think it's a hard take for us to think about the Tone Verc in the same way that we thought about the octatrack. I don't know how many I mean

octatrack. I don't know how many I mean I've been an octatrack user for a long time.

Not since the beginning but a very long time. For many updates. Lots of things

time. For many updates. Lots of things have been added to the octatrade octatrack during my formidable octatrack years. There was lots of things that

years. There was lots of things that didn't exist on the octatrack. Um that

later got added.

Like trick conditions for instance.

Stuff like that never was in the octatrack when I was first using the octatrack. Um

octatrack. Um among many many other things.

The and there was like different ways of using the Octatrack. Like most people used it just as a sampler and they would also run their gear into it and like maybe use like a high pass or low pass filter.

But now you can do all sorts of different things with the Octatrack because it's been explored enough.

You know, we can live resample it and play those back as effects in real time.

The Tone Werk is in a similar space as the Octatrack in terms of right now it's a sample player, multi sample player with effects and routing.

But in the future, what will it be to you? You know, will it be this ambient

you? You know, will it be this ambient box? Will it be your beginning of chain

box? Will it be your beginning of chain mixer/sampler/effects processor with a sequencer before it goes into your other Elektron boxes like it is for me today?

Or will it be your end of chain and you've used a MIDI controller to map to its effects to build your kind of performance effects with it. I know

everybody wants to know can it do that because I have different effects in the Octatrack. The answer is yes, it can.

Octatrack. The answer is yes, it can.

And I could program the noise side drop to do those things on the Tone Werk.

Total pain in the ass to do. And from

what I understand what the still using the auto channel, so I don't know if it's exact I don't know if it's totally possible quite yet. Cuz it needs more firmware updates.

But when it is and if it is, when when and if, you totally can.

I still don't think it's the same thing as the Octatrack, but like you could get away with it and you could use the high pass and the low pass filter and the performance effects as a master effect with a MIDI controller breaking them out

for you at a live show and you could skip the Octatrack all together and just use the Tone Werk.

Definitely possible.

Best way best way to use it? I don't

know.

That's going to be up to you. Do you

want to do that? I don't know. I would

use it as an instrument, not as an end of chain effects processor personally. I don't That's what I would

personally. I don't That's what I would do. I'd rather use the Octatrack. It's

do. I'd rather use the Octatrack. It's

got a crossfader. It's built for it. But

it's definitely possible. But this is what I'm getting at is that we're in the same the same zone as good good equipment in my opinion, good really cool equipment,

the kind of equipment that draws me into it and puts me into this kind of like workflow brain puzzle escape room scenario

is like the Octatrack, the M8 Tracker, and now the Tone Werk. Different pieces

of equipment that give me enough rope to hang myself with it, but then learning how to not hang yourself. You know what I mean? Like learning how to actually

I mean? Like learning how to actually use that rope to get to different places in this labyrinth of hardware. And

this device has that. It has that thing where you're like, "Ooh, what do I do?

What do I do with these possibilities?

This is fun to explore." And there's enough walls around the garden to keep you in the garden as opposed to something like your computer or even a Push 3 for

instance, where the possibilities seem to be this endless rainbow road that I can go down forever and I can do this and I can do this and I can do this and I can just do whatever I want. And

because I have, you know, this endless scope creep and the unlimited potential, I never accomplish any of my goals. So I

like the idea that we have this wall around the garden, around the Tone Werk, around the Octatrack, around stuff like the M8 Tracker, which you can use as your, you know, sequencer for your modular and stuff if you wanted or you could use it as your sampler or you

could use it as a incoming audio processor. It's got those same ideas

processor. It's got those same ideas where it's given us all those capabilities that we can formulate our own workflows that integrate with any existing setup and not every piece of equipment offers you that kind of

workflow.

And um I happen to really like this particular XOX style sequencer with parameter locking and trig conditions and all that. And that's what this unit has. So

that. And that's what this unit has. So

personally, I'm really stoked on that aspect of it.

And that's why it's on the table today and that's why I'm trying to integrate it into my system and I have accomplished that goal. There's still

more work to do. I'm still trying to figure out like, you know, what are the sounds that I like the best? Like what

are my favorite effects on here? What

modulators do what they're supposed to do? Have I Is there more bugs for me to

do? Have I Is there more bugs for me to squish and squash and find and is there things for me to avoid and stuff like that? And the answer is yes, I'm still

that? And the answer is yes, I'm still finding things.

