Just tried on DN - appears to be latest to me there too
if you build up 25 locks per track, by the time you get to track four, you hit the 80 limit at the fifth one
if you pile on loads more on track four and save the pattern/project then reload - nothing from track one is missing - but it does forfeit every added lock from track four since the initial warning i.e the 80th lock is not kept either (or so it seems)
This to me is the safest working method - i.e. if you get a warning - it’s not going to stick - you need to thin out your foundations, they’re not removed from under you (that would be an odd process to permit)
So just to add clarification on a bit of the funkiness here …
The warning comes from and after your 80th lock - the 80th DN lock does not stick (a simple reboot will suffice)
So this is what I see too, a usable limit of 79 actual locks
where it is funky is on accounting - it’s not elegant, but perhaps there’s a reason
so if you find you hit the limit on a page of 8 by the 4th lock on that page, removing the first four will NOT give you your allocation back (yet) - you must change pages - then the accounting is up to date - so it can appear frustrating unless you account for this nuance
Up to 72 different parameters can be locked in a pattern. A parameter counts as one (1) locked parameter no matter how many trigs that lock it. If for example the cutoff parameter of the filter is locked on every sequencer step, there are still 71 other parameters that can be locked.
So if you plock 7 parameters on a trig, copy it to each track, you reach limit (12x7=84)
Yeah, it’s better phrased in the AK manual, although not really crystal clear. It mentions relationship to tracks:
Up to 128 different parameters can be locked in a pattern. A parameter counts as one (1) locked parameter no matter how many trigs that lock it. If for example the cutoff parameter of the ladder filter of synth track 1 is locked on every sequencer step, there are still 127 other parameters that can be locked.
I figured I would do some back of the envelope calculations to figure out the actual memory required for this sort of thing. This is pretty rough with lots of assumptions, so bear with me. I count roughly 44 P-lockable parameters (probably more) per track on Syntakt. So 44 parameters * 12 tracks is 528 parameters to keep track of. To set those per step we need to multiply that by 64, so 528 * 64 is 33,792 potential different values to keep track of in order to track all p locks on all tracks on all steps. The parameters are all different bit depths, from 8 to 16 bit it seems, so worst case if all parameters were 16 bit values you could potentially use up 540,672 bits, or around 67 kB of memory, which seems pretty manageable. I wonder what the origin of this limitation is.
I understand you’re talking about p-locks and that that was the context, but just for the record, I’ve had another weird bug happen at least 3 times now where patterns suddenly disappear or play very differently after a power cycle. I.e. dataloss. If I panic and save the project again, it’s gone forever. But if I reload the project, I get the patterns back from the last known save.
Anyway, one time this happened and appeared to have erased just some p locks and it again happened right when I restarted it. I recognized the issue so without hesitation I just reloaded the project and the p locks were back again. I don’t know, but there are at least some relatively serious issues in this box still. I make it a habit to save the project for real before shutting it down nowadays - just in case.
I’m not sure if it’s the same on all Elektrons, but I recently noticed that it is possible to re-save Sounds in the Sound Pool.
If a Sound has been saved to Sound Pool and is sequenced with sound locks, it’s possible to make an adjust to the Track Sound then save over the original in the Sound Pool. All Sound Locks then play as the newly saved Sound
My workflow now is to mostly work in the Sound Pool, then save that to + drive later
Yeah, but as you write, that only works with the dedicated track sound. I tend to sound lock other sounds from the sound pool into the track sequencer, and since those sounds are never actually a dedicated track sound, you can’t edit and resave it.
I probably should have done a better job of explaining my workflow. I tend to edit all my sounds, not just the track sound. So basically, I have the track sound set to whichever sound is used the most for that track. In the case of the kick track, for example, the track sound is the standard kick. I then have a few other sound locked sounds that I just pull from the presets (+Drive) and load into the sound pool, which I parameter lock. Then when jamming, I might want to tweak one of those locked sounds because, let’s say I want to cut some of the low end on a pitched up kick that is just there for effect, not for punch. So I then hold that already parameter locked trig and dial up a HP filter or something like that. Now I have a sound lock parameter with additional parameters locked as well. That’s what I mean. Suddenly that trig uses up more than one of the 72 precious trig locks.
A workaround would be to adjust all those presets and save them to the +Drive before loading them into the sound pool, so they are perfect from the get go, but that’s a really clunky workflow and practically very hard to do since I don’t necessarily know exactly how I want all sounds to sound like in the mix until they’re actually in the mix. What I’d love is a way to “recommit” the dialed-in parameter locks of a sound into a new sound in the pool, so that it just counts as one single parameter lock again. OR, even better, that they just get rid of this silly 72 lock limitation so this becomes a non-issue.
…seems i’m simply not crazy enough…i never ever plocked toooo much on any elektron device in more than a decade of heavy use and abuse of pretty much all of them…while always kept thinking, wow, i plock a lot…
I tend to edit all my sounds, not just the track sound. So basically, I have the track sound set to whichever sound is used the most for that track. In the case of the kick track, for example, the track sound is the standard kick. I then have a few other sound locked sounds that I just pull from the presets (+Drive) and load into the sound pool, which I parameter lock. Then when jamming, I might want to tweak one of those locked sounds because, let’s say I want to cut some of the low end on a pitched up kick that is just there for effect, not for punch. So I then hold that already parameter locked trig and dial up a HP filter or something like that. Now I have a sound lock parameter with additional parameters locked as well. That’s what I mean. Suddenly that trig uses up more than one of the 72 precious trig locks.