I’ve used the OpLab, the Doepfer A-192-2, and the new Kenton Pro CV to MIDI.
The Kenton is by far the most advanced and reliable.
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See PDF manual page 19 for pan spread with unison or “trk sounds”.
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Wow that was fast!! Thanks mate 
Do you know if there are limitations to using the Kenton with the AK/A4? I think things like pitch bends work but I don’t know about things like parameter locks …
I actually did and it’s not practical at all since you have to separate voices per track and pan them individually. It also uses your 4 tracks (considering that you’re using a 4 voices patch) The other option is to use a LFO to pan but it’s not the same as having voices spread in the stereo field.
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You can select less tracks to use.
Parameter locks are fine. There are 2 aux cv outs for that. So you basically get Pitch, Gate, and 2 CC#s (which could be p-locks or LFO, or ENV).
The pitch quantization is what sets it apart the most. It’s pretty much set and forget thanks to the quantization.
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Thanks again mate. One last question, have you noticed any latency while using the Kenton pro?
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No.
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I personally like the random trig functions of the Elektron sequencer. It would be nice to see them build and expand the random trig feature… an addition that can essentially randomize synthesis settings, and can conform to whatever scale… randomize any parameter.
Dorian D minor–> randomize random trig
–> randomize synthesis section --> randomize filter section --> randomize LFO section
A button combination to randomize the settings both on a macro level to a scale… and on a parameter lock level for synthesis settings would be the bomb for live improvisation.
It would be great to have the RYTM with this function as well. I don’t think we need new gear. I personally need to be able to randomize anything… with scales.
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You could put a random arp on with the right notes selected(albeit- you can’t control it)
“1. A variable to change the encoder-speed. I have to turn them way too much. It would be a great feature and i know a lot of people who would love this option. (This is for me the most important update and it would be relativlly easy to program)”
“2. A variable to change the encoder-speed. I have to turn them way too much. It would be a great feature and i know a lot of people who would love this option. (This is for me the most important update and it would be relativlly easy to program)”
"
3. A variable to change the encoder-speed. I have to turn them way too much. It would be a great feature and i know a lot of people who would love this option. (This is for me the most important update and it would be relativlly easy to program)"
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Simple. I want to be able to setup PERFormance macros that target the filters’ TRK parameter.
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Make the firmware open source !
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Will never happen. But if you are a decent programmer, buy a raspberry pi an build your own dream synth.
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With decent soldering for an analog synth…
Quite sure it is extremely difficult to build your own A4.
Didn’t finished my house, don’t want to build anything else…
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I think it’s doable with midi, and a midi processor that would map Perf macro’s CC to Keytrack CC.
Perf Macro CC > A4 midi out > midi processor > A4 midi in.
@guga’s Goliath
Event Processor Plus can do it too, but with fixed settings or sysex receive to change templates.
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It would be nice to be able to enable/disable all Trig Mutes in a pattern.
As it stands I struggle to find a viable use for Trig Mutes, except when I only have a single Trig Mute in a pattern.
would be nice to have a ratchet/retrig parameter on a step in arpeggiator.
Also would love to see a slide function in arpeggiator’s setup ( I know that it does exist in sequencer, but I don’t use it because for me ARP+Hold provides a more fluid workflow)
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I’ve started using the A4 as an analog drum machine and having a retrig option would be glorious. Put it in the micro timing window.
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Yes to both of these!!
Being able to P-Lock the arpeggiator params would really be a much more flexible solution all-around on the A4 (ie. you could p-lock arp on/off, its rate, set a lfo on velocity, etc.). It’s such a weird omission/limitation of the arpeggiator versus the whole paradigm of the A4 sequencer.
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