Elektron Tonverk is a new 16-track performance polyphonic sampler with multi-samples and with the potential to be the spiritual Octatrack successor: Firmware 1.2 out now
Elektron’s OS 1.1 update for Tonverk, released at the end of November, has made the Tonverk performance sampler significantly more exciting. The community received the update very well, and it also put the device much more in focus than before.
For Christmas, Elektron is giving the Tonverk another update, OS 1.2.
OS Update 1.2
The new OS update 1.2 is ready for download. It introduces various new effects and more. It starts with the steel box reverb, a new reverb that was inspired by early digital and ’90s plate reverbs. This is the third reverb for the Tonverk engine.
It’s important to note that it’s not an emulation of a specific vintage hardware unit. It’s more of an original offering that incorporates these characteristics and offers a much broader range of parameters.
The new steel box reverb lets you push sounds from tight metallic rooms to sprawling, resonant spaces. It can clang, bloom, or decay endlessly, making it equally suited to metal can tails or big, characterful ambience.
The second new addition is the filter folder, which combines wavefolding with filtering and distortion, perfect for shaping sound at a more fundamental level. It’s designed to add harmonics, grid, and movement to your sounds, going beyond traditional filtering.
Alongside these, they also extended the multi-FX section with new capabilities. Daisy Delay can now be used on all tracks – and Frequency Warper can now be wielded on all audio tracks, bus tracks, and mix. So, even more sound design options.
That’s not all that OS 1.2 offers. Tonverk users can now explore a new random arpeggiator mode that introduces unpredictability to arpeggiated patterns. Once activated, you reschuffle note order on the fly to generate evolving melodies and unexpected variations.
Other improvements include pattern mute, improved gain reduction, new sidechain sources for the compressor, and the ability to use shorter samples in the grainer.
Additionally, it provides improved tempo stability when simultaneously receiving clock and a large volume of MIDI data from an external source. Lastly, it includes other fixes and improvements.
It’s excellent to see how Tonverk continues to grow with every update.
The new firmware 1.2 is available now as a free update.
Available at my partners
Thomann
Perfect Circuit
Update from November 26, 2025
When Elektron released the Tonverk in September, the new hardware multi-sampler seemed very unfinished. Videos show that many features are missing and that much is still buggy.
Now, two months later, there have been minor updates that have improved things considerably. Just before Black Friday, Elektron released firmware 1.1, the first major update, making the instruments even more exciting. It turns it into a polyphonic granular sampler.
Tonverk Firmware 1.1
As a reminder: the Tonverk is a 16-track creative polyphonic sampler. Now with the new firmware 1.1, Elektrons turns the Tonverk into a 16-track polyphonic granular sampler
Grainer is a new creative and playful polyphonic granular machine (SRC) that lets you chop and sculpt your sample from the smallest sound fragments into entirely new sonic forms.
The new machine includes classic granular features such as grain amount, size, density, position, spread, direction, and randomness. Three unique play modes shift it from drifting pads to tempo-synced stutters to smooth, oscillating layers.
Part of the machine/engine is a unique, dual-shelving filter that lets you shape your audio in a new direction. Each voice can run up to 8 grains, and because each audio track can playback up to 8 voices, you can have up to 64 grains per track.
Then, firmware 1.1 also introduces a shape machine to the Elektron Tonverk. It enables you to shape sounds on the bus and send tracks with new tools on the filter page. This includes a dual shelving filter with low shelf gain, low shelf frequency, high shelf gain, and high shelf frequency.
Additionally, in the AMP section, you can work with ADSR or AHD envelopes and a stereo width control on these tracks.
Alongside this, you can now choose which source the bus compressor sidechain function uses – also a handy new feature.
It is now also possible to pan the track’s sound after the effects stage, affecting the entire track’s output. This new feature is available for all audio tracks, buses, and sends.
Improvements
It’s just as crucial that improvements and bug fixes have been implemented. I hope there aren’t many new bugs with this update:
- USB MIDI in/out is now functioning as intended, so the Auto Sampler now works properly with external gear
- undo/redo functionality also accessible for paste/clear operations of patterns and track sequences
- deeper undo/redo power is coming soon
- sampler browser improved (look and feel)
- trig Preview offering a quick and easy view of what lives on each trig
- sample support (FLAC and ALAC – M4A and CAF)
- name editor in the auto sampler
- other improvements (navigation, performance, stability).
- and more
As of September, Tonverk was not a finished product. Anyone can confirm that, even Elektron. I’m sure that firmware 1.1 with the new granular engine is just the beginning of what Elektron will implement in the future.
It’s great to see this update is now available, making the Tonverk more interesting, especially since the price has dropped to 1199€ from 1399€.
The new firmware 1.1 is available now as a free update.
Article from September 10, 2025
The Octatrack is a legendary performance sampler beloved by many. Many are eagerly awaiting a successor, mainly an Octatrack MKIII. It probably won’t happen as Elektron has just released the Toneverk, following its prototype leak last year.
This morning, the finished version of the Tonverk was leaked, and if you look at the feature set, it is very reminiscent of the Octatrack and could therefore be the spiritual successor.
