In this Beat From Scratch session, Elektron Tonverk is put through its paces as a full track comes together from a blank pattern, highlighting familiar Elektron workflows alongside some genuinely new ideas that set it apart from boxes like the Octatrack and Digitakt.
Key Features
- Classic Elektron step sequencing
- Subtrack sample architecture for packing multiple sounds into one track
- New effects unique to Tonverk
- Flexible bus routing and effects sends
- Newly added grainer engine for textures and soundscapes
Anyone familiar with previous Elektron devices will feel immediately at home with the Tonverk, while still being pleasantly surprised by how fresh it feels. Years spent moving through machines like the Octatrack, Digitakt, and Syntakt mean the fundamentals fall under the fingers quickly, with eight audio tracks and that unmistakable Elektron sequencing logic feeling instantly familiar. The addition of four bus tracks and three send tracks, paired with a generous spread of new FX and Machines, opens the Tonverk up in ways none of Elektron’s other products quite have. It does not replace the Octatrack or Digitakt, but it comfortably sits between them, carving out its own sound-sculpting workflow that feels distinct within the Elektron lineup.
A simple four-to-the-floor kick goes down first, locked into steps one, five, nine, and thirteen. From there, things loosen up. The keyboard-style layout above the sequencer invites small variations, with extra hits dropped in and then shaped using conditional trigs. Velocity drops, swing adjustments, and pitch tweaks add subtle movement, the kind that keeps a pattern alive without cluttering it. Even at this early stage, Tonverk feels fast, with very little friction between idea and result.
Track two introduces one of the more interesting Tonverk-specific features: subtracks. Instead of treating a track as a single sound, multiple samples live inside it, ready to be triggered as needed. It is an elegant way to condense a drum kit into one lane, something that feels immediately practical for performance and pattern organisation. Recording these parts quantised keeps things tight, while the transform tools add a dose of unpredictability by randomising velocity across steps.
Effects routing quickly becomes part of the creative flow. Sending elements to dedicated effect tracks reveals a new reverb algorithm, including the dreamy Rumsklang reverb that feels purpose-built for spacious, textural work. On the delay side, the Daisy Delay brings modulation and character, with feedback, width, filtering, and movement all dialled in from the front panel. These effects feel distinctly Tonverk, not just carryovers from other Elektron boxes.
Muting and shaping parts highlights another small but thoughtful detail. The new mute page keeps muted tracks half-dimmed, offering a constant visual reminder of what is out of the mix. It is a small thing, but in a live or improvised setting, it makes a real difference.
As the track builds, multi-sampled instruments come into play. Longer patterns, extended releases, and gentle filtering create pads and melodic layers that sit behind the rhythm. Per-track effects slots open the door to heavier processing, with tools like the Degrader introducing sample rate reduction, modulation, and controlled chaos. Paired with phasing and dirt shaping, these sounds move from clean to characterful very quickly.
Bus routing ties everything together. By sending multiple tracks to a shared bus, compression keyed from the kick drum introduces a subtle pumping feel that adds bounce without flattening the mix. This approach mirrors techniques many producers rely on in DAWs, but here it feels immediate and tactile. A touch of warble and noise further blurs the line between sound design and performance.
Bass duties arrive via a simple one-shot, but again, the depth is in the details. Envelope shaping, slight attack adjustments, chorus width, and distortion combine to give the bass presence without stealing space. Sending it to its own bus and applying sidechain-style compression keeps the groove breathing, especially when parts are dropped in and out using the mute page
The master channel adds another layer of performance control. Bass width filtering and subtle noise become tools to shape transitions and energy, hinting at live set potential. While it may not lean as hard into performance theatrics as the Octatrack, there is more than enough here to imagine building and playing an entire set from one box.
Late in the session, the newly added granular engine makes an appearance. Loading a textural sample and diving into grain parameters quickly pushes things into abstract territory. The result borders on chaos in the best possible way, playfully messy, expressive, and full of happy accidents.
A final hi-hat layer lifts the energy, tightening envelopes and adding sparkle to the groove. By this point, the track feels complete, not because every feature has been explored, but because the workflow has led naturally from one idea to the next.
What stands out most in this Beat From Scratch session is how Tonverk balances familiarity with forward momentum. It feels recognisably Elektron, yet confident enough to introduce new ideas without overcomplicating the process. There is a lot packed into this machine, but it never feels like it is getting in the way.
If this is a sign of where Tonverk is heading, there is plenty here to keep curious producers busy, whether they are sketching ideas, building full tracks, or pushing into more experimental territory.
