Both of you are right! I’m not planning to travel with my gear so primarily needed dust covers.
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Just want to say thanks for the answers to everyone! I learned alot and realized it does pretty much what I hoped. I unearthed a well priced one available locally and will likely give it a shot (even though i bought too much this year already! but only too much according to being reasonable, not to the bank account haha). Good thing is, hardware keeps price, if treated well. edit: i was too late 
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I spent last evening creating drums on my A4, and it was a lot of fun! Just need to practice the best ways to lock multiple sounds with the least amount of chopped sound.
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Can’t save kick sound when followed by hat sound. What is the best way to do this?
…64 trigs per one mono synth voice…
so no way around the fact that each trig will cut off the one before…
but u can start devide the trig timings per track in relation to bpm…
halftime is ur friend…if u want more space for tails in timing per trig…
while there’s no chance to squeeze ALL rhythmical relevance into one track/one mono voice …
for a proper rhythm u’ll need at least one dedicated track for downbeat bumms, some inbetween bamm bamms and the counter tschaks…
PLUS a second one for the groove glueing hats and some further shizzels…
still leaves u with one for all kinds of bassline purposes and one for whatever it might further need…
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Thanks!
This thread inspired me to try out my A4 as a stadalone drum synth and I wasn’t dissappointed, it really is much more inspiring than my AR - I guess it has that extra level of sound design flexibility, a la DSI Tempest. I only wish it had 8 channels now as it would be a massively capable drummachine then!
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I have a Mki for sale trade, but now I’m going to drag it out and try it as a drum machine only. New lease of life maybe
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That’s exactly what I just went through with the mk2.
I also tried out the same approach on my DN - again, really inspring as an all in one groovebox.
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…and since the BEGINNING of a note is always as much of rhythmical importance as it’s END…
the fact that each trig cuts off the one before can become a great choke/mute group to itself…
a long tail kik can be a beauty, but starts to be alive to breathe and groove for real, once the tails get stopped in various ways, from time to time, by all kinds of short accent trigs…maybe filled with whatever u wanna hear or NOT hear there plocked inbetween…
no truu hihat grooves without open/long VERSUS closed/short ones in real life…
there’s always a way to turn obvious disadvantages into great advantages… 
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Your answer is right below your reply 
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the send delay is a good tool to make your drum parts sound fuller. one hihat hit can continue on without interrupting a snare or kick.
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It can do it and it can sound great doing it, but it takes work. Doing it on MK1 is not much fun due to the tiny screen.
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Damn that’s impressive. Has to be just one track for all the drums, kick + snare = osc + noise, hat + percussion = noise + filter Q or osc. Technically, every A4 voice is 3 voices … 5 if you count sub osc
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Works really great using trig locks to throw drum sounds onto one sequencer track. Then using perf macros or joystick to create interesting modulations.
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