Elektron Tonverk
The Tonverk follows in the footsteps of the legendary Octatrack and brings the concept into the modern age. Elektron has created with the Tonverk a performance sampler, or rather a multi-sampler that can be a powerful instrument but also an audio processor.
It’s designed for both real-time compositions and sound designers alike, as it houses a powerful engine, allowing for the manipulation of sample content on the fly.
At its core, it has eight audio tracks that can be utilized in different ways depending on your sound mission and workflow.
Additionally, you have eight tracks for buses, sends, and mix, each with its own sequencer, giving you tons of composition and routing options.
Exciting side note: Toneverk is the first device that runs on a new Elektron platform, and they promise it will certainly not be the last device. Maybe we will see successors to the Analog Four and Analog Rytm.
Three Machines
The core is powered again by the well-known Elektron machines. The Tonverk has three new machines plus MIDI.
Single Player is a polyphonic one-shot sampler with sample loading and recording functionality. You can set your loop points and work on a new crossfade function for smooth and seamless looping.
Multi-Player, on the other hand, is a multi-sampler that lets you load multi-sampled instruments. You can either load in your own multi-samples (hopefully also third-party formats) or use the new auto sampler.
The Auto Sampler is a tool that allows you to create custom instruments on the fly by capturing your external gear – a feature known from Apple Logic Pro/Mainstage, Akai MPC, or NI Maschine+. It also has two distinct modes.
Recorder is a straightforward audio sampler with internal and external sampling capabilities, while Auto Sampler lets you sample entire external instruments with full customizability of the notes and velocity layers. Excellent, you can also sample via USB from your computer or tablet.
The third machine is Subtracks, which offers you the option to load a sample on every lower row key on Tonverk’s keyboard, giving you eight subtracks in a track. And these subtracks are powerful.
Each subtrack is capable of playing its sample simultaneously and offers two filters, an amp envelope, and modulation. These subtracks are especially useful to create a drum machine with multiple sounds. Additionally, you can also use the tracks as MIDI tracks.
Features like granular synthesis or other ways to transform samples aren’t available. The same goes for possible synth engines. Nope, Elektron’s new flagship instrument is 100% sample-based.
Cool, however, is the ability to play the instruments chromatically with the built-in keyboard buttons.
Routing & Sound Shaping
One of the Octatrack’s greatest strengths was its ability to route sounds in a wide variety of ways. This is also one of the key features of the new Tonverk polyphonic multi-sampler.
Each Tonverk track can have its own routing, allowing you to route them individually or in groups. Its extensive, flexible routing setup will enable you to direct sound from multiple sources to various destinations.
It’s also possible to send audio out of Toneverk, process it externally with other synths or pedals, and bring it right back into the machine.
Tonverk also houses tons of effects, including Elektron classics from other devices, and newly developed ones.
Among the newcomers are: Rumsklang Reverb, Daisy Delay, Dirtshaper, Degrader, Chrono Pitch, Frequency Warper, Infinite Flanger, Phase 98, Filterbank, and Comb +/-. They can be flexibly routed to different sounds and tracks.
Modulation
Another essential key element of the Tonverk is the mighty built-in modulation engine that sets everything in motion. Each of the eight audio tracks has two voice LFOs, two FX LFOs, and a mod envelope.
In comparison to other Elektron devices, that’s a lot, and in subtracks mode, the modulators are also usable per subtrack. Every track or Subtrack has one filter envelope and one amp envelope as well. And if that’s not enough, each of your buses, sends, and the mix has two LFOs too. That’s a ton of modulation flexibility.
Sequencer
An Elektron instrument without a sequencer will probably never happen. Don’t worry, the Tonverk also has plenty of crazy sequencer fun.
Unlike many other Elektron devices, the Tonverk features an all-new sequencer engine with up to 256 steps. More importantly, every single track has its own sequencer with the beloved parameter lock functionality, giving tons of ways to bring your samples to life.
According to the developers, you can even P-lock the routing itself, and they say that they have never put so much parameter lock potential in any other device than in this one.
Connectivity
On the backside, you have a power ON/OFF button, dual USB-C, a microSD card slot, so no internal memory, 5-pin MIDI I/O, a stereo input on two 6.3mm mono jacks, and four audio outputs (A, B, C, D). Plus, you have a headphone output.
And yes, the USB-C ports also support USB audio, which means you have even more audio recording and routing options.
First Impression
It’s taken Elektron a year to complete the Tonverk. The result is an exciting hardware multi-sampler with many sound shaping and routing possibilities. It’s not quite an Octatrack MKIII or spiritual successor yet, as it lacks real live looping or the hardware cross-fader.
I think there’s still a lot that can be done with updates. It’s a shame, however, that there are no built-in synth engines or sound processors like granular synthesis or resonators. Since it’s a new, robust platform, I expect many more features to be added via firmware updates.
Elektron Tonverk is available now for 1399€.
