März 2025 - Nogasayan

Digitone II Update 1.10 - Chord Mode and Chord Memory

The New Chord Mode in Digitone 2 Update v1.10: Why It’s Actually Inspiring

30. März 2025 by nogasayan

Dawless, Elektron Digitone 2, Elektron Gear, Review, Tutorials

Hey lovely people — today I want to talk about something genuinely exciting. The Elektron Digitone 2 just got a new firmware update (v1.10), and one feature in particular is giving me life right now: Chord Mode. If you’ve used the Syntakt before, you might think you know what this means. But no — this is deeper, more playful, and surprisingly versatile.

And I’m not doing a serious tutorial here — just sharing some explorations, happy accidents, and honest thoughts on what it’s like to create with this new tool. Because sometimes just sitting down and playing with something new is the best way to learn it. So let’s get into it.

Installing the Update (Quick and Painless)

First off, updating to 1.10 is easy:

Head over to Elektron’s site, download the new firmware.
Open the Transfer app (check for updates there too).
Connect your Digitone 2, drag the firmware file over, and boom — it updates.

No drama. Just make sure to reboot after and you’re set.

Chord Mode: Not Just a Gimmick

Okay, let’s talk Chord Mode. There are several variations here — Chord Root, Chord Center, Chord Spread, and Chord Memory — and each one opens up a different musical approach.

It’s really intuitive. Just hold FUNC + KEYBOARD, and you can cycle between normal mono mode and the new chord variations. In Chord Root mode, for example, you pick your root note, the scale (like chromatic, Dorian, etc.), and your chord type (major, minor 7, diminished, etc.). Press one pad, and the whole chord plays. It’s honestly magic.

You can also shift the octave of the root and visualize the actual notes being triggered. This is a fantastic touch if, like me, you’re not a classically trained pianist but still want to sound like you know what you’re doing.

Center vs. Spread — A Matter of Feel

If Chord Root is about defining structure, Chord Center is about feel. It keeps the chord notes tight and centered around your root — just like a human hand might naturally play on a keyboard. This is my personal favourite for jamming — especially with the root set to F# Dorian, because for some reason that just always works for me. Don’t ask me why. It just feels right.

Switch over to Chord Spread, and everything opens up. The voices are spaced out across octaves, giving you that lush, cinematic vibe. Perfect for ambient stuff or when you just want your chords to breathe.

Chord Memory: Compose Once, Perform Forever

Here’s where it gets super useful: Chord Memory. You can save up to 16 chords, mapped to the 16 step buttons. So you can program an entire chord progression for your track, save it, and then trigger it live.

For live performers or improvisers, this is a dream. You can store your “A” section in buttons 1–8 and a “B” section in 9–16. Then switch between them fluidly — no menu diving, no stress. Just pure playability.

It’s honestly made me rethink how I might structure a live set.

The One Thing Missing: LFO to Chord Shape (pls Elektron 😢)

Now, if you’ve used Digitone before, you probably wondered: Can I LFO the chord shape?

I did too.

But… nope. Right now there’s no option to modulate chord shape via LFO, which is a shame because the creative potential there is huge. Imagine one static chord, morphing in shape over time — hands-free. Elektron, if you’re reading this (I know you’re probably not, but let me dream): please add this. We’d all love you for it.

Final Thoughts

This update didn’t just tweak a few things — it gave us a whole new way to write music. The Chord Mode is playful, intuitive, and — most importantly — inspiring. You don’t need to be a music theory nerd to use it, and it opens up genuine creative possibilities whether you’re jamming, composing, or performing.

And let’s be real — Digitone 2 was already a powerhouse. This just made it better.

So go ahead, update your unit, dive into Chord Mode, and get lost in the music. I’ll be here too, probably still playing around with F# Dorian until the next update drops.

Stay cozy, stay curious, and keep creating.

Behringer Edge as a Bass Synth Sound Module (Being triggered by Digitone)

Using the Behringer Edge as a Bass Synthesizer: Happy Accidents for Hypnotic Techno

23. März 2025 by nogasayan

Behringer Edge, Dawless, Generative, Tutorials, Workflow

Hi everyone,
Today I want to share a little sonic detour I took with the Behringer Edge—a semi-modular percussion synth that’s typically known for clanging, banging, and industrial bursts of noise. But what if we dialed things down a bit, flipped some switches, and turned it into a bass synth instead?