And I'm still avoiding things. And um

I'm still figuring out what I like to do. It some of like I you know, we could

do. It some of like I you know, we could there's I could go on and on about the things that I'm perturbed about that I want this to do now. Which the number one would be

that I want to be able to hold a note and hit yes and hear that note.

I'm so used to that workflow now, which wasn't a thing until just a couple years ago. We've been working without this

ago. We've been working without this forever, but we all integrated it into our workflow so seamlessly that now it's a it's really annoying if I don't have it. I do like that when you hold it down like this pops up and

lets you know you know, that trigger you know, is off the scale. That's on the other boxes as

the scale. That's on the other boxes as well. So they got a lot of the same

well. So they got a lot of the same stuff as they did on the Digitakt 2 and the Digitone 2.

But not everything. Look at that percentage.

Now, that wasn't there before either, you know.

There's all these little new things that I'm noticing that I I've never seen before in this box.

I mean, this is the same, but this is eventually is going to be a thing that we want to play with. Maybe

you even want two Tone Werks, like one for drums and one for melody. You

honestly could just use Tone Werks for everything at this point.

You know, once they have pattern mutes and stuff.

Cuz like I've mentioned before, you can't actually hold the mute button and hit copy and it will copy the mute states. But copying a global mute state

states. But copying a global mute state has absolutely zero value.

Cuz it's global. It doesn't do anything.

Why would you copy the global mute state?

I guess if you wanted to do this.

So I guess there's I guess there is value. I guess I can go like that and

value. I guess I can go like that and then paste it back in.

There's something.

There's a cheat code for you for the day.

Can the Tone Werk be used to record effects C bar? Yeah.

Yeah, that's what we're talking about.

Said it could be used to do all sorts of things.

And in this particular setup that I showed off at the beginning of the stream, it's extremely effective at exactly that.

Oh, I hate Elektron for keep going with this sticky coating.

Good seeing you here at the Tone Werk stuff. Oh, send control. Yeah, send

stuff. Oh, send control. Yeah, send

control is awesome. What's up, dude?

Happy to have you here.

Love your stuff. Loving the tunes you're making on the Tone Werk by the way.

Sounds great. I would bet the gain staging is going to be a hard thing to manage. I think so, too. In fact, I'd

manage. I think so, too. In fact, I'd say the Tone Werk is kind of loud. Like

it sounds a lot louder than the other boxes. It has a different way of doing

boxes. It has a different way of doing volume.

If you haven't seen this.

Even I'm There's no I've never seen a volume dial like this pop up with a percentage.

They're adding all these all these quality of life features that I didn't ask for.

And quality of not the ones that I did that we already are used to. But it's

cool that they added them.

You know, I'm happy they're here.

We'll get them all, hopefully.

Agreed, the Tone Werk feels fresh.

You have the best demos of stuff created with the Tone Werk in my opinion.

Would you ever work with Elektron if they offered you to hire or is that conflicting with your goals?

Are you asking me?

Um Are you asking send control? Cuz send

control has been doing a lot of stuff.

Works with Elektron, too.

Um Hi all, great to see this as I just bought a Tone Werk. What's up, Ankhit?

Nice. Yeah, this is a cool way for you to integrate your Tone Werk.

Tone Werk is your favorite box right now. Very cool.

now. Very cool.

I got to say like Tone Werk isn't my favorite box right now, send control.

And I and I think that's fair. I like

I'm I don't think I'm being a jerk saying that at all, you know, considering Usually my favorite box would be whatever Elektron box comes out. But right now my favorite Elektron

out. But right now my favorite Elektron box is still my Octatrack. And then very close to tied with that Elektron box would be my Digitakt. I still think the Digitakt is the best thing Elektron has

made for like actually getting music done. I think the Digitakt is the best.

done. I think the Digitakt is the best.

And I do a lot of I do a lot of private lessons. I do a lot of teaching and the the machine I always recommend people buy is like they come they come visit me and they're like, "I want to do I want to learn the Octatrack." And then I'm like, "You

Octatrack." And then I'm like, "You should get a Digitakt cuz what sounds like what you want to do is a lot simpler than what the Octatrack does.

Buy a Digitakt, they're always really happy. And then they're like, "I want to

happy. And then they're like, "I want to get another one." Digitone 2.

And I do think the Digitone 2 needs a firmware update cuz it's got some bugs still.