More information here: Elektron
Underwhelming… Elektron is easily the most overrated synth brand out there. Everything they make ends up sounding like the same overprocessed, plasticky soup. The menus are a labyrinth, the workflow is a grind, and you spend more time deep in subpages than actually making music. Their analog gear lacks punch, their digital stuff is sterile, and their so-called ‘signature sound’ just means all their boxes end up sounding identical. Those cheap, buttons that feel like a toy and get annoying fast. If you enjoy endless menu diving and making music that sounds like everyone else’s Elektron jam, this brand is for you.
I sent my Digitakt back to Thomann after just two days, with a big smile on my face, and haven’t regretted it for a second.
For years now Elektron triggers my K.Y.S.S. (Keep Your Sh*t Syndrome) hard
Sorry for your lost. It’s quite an achievement to fail at Digitakt for two days.
To be honest: Elektron’s sequencers are extremely good and quick to use. The results can be incredibly complex if you want them to be. Except for the Octatrack. That device is just complex.
I wouldn’t call this sequencer complex, just basic. It does what almost every sequencer does, and even my five-year-old understands the principle. Sure, you can make complex sequences but it means diving through 15,000 menus, pressing the same button combinations over and over, repeating the same patterns endlessly. If there’s anything less creative than endlessly repetetive behave to generate a ‘complex’ sequence, I haven’t seen it. This is not creativity. This is a rigid, rule-bound hamster wheel. Elektron doesn’t encourage thinking outside the box…it only promotes thinking only inside their boxes
you might not like it, but many love the workflow. including me. i dont think its overrated at all
Some make boring techno with it, others create the most wonderful music.
These are just tools.
A bad workman blames the tools.
Your comment clearly reflects an attempt to convince yourself why you’re lacking in something.
There are only two reasons I buy gear: it has to sound good, and it has to be unique. Elektron offers neither. Conceptually and in terms of execution, sure, they set some standards about twenty years ago. That was back when the synth market was still pretty niche. But no, it’s not the best sequencer. Even the Korg Electribe series was ahead years before, and today, devices like the Oxi One set the bar. The sound is nothing special, and the engines are boring.
The Digitakt is definitely not a creative tool for experimentation. What’s supposed to be exciting about it? As a Eurorack user, I probably have a more expanded view of what “creative” and “free” sound design really means. What annoyed me most about the Digitakt was the track selection, keyboard, and sequencer functions all crammed onto the same step buttons. That pointless multi-function layout constantly forces you to switch layers. It’s a workflow killer.
I’ve tried using desktop synths multiple times, but the deeply nested architecture always ends up frustrating me. I build my own synths and modules, so I have some experience to draw from. All in all, Elektron boxes are well-built and sturdy. But innovative? Not anymore. They’ve become bread-and-butter machines. Functional, but far from exciting.
Add to that the aggressive marketing, and you’ve got every random YouTuber waving one of these things in front of the camera. Of course people with uncritical consumption habits jump on that hype train. It’s about buying into a lifestyle, filling a sense of emptiness with gear, chasing this naïve dream of inner satisfaction through a fever-dream mix of wooden desks, succulents, and tarot cards, while playing melancholic ambient patterns under dim lighting and pondering their existential revelations.
It’s the same tired aesthetic over and over. These Instagram-style marketing videos follow a predictable formula, carefully crafted to manipulate viewers into projecting depth and meaning onto machines that, without the glossy narrative, would barely hold anyone’s attention.
I don’t get G.A.S., and I always laugh when some new blinking “revolutionary” synth claims to open “entirely new creative possibilities.” The answer is NO. Almost nothing we see in today’s synth market is actually a new discovery. Most of it was already developed in the early days, even before the 80s. What’s come since are minor additions at best. Mostly software-based gimmicks, but nothing that truly redefines sound.
Take granular synthesis, for example. 99% of it is just random ambient textures and was developed in 1946, Physical modeling in the 70’s, sampling inb the 70’s, the list goes on. Sorry to shatter the illusion, but if you’ve fallen for the cult of the Swedish synth gods, that’s on you. Maybe consume less YouTube and dig a little deeper into the real origins of synthesis. You’ll quickly realize that what’s being sold as “innovative” today is mostly just repackaged and decomposed versions of concepts that have existed for decades. Now wrapped in flashy boxes that no one would care about without a slick promo video hitting every psychological trigger designed to launch simple minds into full-blown G.A.S. mode.
Most people come to the realization two or three years later. That once “amazing” synth didn’t unlock their creativity or transform their life the way the commercials promised. Let’s see how much it’s worth when Reverb is flooded with used Tonverks in a year or two.
I find elektron machines creative and inspiring, and it seems like a lot of people think the same. I bet you feel uncreative yourself and you’re blaming elektron for your own issues. There’s nothing creative about generalizing and showing off your frustration here.
I like my Syntakt a bit less than I’d hoped to, and I haven’t given my Digitakt the sort of love that it deserves yet, but these are sweet good boys who love to sing out the coordinated audio singals borne of their microchip-and-opamp electrobrains. Let’s focus our frustration on marketers and internet video hacks, and only direct love toward these sweet, innocent babies.