That’s exactly what I did. And along the way, I stumbled into a few surprises, a few mistakes, and a few pretty magical sounds.

First Things First: Triggering the Edge via MIDI

Let’s talk setup. I initially wanted to trigger the Edge via MIDI using my Digitakt. But—like any live setup—it’s a bit of a spaghetti mess of cables and routings I’d rather not dismantle. So I grabbed my Digitone instead, which also works beautifully.

On the Digitone, I jumped to Track 16, loaded up a MIDI machine, and set it to MIDI Channel 1.
On the Edge itself, make sure the DIP switches on the back are all flipped down—that puts you on MIDI Channel 1. There’s a helpful little chart on the case, which is nice if you don’t want to keep digging through the manual.

Once you hit a note on the Digitone, the Edge lights up. You’re in business.

A Quick Note About Pitch Control

Now here’s a weird thing that might trip you up (it did me):

If you don’t want the Edge’s internal pitch knobs to mess with your MIDI-triggered notes, you need to flip the sequencer pitch mode switch to the middle position (where it says “OFF”). This disconnects pitch modulation from the Edge’s built-in sequencer and lets your external MIDI gear take full control.

With that little quirk sorted, I had my MIDI notes flowing cleanly. Time to make some noise.

Dialing in That Low-End Growl

The Edge defaults to oscillator 1 on a square wave, with no envelope, no noise, no FM, and everything at zero. So at first, it just kinda drones. But that’s also a perfect blank slate for building your sound.

I added a quick kick on the Digitone just to use as a metronome, then started shaping the bass voice:

Adjusted the decay to keep things tight.
Enabled the envelope, which immediately made the sound punchier and more defined.
Brought in oscillator 2 and—surprise!—realized hard sync was on. The result? Beautiful, gritty overtones I wasn’t expecting.

And here’s where it got interesting…

A Happy Sequencer Accident

At some point, I forgot to hit stop on the Edge’s built-in sequencer. I had been planning to use it purely as a sound module, controlled entirely by the Digitone. But the Edge had other ideas.

Suddenly, it started layering its own pitch modulation on top of my MIDI patterns—and it sounded great. It was one of those classic “didn’t-mean-to-do-that” moments that actually led to a unique vibe. So naturally, I leaned into it.

I started tweaking the sequencer pitch knobs again, adding a subtle melodic movement underneath the Digitone’s MIDI notes. The result felt alive—like the machine had a mind of its own, and it was in a really good mood.

Embracing the Chaos (and the Sequencer)

Originally, I wanted to treat the Edge like a traditional synth module—purely external control, predictable behavior, nice tidy signal chain.

But let’s be honest… where’s the fun in that?

The Edge’s internal sequencer isn’t just a utility—it’s a performance tool. Whether you’re making experimental techno, hypnotic grooves, or just noodling on a Thursday night, letting that sequencer do its thing can create unexpected rhythmic interactions and textures.

Even if you don’t “know what you’re doing,” flipping switches, nudging knobs, and just letting the machine surprise you can lead to very usable (and often very cool) results.

Final Thoughts: It’s Not Just a Percussion Synth

The Behringer Edge might be marketed as a percussion-focused synth, but I found it to be an excellent bass voice too—especially in a live or improvisational context. With or without the manual (I still haven’t opened it, and maybe I never will), the Edge rewards playfulness.

It’s got that rare quality where almost anything you do with it sounds good, or at least interesting. Whether you’re using it on stage or in the studio, it’s a perfect tool for the kind of chaotic creativity that leads to new ideas.

Do You Use the Edge in Your Setup?

I’d love to hear from you—especially if you’re using the Edge as a bass synth, not just for kicks and hats. Share your setups, live videos, or production tips in the comments. Let’s trade tricks and happy accidents.

If this kind of content speaks to your music-brain, don’t forget to like, subscribe, and ring that little bell icon so you don’t miss the next experiment. Thanks for being here and exploring sounds with me.

Until next time—stay curious and keep turning those knobs.

Monthly Archives: März 2025