I think it’s actually 26
I’m quite confused by the manual regarding saving. Can you save a pattern and it include all the tone information within the pattern? Or have you got to save the pattern plus all tones individually each time you save?
Looks like PATTERN&TONE saves both.
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If its classical Roland device everything is just linked. So you must save each modified tone as new sound (SH-4D has 256 free slots, right?). Pattern is saved separately and just links to these sound. So if you dont use preset sounds, you must remember to save everything separately.
I have Roland FA-06 and there you save tones, studio sets and song separetely. I end up using presets only because this kind of saving was awfull experience.
You should watch Cuckoo’s tutorial as he explains this in great detail. Start from 12:40 into the tutorial, and then also see the section at 47:30, where he explains how you can quickly save “everything”. But the answer to your question is no, patterns do not include the tone/sound presets - the pattern refers to the tones which are saved into the user tones slots. This means you need to keep track of which tones are “earmarked” for certain patterns, if that’s how you want it to be set up. Different patterns can link to the same or different tone presets. If you are the kind of person who likes tones to morph gradually over the course of a song, you’d have to save separate tone presets for different patterns - or accept that they’ll reset to the saved state when changing patterns and quickly twist the knobs back to where you want the sound to be. Or, as someone here suggested, program in automation at the beginning of a pattern that quickly morphs the tone to where you want it to be (though keep in mind that that will then reset back to this initial state each time that pattern loops since it’s now an automation lane).
If working in a hybrid setup, this shouldn’t be a huge issue because you’d probably record all the automation in the DAW instead, so the preset sounds would be kept the same on the SH-4d. In that case, you only need one sound preset per part of a pattern. But then again if you’re working in a hybrid setup, you probably wouldn’t be using the built-in SH-4d sequencer at all and instead do it all from the DAW - so again, the built-in sequencer then becomes just the idea sketchpad to get you going, and then you don’t really use it when getting further down the line of producing the full song.
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Once this is out in people’s hands I am hoping someone does a side by side video with mc101 and sh4d for two use cases: (1) stand-alone groovebox and (2) multitimbral sound module/sound design synth externally sequenced.
@djst I enjoyed your Syntakt / mc101 video. This feels like a logical follow on for you (if you planned on trying the sh4d out).
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One thing I’ve wondered (which isn’t clear from the manual) is if you can save a tone while it’s playing. My guess is no, but I’ll test it.
But as you said definitely could limit to automations and then clear out the automations on each part before transitioning patterns.
Btw I didn’t see you as spammy negative conversation. I saw thoughtful consideration and sharing perceptions.
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I find the workflow logical. It’s like tuning a guitar and then being able to pull that guitar into whatever set you need it in. I’ve never been a fan of designed sounds being locked to a project. Oh I have this great lead, but which project was that lead in? Vs I have this great lead named SuperAwesome lead and it’s in my tone library. Granted having both options could be nice—having project sounds that you can save to the overall pool, but that just means you have duplicate sound libraries which takes up space and you have to keep deciding what you are saving to the global options vs project. This would give my brain decision anxiety.
The backup also seems fairly straightforward, and I can see the 250ish user pattern slots not being an issue since you can just swap out backups for different sets.
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Thanks! That would be a fun video to make indeed, but I try to avoid buying new gear so it would have to wait until it’s available in the used market. 
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@RealTinyPenguin I appreciate you saying that, and I appreciate you too @Azzarole. Thank you both!
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Hi. I didnt expect to find someone who actually likes this kind of workflow 
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I wish that Roland gear has a possibility to decide if the resource (sounds, kits) would be linked or copied. That would satisfy both types of customers.
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My brain definitely works the other way, I find it easier to remember “that lead from song X” than remembering whether the sound preset was saved as “Amazing string lead” or “Fabulous string”.
But more importantly, with a synth that’s designed to make dialing in sounds quick, fun and intuitive - like on the Syntakt, and I imagine also on this SH-4d - I almost never reach for presets but instead dial in what I want on the fly because it’s part of the fun. But if I wanted to reuse a sound from another song I made, I’d definitely have an easier time remembering the song than the preset name.
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It really does seem like Roland is going for absolute control with this.
The list of effects are amazing, and it seems like they did a slingshot around the sun with their gear design as of late.
Giving you just a taste with the small ARIA compacts, where they hold your hand to now full blown surgical precision with this box.
This is worded very confusingly. Can multiple Sy Swarm tracks sound like Roland Strings - or not? And if the answer is “no”, show me those strings 
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Same! It’s honestly less work sometimes than sifting through the presets as well. In fact, even though I’ve saved a few sounds, it’s so easy to dial them in on the ST that I’m not sure I’ve ever actually loaded a preset at all.
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The last piece of roland gear I purchased was the d10 the very week it was released.
As a lover of nice groove boxes this might just make me flip out my credit card.
For less than £600 I think this is a bargain and the clean retro sounds will sit nicely with other more abrasive sounding gear
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Sorry, let me try to clarify. To me, Roland strings require (1) polyphony and (2) the Juno or JX chorus. Take either of those out of the equation and it’s just a string.
Technically the Syntakt can match the core oscillator sound on a single voice, so I’m not saying the SY Swarm isn’t a perfectly adequate general string sound. In fact, it’s my go to machine for 80% of my sounds on the Syntakt. And with clever multi-track sequencing, you could check the polyphony box too. But that’s not how I personally prefer to explore melodies and song ideas with string sounds, i.e. programming a sequencer before hearing the polyphonic results. I want the other way around: noodling on a melody with polyphony and a chorus, and then programming the sequencer.
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Ok! No. 1 doesn’t really count for me since there’s the workaround, but on no. 2 - chorus - I kinda agree. Though I actually did not miss chorus for my rolandish sounds on the Syntakt.
The polyphony per track on the mc101 or maschine really felt kind of liberating after dealing with elektrons for many years. They have their many advantages and strengths no doubt, but monophonic tracks on the samplers as well as the 4 voices of the A4 that you have to smartly distribute over four tracks can feel limiting for someone who loves pads for example (8 voice digitone is easier to handle in that regard)
You can say, well don’t use elektrons for that kind of stuff… well that’s were those rolands may have their place
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There is always workarounds, but they still are workarounds
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