I've been saying that for a while. I'm

still waiting for that update. In fact,

I've been saying that for months.

Give me that update, please.

Um But right now I'm the most intrigued by the Tone Werk in in the Elektron ecosystem. Like I'm feeling like I use

ecosystem. Like I'm feeling like I use my Digitakt cuz it's a utility. Like

it's just it does what it's supposed to do. With the Digitone, it does exactly

do. With the Digitone, it does exactly what I expect it to do. It makes the sounds I expect. The Tone Werk, I have no idea what it does. The Tone Werk is still this exploration stage for me. And

like I know what it does in theory, but you know what I mean? Like I haven't put enough of the energy into it. I know

what everything sounds like in my Octatrack. There's not many sounds in

Octatrack. There's not many sounds in there I haven't tried or different combos I haven't tried. I haven't tried all the effects combos in the Tone Werk.

There's so many more effects than we had in the Octatrack and they sound different and they have more modulators. Um but the modulators

modulators. Um but the modulators function differently on the Tone Work and some of the modulation concepts aren't fully integrated yet. So, I can't even explore them fully. Maybe that's

even a good thing cuz it means something to look forward to, I guess.

Um you know, that's cup half full, for sure.

But I think it's I think it's sounds, in terms of like how big and huge it sounds, I think it sounds the best of uh all the boxes so far. I

think it's got the most punch.

I think the samples that it ships with are really are the highest quality samples I've heard in the Elektron boxes.

And uh it's really easy to just find yourself in this [Music] rabbit hole of like, you know, wanting to do like weird ethereal stuff or

getting really ambient.

Forgot I don't have the pattern change set up on here. I don't even think I've tried doing that.

Should we see how that works?

Let's see if it does work.

MIDI config sync program change receive channels program change in channel 10

no auto channel All right, let's see. Pattern four.

What pattern are we on? Four. All right,

so we have pattern syncing. It works

just fine.

Nice.

[Music] Oh, and it took me to the right bank, too, cuz I wasn't in that bank before.

So, what bank was I in?

Bank one pattern six Copy this. Let's go back.

Copy this. Let's go back.

[Music] Okay.

Now we've got it all synced.

Now it's a fully a part of my system.

It's fully integrated. When I move patterns here, Tone Work moves into patterns with me. The only problem I have at this stage, this is fine, like we're at a great stage here, but my only issue is that I don't have pattern

mutes. Pattern mutes is such a huge part

mutes. Pattern mutes is such a huge part of my workflow that it's so difficult for me to integrate things that don't have pattern mutes because it usually just means that I have to like

I have to be so conscious about the units that don't have pattern mutes because they're not on a rail. They're

not like you know, they're not preset to be like not muted when I res- get to a certain stage of my song or different patterns. So, I have to, you know, go in

patterns. So, I have to, you know, go in and have them muted. I have to just In other words, it's just another thing for me to have to pay attention to. So, I I don't like that I don't have pattern mutes yet. But I think I can get away

mutes yet. But I think I can get away with it because my modular, even though my modular would did have pattern mutes, because my modular was getting sequenced by my Elektron boxes. So,

yeah.

I could potentially sequence this from here, but that would be blasphemy, in my opinion, and kind of an annoying thing to do.

Let's see.

The single player, I think, sounds [Music] really, really good.

Single samples tonal

[Music]

That sounds cool. C9.

[Music] So, we got to go into our step editor.

Which is such a different workflow.

[Music] It was it like that?

Let's just change this all together.

And the default trig length being a quarter note instead of a 16th note, it'll catch you off guard.

What were the notes I was doing?

I think that's what I was doing.

I mean, that's not That's not what I had in my head. There's not the right spacing at all.

Something better to put in manually. So,

this is one of the things, though, that I found that's a little frustrating is um the chords. Like, if you want to put the

the chords. Like, if you want to put the chords in right now, we're using a sample, but if I wanted to put chords in, you have to record them live. Like, you

can't pull the trigger and then hit the note in chord mode and it'll put it on there. You have to actually record

on there. You have to actually record them live, which to me is a little bit annoying.

Um We did have this this nice pre-roll, but it only works if you Hm.

Should work from here.

There we go. Got it. Okay, so if I go two three four We got to have the pages be longer, of course. Duh.

course. Duh.

I think it was two bars long.

two three four Got one mistake in there.

one pass [Music] Okay, that quieted it down because that made my Digitakt remember

that it wasn't running that the mixer wasn't turned on yet.

