Hi all!
I’m new here,also new to the Digitakt and I read all the thread multible times so far,learning so much as I go.
Amazing community I must say.
Amazing machine as well.
I hope I don’t bring old news to the party,as I haven’t seen it posted somewhere else.
If you press and hold the coresponding button(trg,src,filter,amp,lfo) it reveals the values you currently have inserted.
Something that you aren’t able to see normally when you scan a sample on the src screen for example.
USB midi to DIN midi convertor:
Just realized that DT can be used as a USB to DIN convertor. For example, in the midi config - channels page, set Track E channel to channel 11. That’s the channel to send data down from the USB. Then set Track E channel to 14. That’s the channel to send out the DT’s DIN connector.
HTH
Yes, I can use Pure Data to send midi notes out of the computer on the USB cable and pass those notes through the DT and into a 0-coast. The 0-coast only uses a midi DIN connector. It does not have a USB connection. The computer only has a USB connection.
Thanks 
Was asking simply because I have issues with DT+MicroFreak: cannot send MIDI via DIN neither via USB…
Thanks again for getting back
Much appreciated.
I got this idea from this thread, but I found a great workflow for copying kits without overwriting the sequence of the pattern you are copying to. I write a lot of tracks with the same kits and different patterns, and keeping them in sync was a pain until I learned this.
To copy the kit from Pattern X to Pattern Y, but keep the sequence data from Pattern Y:
You should have exactly the same kit in Pattern X and Y, but the sequence data from Y should be the same as before
Is there a way to clear ALL and ONLY the parameter locks?
i kinda felt like this should be in here
Clear the trig on that step and then set it again.
Amazing tips in this thread > boy, am I gonna have fun with these techniques. 
I feel like I should devise some low key ninja hack of my own to contribute - I’ll let you know when I do. 
It doesn’t clear all the parameter for all trigs but TRIG+CLEAR on Note trig does clear all the locks for that trig.
This plus removing all lock trigs and you’re done.
Would be nice to have something like this for the entire track but hey!
RESET PARAMETERS
Press DATA ENTRY knob + [NO] to reset the parameter to the default value. [PARAMETER] key + [PLAY] to reset all the parameters in the selected parameter page to
default values.
During live recording pressing the data entry knob plus no to clear parameter locks across the whole pattern.
Yes but if multiple parameters have been automated one would have to knob+[NO] all the locked parameter across all the trigs which might be a very long procedure and definitely not viable for live performance.
I don’t read all the thread so I don’t know if it already said but here is the trick I use to add VST plugins to the Digitakt (on windows)
I use VSTHost, a free vst host program. In VSTHost, I set audio interface input to the DT and output to the DT (need Overbridge ofc)
I add my plugins and then in the DT, I go to setting - system - USB config and set INT to main to no.
Then go to sampling and choose USB L+R.
Play your loop and you will hear (with a little latency) the processed sound by VST. Resample and set back your int to main to Yes.
I use it to add EQ, comp or 12 bits grit to my drums. It’s lossless because there is no AD/DA conversion.
I use it live, works fine. If I remember correctly it doesn’t need to be held across the sequence only pressed in live record mode. There are multiple way to clear plocks. You mentioned it didn’t exist, I was merely letting you know it did.
Bouncing Ball:
You can get a pretty good “bouncing ball” sound on the digitakt the following way.
Start with a short length sample, like a high-hat hit. Put it forward loop mode. Set the LFO destination to sample length. Set the speed at 8 and the multiplier at 16. Use the exp wave, the one-shot mode, and turn the depth up to 63. The amplitude envelope should be zero attack, zero hold, and around 71 decay.
The idea is that as the sample length gets shorter, the loop gets shorten, and the sample gets hit “faster”. It kind of sounds like the decay of a bouncing ball.
Edit: And the amplitude decay decreases the volume of the sound as the hits go faster.
Template trig slices:
Make a template project, and before create a new project, just load template project and “save project as”
In the template project, choose a bank and a pattern you will never use: maybe bank H pattern 16.
Set the lenght per track to track 1 to 16.
Set up every trig and for each trigs, p-lock start point every 7,5:
*0 7,5 15 22,5 30 37,5, 45 52,5 *
60 67,5 75 82,5 90 97,5 105 112,5
In track 2, set the lenght to 32 and do the same but trigs every 3,75
*0 3,75 7,5 11,25 15 18,75 22,5 26,25 *
30 33,75 37,5 41,25 45 48,75 52,5 56,25
60 63,75 67,5 71,25 75 78,75 82,5 86,25
90 93,75 97,5 101,25 105 108,75 112,5 116,25
In track 3, set to 48 and trig every 2,5
0 2,5 5 7,5 10 12,5 15 17,5
20 22,5 25 27,5 30 32,5 35 37,5
40 42,5 45 47,5 50 52,5 55 57,5
… etc
And the track 4, to 64 and trig every 1,875. But it’s not possible so just set 1/2 every 3,75 (like 2x 2 bar - use copy pasta)
Save the template and now, when you want to slice a loop, just go to you bank H, pattern 16, choose the lenght of the loop (16: track 1, 32: track 2, 48: track 3, 64: track 4) go to record step and FUNC+COPY. Go back to your track with the loop to chop and record step -> FUNC + PASTE.
Now you can flip your loop with TRIG+COPY - TRIG+PASTE and you can mute/unmute the track without waiting the end of the sample to play 
I discover you can also make micro choping / time stretch with this technique. Just drop the trigs track on a sampled melodie loop and see what happen
man, you must create youtube tutorial, the idea is brilliant 
I don’t have camera or smartphone ^^
Edit: You right, I will to get one from a friend one day to make some tutorial about tricks in DT
I do this; to expand on it, I make loops in AUM on the iPad; often with Ruismaker Noir. Sometimes I will drop the tempo in half to get extended tails on the one shots in the loop. This is helpful for pitch changing, especially during control all which can breakdown on loops. Then use the above technique but at double the original loop’s length to compensate. Also, sometimes removing swing for the loop then adding it back via digitakt sequencer helps chopping accuracy.