Tone, Bits, Swarm can do a lot. I’d like if they had some more physical modeling or punchy nord drum style sounds though.
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How many Elektrons featured two destinations per LFO before the heat+FX? That’s an exciting potential feature for future updates that wouldnt compete with the the new box
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Alright enough messing around, shove a compressor in this thing so I can leave it at the end of my chain! Pretty please 
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Add a condition/probability to the retrig menu, same as the trig menu.
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More than 99 rows for the song mode please. That’s a feature request for all the digiboxes actually.
Undo options?
I see a lot of requests for the DN arp to be brought over to Syntakt. I haven’t used the DN. Would an integrated arp add anything over the kind of arp function that’s available from external MIDI controllers with arps (such as a Keystep)?
Separate but related question: if someone wanted to use a Keystep or similar device to record an arpeggio to a Syntakt track, is it best to use step record mode or live record mode? Maybe live record mode would require that both devices’ tempos be in sync.
A midi arp that you can assign to Syntakt CCs or notes, as well as external midi destinations, would prevent you from having to bring extra gear to play it and route things in complicated or annoying ways. Being able to p-lock the arp on different steps and save them to patches would be another major advantage. Using external arps is fine in the studio but live i want it integrated, and i want it to be part of the elektron workflow, not bringing in some other process. Not to mention it’s incredible potential for sound design.
I use keystep and also have digitone. The digitone arp can probably technically do “more” but I personally prefer the ks37 arp. I use it synced to the device and live record things in. Part of the reason I like having it separate is to live record arp lines. With the digitone the arp is either on or off, and any notes associated with those trigs will be arpeggiated. Though this can be taken advantage of in a performative way by having a sequence play, then turn on the arp and that sequence plays back very differently depending on the arp settings and the notes on the trigs.
Ah, so when you p-lock an arp, it doesn’t “flatten” the notes into the sequence – it actually p-locks some sort of “arpeggiate command”, so you could easily remove or copy/paste that p-lock to another trig?
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We also need scale-locking on the arp. As it stands I almost never use the Digitone arp because it’s too much of a pain to keep it in key.
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That’s a good question, I don’t have a digitone so i can’t speak to that, but that is my ideal arpeggiator for an Elektron and what i would like to see on Syntakt. My feeling, though, is that this is the kind of feature we are more likely to see on their next iteration of the Dynamic Performance Samper, whatever it may be.
To be fair, I’d take any built-in arp over no built-in arp. The Digitone one just happens to be one of the better ones and Elektron already wrote the code for it.
+1 to the suggestion to keep it in scale, that would make it much more useful.
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Along with a way to lock the scale of the tuning parameter, if you have a keyboard scale enabled.
I wish we could lock the whole instrument to one scale, and then transposition of sequences would happen in that scale. Or perhaps track specific scales, but I probably wouldn’t use that a ton.
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Yes, as it would be integrated. It’s totally absurd the Syntakt lacks an arp.
It’d be epic having the Trig parameters as detination for LFOs.
This could be like an approach to having a randomizer for the sequencer, being able to modulate notes and trig conditions for non-locked trigs.
Or different play modes like random. Lay down the notes you want to play, set track probability to say 50% and there you go, randomized sequence.
Tapping the sign, not sure why EZ, who designs effects, doesn’t just modulate the delay:
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