[Music] [Music] I do like these sounds. I want to adjust that reverb. I don't care for how the

that reverb. I don't care for how the reverb sounds. So, that I'd say the part

reverb sounds. So, that I'd say the part that's a little bit confusing, the part that's difficult on the Tone Work, is that every time you want to do an adjustment, like say I run something into the bus. Earlier, I wanted to have

reverb and delay on a separate output of C and D. So, I had to run the what was going to go out C and D into a bus so that I could get access to its own exclusive reverb and delay because the

other reverb and delay would be going out the main outs, your master reverb and delay. And that would end up in my

and delay. And that would end up in my Digitakt and I wanted it to go into my Digitone. So, I had to use an effects

Digitone. So, I had to use an effects bus and add Supervoid reverb and whatever saturator delay to that.

But as I was programming that, it has its own sequencer.

So, I have to go like this, but then go over to my bus and play with its reverb and delay, but actually it's insert effects that I had programmed. This is where it gets really

programmed. This is where it gets really confusing on the Tone Work. Then go

ahead and add subtracts onto it into this in addition where we have all these many more sample tracks to deal with, each one of them having their own filter, panning, and amplitude. Um

it becomes a lot. So, I'd say like it's definitely the most overwhelming because of how many voices and how many things you have to do. You really have to get a workflow. Like, you must create a

a workflow. Like, you must create a workflow and repeat that process so that it becomes second nature. You build that muscle memory and that um is

I don't know. I guess that's it. Just

repeat it so you build that muscle memory. I'm not there yet. I haven't

memory. I'm not there yet. I haven't

done it enough, so I don't have that muscle memory yet. I do know where my mistakes are when they happen, but I'm not stopping the mistakes from happening in the first place. I'm still making the mistakes. That's the stage that I'm at

mistakes. That's the stage that I'm at is still in the the mistake-making stage.

Um cuz it's a little bit tough.

Like I said, this is what I wanted to talk about today. This wasn't about like making This wasn't about like today we're going to sit down and make music.

Today I wanted to show you how you could integrate this and the advantages of integrating the your existing electron ecosystem. How will it integrate? And I

ecosystem. How will it integrate? And I

think this is it. I think this is a pretty solid answer to that workflow is taking the main bus into one side and taking the CD bus into another side and then

using the incoming audio to populate sounds through your other boxes. If you

have other samplers, that way you don't miss out on the inputs of those machines. Like we still have access to

machines. Like we still have access to the sampler on both the Octatrack and the Digitakt via the Tone Work's inputs and have access to the Tone Work's pre-effects, pre-sample effects, which I think is a really sick workflow. So, to

me, Tone Work's going to be on the table for a long time now because of because of this.

And so now I can keep this here and when I want to grab something, maybe the Tone Work isn't even playing live all the time. Maybe the Tone Work acts like a

time. Maybe the Tone Work acts like a modular synth for me at sometimes where I sit there and I craft a sound, I craft a weird sequence on it and I sample it into my Digitakt and I chop it on my Digitakt, I move it around or on my Octatrack, I move it around and make it

different. That's fine, too. I think

different. That's fine, too. I think

that's a good use of the unit. Just like

that's kind of how I do it with my modular. Sometimes I sample the modular

modular. Sometimes I sample the modular so that I don't have to take the modular out with me. Maybe I don't know always take the Tone Work out with me. Maybe I

use it in this fashion or uh for the sampling that is or we use it like this where we do the dual bus and we work it into our workflow. Right now,

there's no reason not to use it.

Got this cool if I threw a, you know, a drum break behind this, it would totally kick ass.

[Music] Which I could do, but we're not going to cuz I think I'm going to conclude I'm going to conclude on this thought cuz we've already been talking about this for an hour and a half and I just talked your ear off cuz I've had a bunch of

coffee, but also cuz I'm excited about this because I was kind of feeling a little disappointed myself where I was like, "What am I going to do with this machine?" And um

machine?" And um you know, I love this workflow. I love

the way it sounds. I love the electron workflow, but I did was having a hard time integrating it into my electron gear, but then I broke the through the fourth wall, so to speak.

That's not a good analogy, but anyway, I broke through whatever wall was stopping, preventing me from integrating it with my existing gear. And now that's And now that I'm through, I'm excited to

explore. And so I want to go in and find

explore. And so I want to go in and find some sounds and like get the best use case. Kind of want to make like some EDM

case. Kind of want to make like some EDM with it, to be honest, because I feel like this thing could do some really cool like weird EDM Deadmau5 type stuff.

