This trio are some of the most important elements of the live show. Bottom is an Elektron Monomachine; middle is a Behringer keyboard used to trigger sound effects, vocal samples, hits, sweeps and other 'ear candy' the band like to fire off on the fly, and top is the Roland Juno 106, routed through a guitar pedal. "They love that Boss Heavy Metal Distortion. It's kind of the signature sound in 'Chemical Beats'. You bosh that over the 106 and it just sounds filthy — a horrible, dirty, angry thing.”more
"On this record, we play every instrument we ever used in our career, and new ones too,” adds Dunckel. "Vibraphone, for example, or Mellotron, heavily filtered most of the time. We had bought some new instruments that we had never used in our records until then: a Moog Source, a PPG Wave 2.2, a Prophet 5, a Vermona DRM1, an Elektron Monomachine SFX60. We even bought a Vox guitar amplifier, for its warm sound and its tremolo, and a vintage Neumann microphone too, to record our voices.more
On the surface it is minimal and basic yet once you dive in the depth seams to get greater the more you explore - limitations produce more creativity and expand your consciousness. To some a cruel mistress to others a soothing embrace its fun to explore and jam great for ideas and develops your synthesis knowledge. Use the LFO's :-)
In my opinion it takes time to get used to. The + side is, that it has diffrent synthesis forms and even a SID emulation. The sounds you create must be worked on to get them nice and fat. Great tool, but I myself prefer the Analog Key/four as the sounds are fatter and easier to shape them to a nice form.
This synth is refreshingly contrary to most synth design. While most sound modules try to maximize polyphony and preset variety from a single synthesis method (subtractive, FM, etc), this unit... - has only 6 tracks, each capable of only a single monophonic voice. - has 5 different synthesis methods, some with sub-algorithms - doe not emphasize grab-and-go presets, but is built around diving around menus and sculpting sound in the moment. You can not save syntheses patches at the track-level, only Kits/combinations at the program level. The sequencer is both a source and a destination for control. Control this via MultiTrig mode, and you have incredibly fat stacks, splits, or patters you can transpose in real time. Everything is build to around everything else. There is no center.