How do you design your own sounds on the Elektron Digitone?

The answer, in full

Elektron Digitone FM Sound Design

Digitone FM Operators, Algorithms and Punchy Bass

FM on the Digitone is cleaner than the reputation suggests once you see it as operators feeding a subtractive signal path. I'll break down carriers vs modulators, what algorithms actually do, then walk a punchy bass from an init Sound.

Steps

1. Understand operators as macro oscillatorsThe four operators are grouped into C, A, and B (B1+B2). Each operator has its own envelope. A carrier is the operator you hear as a tone; a modulator is one that bends another operator's pitch to add harmonics. C always carries the base note. A gives inharmonic ratios for metallic/edgy character. B is two operators macro'd to one control.
2. Understand algorithmsAn algorithm is the fixed wiring of who modulates whom. There are eight of them (set on the ALGO page). Each has two carrier outputs X and Y, and the MIX parameter crossfades between those two timbres. Stacking operators as modulators = more complex, aggressive harmonics; fewer modulators = cleaner tone. After the carriers, sound runs through overdrive then the filter, just like a subtractive synth.
3. Grasp ratios (the harmonic character knob)Ratio is a multiplier of the played note's pitch. 1:1 (carrier:modulator) reads like a sawtooth, 1:2 like a square. Integer ratios stay tonal (great for bass), odd/non-integer ratios go metallic and inharmonic. For bass keep C on an integer and use A or B for the bite.
4. Start a fresh Sound and pick an algorithmLoad an init/empty Sound, go to the ALGO page (SYN1) and choose a simple algorithm with one carrier and one modulator so you can hear cause and effect. Set RATIO C to 1 for a clean fundamental.
5. Dial the FM tone with ratio, level and the operator envelopesAdd grit with a modulator ratio (try 1 or 2 for tight harmonics, higher for growl). Use the operator LEVEL to set how hard the modulator hits the carrier, then shape it with the A/B operator envelopes. These are ADE/ASDE envelopes with an adjustable END level, so keep a short attack, fast-ish decay, and a low-but-nonzero end so the bass keeps some body after the initial hit.
6. Shape punch with filter, amp env and overdriveUse the amp envelope for the overall shape: instant attack, short decay, moderate sustain for the punch. Bring the multimode filter down and add a touch of resonance for weight, and push the master overdrive for saturation. Sequence it low and monophonic-feeling for tightness.

Ideas to try

Envelope the FM for a plucked attack — Set the modulator's operator envelope with a fast decay to a low END level so you get a bright, harmonically rich transient that settles into a rounder tone. That decaying-brightness is exactly how real plucked/struck instruments behave and it's what makes an FM bass read as punchy.

MIX between two timbres for movement — Since each algorithm has X and Y carrier outputs, use the MIX parameter to crossfade between them. Parameter-lock or LFO MIX across the pattern so the bass shifts character step to step without touching the notes.

Feedback for saw/square bite — Feedback on a modulator sharpens the sound. Dial FDBK up for a gnarlier, buzzier low end. Check the factory Sounds B001/B002 to hear feedback used to fake basic square and saw shapes, then steal that for your bass.

LFO the ratio or FM level — Assign an LFO to a modulator's level or ratio for slow morphing growl, or key-sync it fast for per-note timbral variation. Great for a bass that never sits still.

Watch out

• Modulating one operator directly with another creates very harsh harmonics fast. Ride the operator LEVEL and its envelope to tame the modulation amount, otherwise the bass turns to fizz instead of thump.