I think that could be really fun. But

also just get make some like really min make some minimal techno cuz it's got all these weird little sounds and flippy floopy ethereal texture stuff that I can get. And now I'm ready to use this

get. And now I'm ready to use this machine and take advantage of its polyphony and its insert effects and routing to accompany my existing boxes.

That's news to me today. Pretty cool as of last night.

You know, that my brain it clicked in my brain and now we're here today. And I

wanted to share that with you this Tuesday um cuz we stream every Tuesday here on this channel and it's, you know, often about electron stuff pretty often, 99% of the time. Sometimes we do other

stuff. But um

stuff. But um I thought this was important to share uh with people who do similar workflow to me or people who have Tone Works and want to know how to integrate it with your stuff cuz maybe you're feeling as

confused as I was um how to integrate it and I think that this this works.

I keep like trying to pop my ear. I

think I got like water in my ear.

I will never understand the sticky thing.

I'm not sure either. Tone Work will work one day.

It's working now for me. Do you think Digitakt is still worth it in 2025 for around 450 Digitakt 1? For 450, 500 dollars? Nah.

dollars? Nah.

I wouldn't spend that much on Digitakt 1.

Yeah, I mean I Yeah, sure cuz I mean the other one's a thousand dollars, but you can get a used Digitakt 2 for like 800 bucks. I don't know.

bucks. I don't know.

Digitakt 2 is such a vastly enormous jump from Digitakt 1 that I have a hard time ever wanting to use Digitakt 1 again. It's I mean it's useful, but it's

again. It's I mean it's useful, but it's like I'm not going to spend 500 dollars on it.

I think with the future updates this device will potentially be a very good candidate to replace the DAW. And I

believe with a few of them it would be possible to even make soundtracks.

Absolutely, I don't know about replace the DAW, but I do agree that you could use it to make soundtracks.

That day might be today, but I don't know.

Are you going to try out the TR-1000 on your channel or no?

TR-1000 is here.

Oh, you can't see it. Anyway, it's over here.

Yes, I'm going to bring it on the channel. The It's enormous. It's

channel. The It's enormous. It's

enormous. It is the size of It takes up this much space.

That's the TR-1000.

It's a giant beast and it is a wonderful sounding machine, the TR-1000. Wonderful sounding machine and

TR-1000. Wonderful sounding machine and the workflow is greatly improved. It's

the best Roland workflow I've ever had.

That being said, it is not the greatest workflow I've ever used.

It doesn't compete with my electron gear in terms of workflow. It's got a cool workflow. It What it is is a great

workflow. It What it is is a great sounding drum machine. The workflow

isn't that amazing, but it's a hugely improved from the TR-8S and any other like Roland thing I've ever used. So, I've

never liked Roland workflows, ever. I've

avoided their stuff for the most part except for their sound sources like 303 and stuff like that. Otherwise, I don't like their stuff in terms of their writing workflow, their sequencing and

stuff. This thing is much better at

stuff. This thing is much better at that. They've kind of, you know, copied

that. They've kind of, you know, copied a little bit of electron, so it kind of works works a lot better. But it is it's a beast. It's an absolute beast. And

a beast. It's an absolute beast. And

actually my idea with it was to pair it with the Tone Work. And I was just going to run the Tone Work in and use The reason I was going to pair it with the Tone Work is cuz I wanted to use its in incoming side chain bus cuz you could

side chain the incoming inputs.

But this is actually this current workflow that you're looking at here where I have this going in here, this going in here and I have two different side chain buses is actually a much more flexible than the workflow I was going to do with uh

the TR-1000.

But uh yeah, we are going to have it on the channel, there's no doubt. I learned

it and I feel pretty confident on it.

There's some stuff that I still haven't dug into, but like I'm pretty confident on the unit. I've learned it, I like it.

I mean I I'm going to keep it even though it has some issues. It's crashed

on me and it also has this uh pattern kit issue where it puts silence in between kits and patterns. I

think that's a problem um that Roland needs to address or they're going to lose. People are going to return their

lose. People are going to return their units if they don't address it. People

who perform live are going to return their units. Studio musicians aren't

their units. Studio musicians aren't going to give a crap. But people who play live are going to get upset.

Crazy that the analogs don't and likely will never have pattern mutes.

