It works the same on every parameter of every Elektron machine (at least mk2).
You can press the menu button to see the values of every parameter in the menu.
I find it more intuitive in the contrary: because of the graphics, I barely check the values anymore.
But we’re going a bit off topic on this I reckon.
the symbol you’ve chosen remains. but the label is “OP” and the symbol for “OP” is the same as the default, i.e. logical OR. so if you don’t know what an AND or OR or XOR symbol look like, how the hell do you know what you’ve chosen?
again, I know these symbols by looking at them. but how many people do? is Elektron trying to teach everyone boolean logic? 
The way the Euclidean steps relate to the underlying traditional steps is interesting. It seems that the traditional steps are still played one at a time but spaced out over time per the Euclidean pattern. You can observe this by dropping some p-locks on some Euclidean steps then switching Euclidean mode off (without holding func) and you will see where the “underlying” steps were created.
I’ve been playing with dropping straight 16th notes into a pattern, creating p-locks on them, then switching on Euclidean mode to handle the rhythmic part. Using step sequencer is a great way to create the trigs. Need to try turning on the new scale mode for this!
Edit: explained in more depth here.
Linking this picture below back to the link shared in the post above covering the idea of how the Euclidean steps relate to the ‘underlying’ seq steps, it should help visualize the words …
Think about the specific case discussed here to serve as a example …
It’s a simple case a 16 step pattern and you assign Pulse1=5
Think of the distribution of the Euclidean steps like a stretched ‘window’ into the underlying pattern … it is always stretched unless you have 16 active Euclidean steps lit in purple (Pulse1=16 would do this here with that being the only parameter set)
The ‘gaps’ between Euclidean steps are of zero length on the ‘underlying’ pattern, but of variable length on the Euclidean view as we use the pulse seeds and logic to snap the ‘windowed’ trigs into different positions in time - the trigs on the Euclidean trig do have a time interval between them, but it’s varying depending on settings. But it also explains why you cannot p-lock on the unlit Euclidean steps - they are non-existent on the source pattern. For consistency, this is how it works, think of it as a different way to view the same data, but you selectively stretch and rotate the positions of a (generally) reduced set of the potential trigs on or destined to be on the source pattern. If you print/freeze, you basically start with a new underlying pattern and if those frozen steps had p-locks on them, the next attempt with the Euclidean mode (using the same parameters) will generally be different than the first as you have a new linear sequence of ‘underlying’ trigs to pull in (if you p-lock step one on the first attempt, it will still be on one next try, but all other permutations will likely re-order)
I find visualizing a stretched (re-timed) version of the ‘underlying’ steps to be the easiest way to follow how the step views of the same data ‘connect’ , it makes rotating easier to conceptualise - the operators and seeding just affect the number and placement of trigs to look at in the window we audition
Love that Euclidian Mode for ideas (see below, kind of minimal dub techno track, 1 pattern, live, modulation mostly by hand, recorded via overbridge, contains polymetric and polyrhythmic structures, develops, some transients are lost in the mp3 (upload file limit)).
I learned today: if the sequencer appears purple, when pressing record, it is in Euclidean mode. To print it to track, hold function while turning off the Euclidean sequencer.
For true polyrhytm, the Master length parameter in the advanced scale setting page must be set to INF.
Here is the HiFi version:
There’s a lot you can do with tenacity and patience, but the workflow and convenience and is different with each.
I have modular sequencers, I have a Rytm, I have a T-1, and I have Ableton. Some tasks are easier on each, and it’s nice to not need external hardware for a faster workflow when I don’t need more complicated sequences.
I would generally prefer to sequence stuff like the Rytm with the Elektron sequencer, but the T-1 can do great things with CV or MIDI for tone generators that lack an internal sequencer (or one with Elektron quality.)
