Elektron Digitone II: Dissecting FM Tone Synthesis and Workflow

The Digitone II is introduced as a four-operator FM synthesizer, drawing inspiration from classic 1980s FM implementations but with a distinctly modern twist. Unlike early FM synths, where frequency modulation handled everything from tone generation to amplitude shaping, Digitone II separates these duties. Here, the FM engine is positioned as a complex tone generator, which is then processed through familiar subtractive synthesis elements like filters and amplifiers. This hybrid approach allows for both the glassy, metallic textures FM is known for and the sculpting power of subtractive synthesis.

Elektron’s workflow emphasizes flexibility: most default patches start with the FM Tone machine, making it the foundation for sound design. The video demonstrates how to select the FM Tone engine via the SYN page, reinforcing that this is the core voice architecture. By decoupling FM from amplitude and filtering, Digitone II encourages users to treat its FM section as a highly malleable oscillator, ready to be shaped further downstream.

Central to Digitone II’s FM architecture is the ALGO control, which determines how the four operators interact. Each algorithm defines a unique signal path, setting up different relationships between carriers and modulators. The video highlights how following the signal flow in the algorithm chart helps users understand which operators are influencing each other, a crucial step for effective FM sound design.

Visual feedback plays a key role: dotted and solid lines in the algorithm diagram indicate whether an operator’s output is affected by its envelope. This distinction becomes important when sculpting dynamic sounds, as it directly impacts how modulation evolves over time. Elektron’s interface makes these relationships explicit, reducing the guesswork often associated with FM synthesis.

The video moves on to demonstrate the main parameters for shaping FM timbre. The harmonics control alters operator waveforms, with negative values targeting operators C and positive values affecting A and B1. Real-time visual cues highlight which operators are being modified, making the process more intuitive. Detune introduces subtle or dramatic pitch offsets for operators A and B2, enabling everything from lush, chorused textures to abrasive dissonance.

Feedback is another powerful tool, controlling self-modulation for specific operators depending on the selected algorithm. The video points out the loop symbol in the algorithm chart, which identifies the operator receiving feedback. Finally, the mix parameter crossfades between the two main outputs (X and Y), blending operator groups for broad tonal variation. This section underscores how Digitone II’s interface encourages experimentation, with each control offering immediate, audible results.

The final section of the video covers fine-tuning options for pitch and modulation behavior. Ratio offsets for each operator (C, A, B1, B2) allow for subtle or extreme pitch adjustments, enabling users to dial in precise harmonic relationships. The distinction between coarse pitch settings on the first page and these finer controls is made clear: the former operates in musical intervals, while the latter offers granular adjustment.

Key tracking is another standout feature, modulating the intensity of FM based on the note played. With key tracking set to zero, modulation remains consistent across the keyboard. Increasing the value causes higher notes to receive less modulation, making it possible to craft sounds that respond dynamically to pitch. This level of control is essential for advanced FM programming and gives Digitone II a nuanced, performance-ready edge.