The Syntakt, like all other Elektron devices with Class Compliant Audio supports stereo streaming in both directions with Class Compliant Audio. With Overbridge you can stream 20 channels simultaneously to your computer and 8 channels simultaneously to your device.
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It does, but itās kinda clumsy and itās simply a constraint of how the sequence is working with velocity intrinsically
If you use the encoder with Mod Wheel and breath, you can see that the encoder becomes a proxy controller
If you do the same with velocity, well, itās awaiting notes, but those notes have velocity set (this may be varied or default 100) but the fact is that the velocities are set and if you vary the track velocity (or input velocity from a keyboard) you will audition the effect
so whatās the point in retaining the line that encoder will affect it - itās because itās doable, but clunky, i.e. itās the best youāll get for a feel for whatās happening albeit it is not anywhere as useful as MW e.g.
Just vary the velocity quickly enough that you change it as a note is struck, or play lots of notes, or play long notes and the effect of velocity is momentarily superimposed onto the sound thatās started - itās offering a hint of whatās happening, at best, as soon as another note comes in the encoder is reset to audition at the notesā vel level, so to get a feel, itās best to have long sustaining notes
I can see why the info would be left in, but I do follow the confusion it can bring as it only works (at best) conditionally - I donāt think thereās an obvious neat way to improve this encoder auditioning as it needs to listen to incoming notes
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I request as a feature that when in Velocity Mod setting menu, one would be able to use the Velocity modifier keys and even set them directly by holding the modifier key while adjusting the level encoder.
That would be nice.
It sorta does this already as it happens, it doesnāt actually change the range of velocities you set on a modifier, but it does allow you to hold the note and adjust the velocity in situ up and down - so itās actually less clumsy than I suggest above - plus it no doubt works well with auto channel keys
But for the purposes of auditioning itās a qualitative improvement on the workflow above
I.e. itās useful enough to be determining how some sounds will sound when sequenced, obviously some sounds with āinternalā decay will not sustain and sound the same but itās definitely useful to use the encoder whilst auditioning with Modifiers
I had high hoped for this, it seemed like it could be genius, it works okay on some machines over moderate velocity swings, but it doesnāt undo all the link to volume, it may be because an exponential relationship is only āoffsetā by a linear one - itās indeed possible to get the volumes to flip a bit, but they donāt work in a consistent way across machines and all velocities
e.g. step program alternate notes to velocity 1 and 127 and see how that can be overcome
a side effect is that thereās often a large loss of total volume and there also seems to be sounds which still link the velocity to the synthesis, so the sounds canāt be consistent
It is however, still a very handy tip, useful in many real world circumstances to keep a bit of volume consistency and have some sauce added
all of this just fuels my near decade long lust to have a repurposing across all devices
Nobody (1/1000) is live programming any Elektron box and exploiting Breath Control
There are four modifiers (here) that are probably never tapped
What if we could tick a new check box ā¦
Velocity to Breath
or even
Keytrack to Breath
and this disabled Breath CC input and directed Velocity or Keytrack as though that was the incoming controller data, thus alleviating some of these issues
Iād still like to have a velocity to volume switch
So having Keytrack as an effectively new modulation source as a substitution for Breath would be very nice indeed
Yeah, if Iām honest I only tried it once when I was playing around with Velocity Mod and the M2 Modifier. It worked for that specific scenario, but it probably wonāt suit every situation. Something worth playing around with though 
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OK, but what are these 8 āouts to STā channels exactly?
2 stereo pairs + 4 mono tracks, how can we even use this?
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1/2 Your computer audio (whatever you like, added) using ST as if a soundcard
3/4 Your (other?) computer audio but this time via AFX
5/8 Your (other?) computer Audio (mono) via any of 4 independent Analog Filters (think ārealā plugins)
Mix to taste
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Syntakt is the piece of gear I was searching everywhere, but did not exist.
Then the Syntakt was announced!
There are some tiny overlaps of some of the Model:Cycles machines with some of the Syntakt machines, but after having used both (and am keeping the Syntakt), I have to say they are incomparable.
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Oh yes. Even the chord machine, the sound of which is very characteristic and hard to escape on M:Cycles, can be kneaded and tamed to taste on the Syntakt.
I thought first it was āonlyā a drum machine, but the machines are very flexible, despite their focus.
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oh yes, i was just playing around with the chord machine:
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Iām still pretty baffled by a lot of the critism of the Syntakt.
I meanā¦
It isnāt.
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Sick. And I thought I had been exploring ^^
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however, i fully agree with that (NordDrum) and would love to have one or two acoustic sounding machines (especially snare) included, with an emphasis on resonance.
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I think itās because drum boxes can be polarizing. While a good amount of sounds are attractive, unfortunately enough sounds/machines are not preferredā¦ therefore making the total package ānot worth itā for some.
What a bunch of people are doing with the ST is awesome.
However this does not mean I donāt like it! Itās a beast of a box and clearly has awesome potential. Iād get it for the DFAM like sounds alone. What a gem.
This is the syndrome of āitās too newā and a lot of default sounds are pushing some people away.
I donāt even know why Iām defending this, I never brought this upā¦ but there are some cycles sounds that I can never get around to liking, and maybe thatās what is pushing people away?
Itās like not liking a soda machine because it has a soda you donāt like even though you arenāt forced to drink that one soda you donāt likeā¦
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the dvco are the best aspect imo. you should really spend some time with those. no elektron synth sounds as good as those. and you cant get wave/physical modelling/va plus analog on ny other elektron machine. those sounds inside a mutli-track elektron sequencer alone are enough incentive for me to keep it. apart from its incredible overall sound.
elektron instruments are extremely deep, you just have to get creative. and this is the elektron box with the most varied sound design options that currently exists
like the sy bits engine isnt as limited as it seems. you can set up like 8 tracks all with different waveforms and varying bit depths and sample rates, detune relationships to the fundamental, decay, and noise/osc balance. that one machine alone makes for a pretty impressive multi track synth, esp when run through analog saturation and an analog notch filter
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i made this one quick, between the last post and this one somewhere (took like 6 minutes), so its not a masterpiece but i think the syntakt excels at making very musically interesting compositions/patterns from the tools available within the deep interconnected framework
this is four slightly varied sy bits tracks
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If you look enough, thereās tons of people hating on the machinedrum too for its sound. Then thereās people who will be buried with their MDs. Not comparing the ST and MD. Just agreeing with you that people are being people. Lol
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spam: one SY BITS
ā¦ and who hasnāt visited yet, thereās this thread with literally every style of music: Syntakt standalone music
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