Aggravating, agreed. I don't know why they don't add them. In fact, I had a few conversations with electron about adding pattern mutes to the Octatrack uh

years ago and they list like we had a conversation about it and uh there was something that they said they just like they said it was just not possible or something. I don't know. I don't know if

something. I don't know. I don't know if that's true. But at the time that was

that's true. But at the time that was the response.

I worry if the electron will get worse with managing updates for all devices.

I'm gutted.

My Syntakt isn't getting any more companies unfortunately still on updates without being transparent about them.

I don't know. Is that true? I mean, the Syntakt hasn't gotten an update in a while.

I That is That is true. The Syntakt

hasn't got an update in a while and I do think it is due.

I do think it is due for an update because I mean that thing's not been out very long. It should definitely get some

very long. It should definitely get some updates. It needs a compressor.

updates. It needs a compressor.

Master compressor. That's what it needs.

It needs a master compressor that will that will make the Syntakt way better.

I don't think it needs very much. It

just kind of needs that. Just a master compressor. I think it'd be fine.

compressor. I think it'd be fine.

The rest of it's The rest of it's fine.

Yeah, I doubt Syntakt will get any decent updates from this point on. It

will. They're going to update the Syntakt. They're not going to abandon

Syntakt. They're not going to abandon the Syntakt. The Syntakt sold like they

the Syntakt. The Syntakt sold like they they sold so many of them. People are

playing shows with them all the time.

I'm sure they'll update the Syntakt.

I haven't heard anything. Again, I'm not lying about that. I don't know, but I'm I'm I'm taking a educated guess here.

It will still build on the old architecture. They'll probably just

architecture. They'll probably just focus on the newer boxes.

I don't know what the Syntakt is built on. I'm not sure about I don't know

on. I'm not sure about I don't know enough about the Syntakt, so maybe I'm wrong but you can make mistakes.

I think companies that are still selling products and there are known defects should fix them if they can. Yeah.

I agree.

You know what If all the YouTubers continue to highlight the shortcoming on this machine, it would force them to correct their mistakes. Glorifying a

problematic box just makes things easier.

Not trying to be negative, but I fear this is the beginning of the electron demise. I think that that is a little a

demise. I think that that is a little a little doomy uh realist wizard.

I wouldn't say that's the realist the realist take on this. Um

Right now and on this channel, we're not glorifying a box. This is not happening here. I have a Tone Work and I like the

here. I have a Tone Work and I like the Tone Work. I showed you how I used it

Tone Work. I showed you how I used it and it's working exactly as it should for what I'm doing.

So, I'm not having any issues with my current workflow. So, I honestly, I

current workflow. So, I honestly, I couldn't I don't agree with that sentiment at all. Um but I personally was the person who found several of the bugs that no

one knew existed including electron and shared them with electron with you live on this channel. So, to say that YouTubers are glorifying or highlighting stuff and not

talking about the shortcomings is just not true.

Cuz I am.

I am telling Elektron what's going on.

And I'm doing it live. So,

I think that that's valid.

Don't forget gap gate.

Uh the TR-1000 workflow, I I don't think it's terrible. I think the TR-1000

it's terrible. I think the TR-1000 workflow is very similar to Elektron, but I do think that it is not quite the same. I think it's

same. I think it's you know, I think it's got some stuff that they need to work on. It's another

new unit. It's a new ecosystem. And the

thing's going to be around for a really long time. And I really do like it. I

long time. And I really do like it. I

just, you know, it's an expensive unit for it not to have some of the bells and whistles that I kind of expected it to have. It's much

more expensive than the Tone Berg. I can

imagine people getting a lot more upset about that than stuff in the Tone Berg. I know I don't know Roland uh well enough to know that they're going to address stuff like the

the tiny bits of um volume dip in between pattern changes with with different kits on them. I

don't know if they do stuff like that.

Do they address stuff like that? I'm not

sure. I don't ever buy their equipment except for this TR-1000.

I do know that Elektron will address what's going on on the Tone Berg. And I paid for the TR-1000. I didn't get it No one hooked

TR-1000. I didn't get it No one hooked me up on that sucker.

I spent a lot of money on that sucker.

So, I am have expectations of it. I got

a 30-day window.

But, you know, I want it I want to see them address that stuff, too.

Have you managed to figure out if the Tone Berg has space inside for battery mod?

I bet you it does because it's a digital It's a digital machine. So, it I would ex- I would expect that there's a big chunk of empty space in there. But,

because they do have more um inputs cuz they have some external inputs and outputs.

