It’s great, best to think of it as a sample sequencer, mainly because that what it is. If you’re doing more minimal stuff. I doubt I will buy a Digitakt, I feel this enough paired with other hardware.
They did a great job of picking the most important elements and then fine tuning it all. Sure, it’s nice to have AHDSFR envelopes on samplers, but you don’t need them. They really should add a bandpass at least though.
I have it running with a 6 channel mono 8/16 bit granular sampler (that can sample) so between the two I’m good, I don’t feel like I need more sample playback. If you can’t make something good with this it’s your fault, not the machines
I think right now is the best drum machine out there. Is lightweight and confortable to use, has a marvelous sequencer, all the functions are on the front panel and the transfer of samples is very fast and straight forward. The effects sounds also very good. The only function I miss is add chance to concrete parameters.
once they add LF0 to sample slot switching via knob scrolling and also sample slicing hopefully this little box is going to be the sickest little box of it’s size on the planet
I had a play with the M:S yesterday for the first time in months and made four very different patterns with it in the space of an hour. It’s a keeper for sure. Can’t wait until we can play physical gigs again so I can take it out with the M:C and smash out some fun sets
This is me too.
The things I loved about the Digitakt (sequencer, compactness, output quality) are all there.
The thing I disliked about the Digitakt (newer, less flexible kit scheme) is offset by the knob per function immediacy. Same goes for slot list management. That’s no longer a concern on MS.
Plus the things unique to the Model series like the combo HPF/LPF cutoff single parameter, fill latching, minimum 5V power requirement, LEDs that display which parameter are p-locked or LFO’d, these are all the things that make me reach for it on the regular.
It is more than a simplified Digitakt, and the price still amazes me.
It’s a great mindset to get in with UI design, and hopefully helps with the next generation of devices towards how to merge complex combos and concepts with immediate knobbiness.
There isn’t any. Which makes it arguably better if you have a well organised sample library.
It’s great, you can just churn patterns out like it’s nothing. I might even get a DT too at a later date, but I’m looking for something that isn’t Elektron to mix it up.
It’s a lot deeper than it might seem at 1st, but obviously DT is deeper. You can do basic granular, it sounds way better than you might expect with single cycle waveforms, the clipper is pretty good too.
You could do that. I think he’s referring to the sample pool, which is what you import from the main directory to be able to sample lock with in DT. In M:S you don’t need to do that, you can just use anything from the main directory.
To be more specific,
On Digitakt and/or Rytm, there are 127 sample slots per project. This is a limitation that cannot be overcome. You can use sample chains to squeeze a bit more out of it, but then that becomes another thing you must manage.
Considering you have 64MB RAM, it is actually not very many slots, and you often end up with more unused space once the slot list is full
On Octatrack there are 128 flex and 128 static sample slots per project.
On MS, there is no slot list limitation whatsoever.
There are just 96 patterns x 6 tracks = 576 sample slots. You always have the maximum amount of sample slots a project could access, mathematically speaking.
The samples exist in the 64MB of RAM but are linked with hashes and there is no slot list to manage.
Having 576 places for 64MB worth of samples is much more worry-free in terms of management than 127 places for 64MB.
MS completely removes this layer of organization needed on Rytm or DT, because it is entirely unnecessary.
It means you can generally squeeze more out of a single project of an MS, even though MS projects are 96 patterns, and DT projects are 128 patterns. All 96 MS patterns can have 6 unique samples, where as all 128 DT patterns would have to share the same 127 samples.
In the end, for me, it means on stage I am working from a single project and won’t have to stop the sequencer to load another project. I can play live for 3 or 4 hours.