Helpful, thanks! I probably did that accidentally already 
that could be one reason 
i’m sure you know how elektrons’ UI works and i don’t think it takes/would take much to learn what the symbols represent.
as mentioned, one can hold down the trig button which will then show the selected boolean operator. for those who don’t know what those boolean symbols are, well, there’s always something new to learn right? manuals are written for that too 
wow I completely forgot I started this thread back in 2018! And here we are today! it’s even implemented similarly to how I suggested. This is amazing. I am so happy with the 1.7 update!! It’s become my favorite machine now
Not hating but am I missing something about Euclidean rhythms or their implementation on the Rytm?
I just messed around it for a bit and it just seems to drop some random trigs perfectly on grid.
I typically work this way already just by lighting up some random buttons and forcing it to work.
I thought a Euclid mode would place 5 completely evenly spaced notes if you chose 5.
Meaning some of these trigs would be drastically shifted using micro timing. In this way, a Euclidean mode would be a majorly useful tool for generating unique grooves.
As is, I am not seeing the magic. I want to believe.
E: there are posts about this above me. My bad guys.
E: read through and I still must be mis understanding.
Just so I can get the ball rolling…
Is there a given setting where I can play 7 equally spaced out hits in the space of 16 of my standard trigs?
Here’s my explanation of the computation.
Euclidean rhythms are on the grid. What you want has to be done by hand.
Not 7 sadly but you can use retrigs to get uncommon divisions like 3,5,6,10, and 12.
Or use an lfo on amp vol or filter cutoff to simulate trigs and you should be able to get the magic 7. I guess that doesn’t work on many of the percussion machines though.
Having a ton of fun with the Euclidean sequencer.
Try: Putting a chord stab on a track. Set it to 4 6 16 ON in the Euclidean sequencer. Then put a bunch of other shakery/bongoey sounds on 4 6 16 ON but change the rotations. Set the kick to 0 6 16 ON and then sometimes change the 0 to 4.
Please, oh please, let there be one last update that will let Trig/Euclidean settings be scene locked.
You’re not wrong. It absolutely should.
I honestly don’t know how Elektron can call this a “Euclidean” sequencer.
We just updated our RYTM in the studio here, and gave this a play…
This is not polyrhythm, folks. It’s nothing. And the limited amount of polymeter that can be achieved could already be done before, simply by changing the track scale and placing trigs on the grid manually. But again, that’s polymeter, not polyrhythm.
I guess it’s back to using Patterning to sequencing the Tempest.
Cheers!
I don’t understand why you think “Euclidean” means equally-spaced across track length. Where do you get this definition from?
What is patterning?
?
Math.
Not saying I know a ton about this but my understanding was that these triggers were derived from overlapping shapes into a circle with evenly spaced points.
I think we are talking about the same but there is just a matter of quantization happening in addition. Thinking about this as a shape, one of the legs of a shape is being stretched to fit the “grid” to trigger on the closest point.
I just messed with Bitwigs Euclid generator and it functions this way as well. I don’t have much experience with these so I think I was just mistaken in how they could function for music generation. I wasn’t factoring in the quantization to a step length given the existing BPM.
Given the existence of microtuning on elektrons, I naturally thought it would be using them to achieve nearly 5, equally spaced pulses within the length I set for that track, giving me some really funky groove generation as opposed to just happy accident, on grid trigger placement.
One for the feature request I suppose ;D
I think this 
is the usual definition of Euclidean Rhythms: Given a bar subdivided into exactly “N” time intervals, fit in “M” beats as evenly spaced as can be done, while landing on those time divisions. (M is less than N).
EDIT: Just to be sure I wasn’t saying something stupid, I googled it. Looks like I was spot on: Euclidean rhythm - Wikipedia
I have some knowledge of the subject.
I created a separate thread for my explanation of how these rhythms are computed, and why they are called “Euclidean”. That post includes references, one of which goes into considerable detail of the correspondence with many rhythms in world music. I already linked to that thread just above. What you are describing is called polyrhythm.
I read through bits of that after you initially replied. Great stuff! Will dig further next slow day at work heh.
My last post was just an attempt to describe why I had the idea I had.