Um And it has this compact flash card reader and there's a lot of buttons and and it's pretty shallow. So, maybe maybe not honestly.

But, in the Octatrack, there's like massive room. I have a battery in my

massive room. I have a battery in my other Octatrack.

It works really well.

Electronic instruments are like the weird paradigm where there is a prominent mindset of consumerism versus the mindset of musicianship. Like, we

don't have the same critiques of flutes and their limits.

That's a good point.

Why haven't they updated the the freaking flute?

Send control.

And they are a lot more expensive.

Flutes are expensive. Where's my

freaking flute update? Why isn't my flute have a multi-sampler? Or why isn't my flute have like six insert effects?

Although, there are some digital wind instruments that I think they do have some send effects.

Um but, you're right. That's a really good point. We do have a really high

good point. We do have a really high expectation of electronics.

Uh bigger expectation. And I think it's because it's a different um Well, it's a different perspective cuz we kind of just think that computers can do everything. But, also I think it's a different consumer. I think there

is some expectations from like people like the guitar heads when they come over to electronics, they don't have an expectation that things are going to do everything like people who are just in

the electronic realm and started off with everything like in their DAW and they leave the DAW to go to hardware and they find that there's massive limitations everywhere everywhere they go.

Flute lacks innovation and needs an LFO pronto.

There's no doubt.

Can you imagine the LFO on flute? Aren't

you the LFO on the flute?

Bro, I am a flute LFO.

They got some serious controversial updates.

Wait, they kept the CF slot and the external memory?

Any explanation why? Are you talking about on the Tone Berg? So, you can load as many samples as you want, if that's what you're talking about.

That's why it's there.

I'm I'm glad that I'm glad we had I'm glad we had this chat today. I'm

glad that we hung out and we talked about this workflow with the Tone Berg and uh and uh I got to show off this workflow.

But, I'm also glad that y'all just giving me giving me some laughs and kept me company this Tuesday afternoon.

Because it feels real good. Not going to lie.

Feels real good to have some laughs.

No music No music production today. Just

just conversation.

Just conversation. Just talking about the workflow.

[Music] This sound can get so big.

[Music] What is that?

[Music] I mean, this is so cool. This effect is

so great.

[Music]

Then we also have our bus that we get to

adjust.

[Music]

[Applause] What is bass notes on here?

C.

C. Everything C.

C sharp.

G.

C.

Here's some of my multi-samples that I made.

So, this is my modular synth I made into a multi-sample on Tone Berg.

That's Beads and Mimeophon.

FX Aid.

Monomatic.

Overseer.

[Music] No effects on it right now.

It's just how it sounds.

[Music] Whoa.

You do have to wait for these multi-sample tracks to load.

[Music] Nobody wants to do that.

There we go.

[Music] How does it handle this stuff outside of the scale?

[Music] I'm just hitting stuff outside of the scale right now.

[Music]

Pretty cool.

I do like that I can sample it.

[Music] So, if I wanted, I could just throw this right into my Digitakt and, you know, free up a track, so to speak. I mean, we have plenty of tracks.

speak. I mean, we have plenty of tracks.

I wouldn't need to do that. But, if I wanted to manipulate it in the way that a classic sampler does or chop it, I can do that over here.

[Music] Yeah.

The super funky chords, right?

Right.

[Music] This sounds better without the filter, honestly.

What I do hope that they add something that is missing that I really love about the Digitone, besides the note edit, I love the note edit on Digitone. This is

fantastic.

Is the the chord mode, the function to save chord memory. It's

actually really dope.

And also, when you're programming a chord on here, keep these muted. When you're

programming a chord on your sequencer, um from what I understand, that's not going to have all those notes. I mean, where do I even see them?

I only see them here.

So, there is no keyboard that pops up to let you know what notes you programmed. You can't

adjust the notes manually with the controller, like you adjust them with the keyboard only.

That's something I hope they add on here.

Um and also, I I you know, I can't audition this. And I also don't see

this. And I also don't see any notes other than the one note. This made this sound, right?

But that's not what's actually there.

What's actually there is just a single note.

So that's that's not right. That needs an update.

So, there's some stuff There's some stuff coming that needs to come soon.

We need these things in the Digitone, or sorry, in the Tone Tonwerk.

