Would you please remind MC vs ST signal path or parameters differences ?
I guess the base/width secondary filter is missing on MC…
(I had an MS, much prefered DT)
Cycles has no filters. Of the machines that the syntakt and the model cycles share you can think of the cycles as just being the syn page.
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I don’t know if it’s in the manual or shared here, but I found that in play mode, you can mute a track by just holding its button, not even having to use mute functions. You can do this for more than one track at a time. It’ll trigger the sound(s) but then mute the sequence(s).
I think that can be quite cool for live case!
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You can set velocity to 1…
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Sure, but it might also be annoying if you want to add more steps later on.
On the Model:Cycles, you can p-lock different machines without also p-locking a certain sound from the sound pool (rather than simply getting the default sound). From messing around with the Syntakt (and reading the manual), it doesn’t seem like this is possible. Am I right?
I guess you could save “empty” presets for each machine in the sound pool and then use those in order to just p-lock to a certain machine, but that seems like quite a hassle.
Unfortunately yes.
Yes, that’s the logical workaround already mentioned on Elektronauts, but I agree it is not practical.
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(Maybe mentioned somewhere for other Elektrons or even here)
- Plock parameters on a track, change machines.
(I may use this for sampling)
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This one is maybe too obvious to be worth sharing, but I find that ctrl+all doesn’t work if you have the chord machine playing because it messes up the chords (if you twist the bottom left knob in the Synth machine, which I do all the time since that’s where the FM feedback resides). The solution is to simply parameter lock each chord type to the sequencer. Now you can twist that knob without the underlying chord type ever changing.
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True, but when I do this, I first have to p-lock the parameter using trigless trigs as well if the note is held for more than a trig. Also, I can hear changes taking place, it’s just that the parameter is snapping back to the original setting for each new trig. Is this your experience as well?
Interesting! I’ll admit that my tip here was purely theoretical and I haven’t tried it. Now I definitely need to give this a try. That sounds like a bug if the chords change and then snap back for each new trig. Or I suppose that’s how the engine works, it only “fires” the parameters in the trig when the trig triggers (phew!) and then the knob twists can still alter everything beyond that point. If that’s the case, I’ll remove my tip from this thread. Or caveat it with saying that it probably only works well with chord stabs, not longer pad chords.
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So, for this to work you need to sacrifice a track to make it midi, right?
Yes, OR if you’re using a midi controller or other device that can send CC 1 (MW), 2 (BC), PB, and/or CC 4 (AT), you can set up performance macros in the sounds to use with that.
If you do sacrifice an audio track to be a midi track on Syntakt, though, you can use the power of its sequencer and a MIDI track LFO to advantage. (Sweep a filter for 32 bars, or parameter lock changes for groups of tracks, say).
Just worth pointing out (if it’s not too obvious) that you can use the MIDI loopback thing (or MIDI from another device) to make layered sounds.
I’ve got DT going into ST and I was trying to make some big stacked dub chord type sounds, so I just set 2 tracks on the ST to the same MIDI channel and then use one of the MIDI tracks on the DT to play those two tracks layered. You could stack as many tracks as you want in this way so it can go from subtle detuning of 2 copies of the same sound to giant walls of noise, as you prefer.
Another thing you can do here is just map the DTs MIDI CC knobs (or any other controller) to the filter cutoff or any other parameter and then easily control the filter on both of the stacked tracks. I was thinking that I’ll set up a project on the DT as a template and save it so I don’t have to set up the MIDI tracks every time and have common parameters (e.g. cutoff, res, filter envelope, whatever) laid out in a certain way for muscle memory.
Also worth pointing out that you can mix and match which device sequences and which controls so you can use one box purely as a sound module if you like (sequence and control with DT, just use ST for sound) or you could sequence your trigs on the ST and just use DT as a knobby controller.
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Solid tips, thanks
So I’ve been spending all this time going into the song mode edit view to set mutes and realized today that you can just turn on pattern mute mode while playing the song and edit mutes as it plays. This seems like a much more organic way of editing and I’m very excited about the potential of editing this way.
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Take two slices of bread, put a slice of cheese between them. Place that on a tabletop. Place Syntakt on top of cheese sandwich. Make piping hot tunes for half an hour. Lift Syntakt, remove cheese toasted melted delight. Enjoy 
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It’s obvious enough that Elektron should just add the voice sharing feature from the Digitone. (Not jabbing at your tip here, but at Elektron!)
What is the purpose of the TRIG on and off switch in the modifier setup menu? I thought that I would be able to modify parameters of running sequences without triggering new notes, but that’s not the case.
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