Elektron Revealed Sound Pack Synth Presets

Eraldo Bernocchi is a veteran in the fields of experimental music, ritual ambient, soundtrack work, doom and just about any other genre out there. This truly unique composer, arranger, producer, and musician is constantly pushing the boundaries of what is considered music, and his exploration is often done in collaboration with other musical pioneers from across the world (Toshinori Kondo, Nils Petter Molvaer, FM Einheit, Bill Laswell, Sigillum S, Harold Budd, Colin Edwin, Mick Harris and countless others), or creating projects like Somma for the Italian visits of His Holiness The Dalai Lama.

With half a century of experience working on the fringes of music, expanding it, transforming it and wrangling it, it’s no wonder Bernocchi has managed to squeeze such magical – and highly original - results out of the Digitone: not one, but two exquisite Sound Packs: Hidden and Revealed.

The second part, Revealed, contains 118 original Digitone sounds. The sounds herein act as a perfect counterpoint, thematically and sonically, to the murkier (verging on the occult) first part Hidden. These sounds will be more familiar and perhaps more instantly useful for musicians who like to stay more or less within trusted electronic genres. That is not to say they are lacking in any way when it comes to originality and impact. They just sound more at home in the tangible world of the senses, whereas the Hidden sounds belong to worlds above, below and beyond to a greater extent. That said, in the Digitone, as in life, for the complete experience you need both. Remember, in the shadow world, light is what obscures, contorts and dissolves.

In order to shed some more light on the type of sounds you’ll find in the Revealed pack: If Hidden was mainly rhythmic and bass type sounds, Revealed is predominantly pitched, melodic sounds: oodles of organ, space, bell and pad sounds perfect for dreamy, lush soundscapes à la Eno, Budd, Pink Floyd, Mike Oldfield or Rush (or Eraldo Bernocchi himself – the common denominator for so much of the synthetic soundscape we’ve learned to fear, not fear, be intrigued by and, finally, love over the course of the past five decades).

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