But uh cool. Yeah, so I wanted to show off this

cool. Yeah, so I wanted to show off this workflow. I think that's that's going to

workflow. I think that's that's going to be it for me. We've actually been doing this for almost for 2 hours. I've been

talking your ear off for 2 hours. So,

I've had too much coffee. Um

No no sleep, too much coffee.

And I got excited about this workflow.

And I think I I proved my point and uh hopefully, if you have a Tonwerk, you try this integration out. Uh run it through your different boxes, split the buses, and then run it into your Octatrack. Still have access to the

Octatrack. Still have access to the sampler. Really really cool workflow. I

sampler. Really really cool workflow. I

think it's dope. Um

and I think the song that I started to make with that workflow is working. It's

like it sounds cool. It you know, it needs some polish. It's It was just a demo to see if it functioned and sounded like this.

[Music] [Applause] [Music] Actually, like whatever's happening there. That's not wasn't supposed to be

there. That's not wasn't supposed to be there like that.

[Music] Uh right.

[Music] Oh, I muted it. That's why.

[Music]

Tritone substitutions.

[Music] This is just playing the one note.

[Music] Which I can't even find.

Why not?

So, I got to hold this down and then record. There it is.

record. There it is.

It does sound good there, but [Music]

[Music] Hm.

[Music]

[Laughter] [Music] [Music] Bunch of crazy sounds for you.

All right, folks. My name's Matthew, aka EasyBot. I'm going to let y'all go. If

EasyBot. I'm going to let y'all go. If

you want to get your hands on these crazy sounds that you're watching me play, watching my face. You should have been watching the gear. I do that mistake at least once a stream. So, get

used to that if you like watching this channel.

Um but what I was doing was playing with the Snoop Performance Template called the Hybrid 4x4.

Got lots of cool effects in it.

[Applause] [Music] [Applause] Build-ups.

[Music] [Applause] Automated build-ups.

Like this one.

[Music] And then also, I want you know, I want to bring it up again just cuz I'm going to release this uh either this uh

evening or tomorrow is my Noise Side Drop uh template for the Octatrack Mark II Hybrid 4x4 template here. If you want to grab this and you own one of these, you

want to integrate them together, you'll get access to a bunch more effects than just breaking stuff out, plus this side of it will control the four free flex tracks. These are your track volumes.

tracks. These are your track volumes.

These are temporary mutes. They are just toggles. This would be your main mute.

toggles. This would be your main mute.

High pass, low pass, or high pass, low pass, resonance. And this is your send

pass, resonance. And this is your send effect for effects too. So, either right now, they're all delay sends.

And uh really fun. Makes the template even more fun. It gives you more use.

Makes these easier to control while you're messing with these effects. You

don't have to go over here and play with these while you do this. Um so, really fun stuff.

You want to check that out? That's

patreon.com/easybot or

coffee.com/easybot.

Uh you want to support this channel, you can just go ahead and keep coming back.

That's how you support it. Last thing

you clicked on is the thing that's going to YouTube's going to try and get you to click on again. Um so, just keep coming back and hanging out. It's really great.

There's all sorts of membership stuff.

Discord is free, you can join that.

There'll be a link for that in the chat description below. Uh the Patreon is

description below. Uh the Patreon is free, but all the cool perks are paid for, unfortunately. But they're very

for, unfortunately. But they're very affordable. And uh you can uh pick up

affordable. And uh you can uh pick up the templates on coffee.

And there is affiliate links listed below. If you want to buy something like

below. If you want to buy something like a Tonwerk, for instance, or anything else that I've listed there, gives me a really healthy portion of uh of the margin, if you're familiar with how business works. I get a good portion

of the margin without it actually costing you anything extra. So, if you That's a great way of supporting the channel and also making it so that I can do stuff like a live stream every Tuesday for 2 hours.

And release videos. And I have a bunch of videos recorded and cut already.

They'll be released over the next couple weeks on all sorts of cool stuff, such as the sidechain one I mentioned here.

So, look forward to that. And uh that's how these videos get made. They pay me so that I can continue to make content and continue to research these machines and develop ideas and share them with

you like we did today.

Y'all are the best. Thank you so so much for hanging out. Great chat, great comments in there. Um

appreciate everybody, and I will see you either this Friday for another live stream. Definitely see you this week for

stream. Definitely see you this week for another video release. And if not, I'll see you next Tuesday for another live stream. Everybody have a good one.

stream. Everybody have a good one.

[Music]

I've got to get this out of here.

[Music]