I treat my DAW as an instrument, maybe it depends on the approach to music. My music depends heavy on resampling and slicing itself, so that might be a reason.
well …
tl:dr - not much garbage to remove.
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Oh yes, it surely did in the past. I had it for about a year and got stuck in trying to make it sound as analog-ish as possible. But FM … would be nice to have when leaning towards that explorative side of myself.
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Perfect to make a 2 tier stand in the middle for the syntakt and that orher thing i font know what it is 
Considering how you’ve been building so many evolving sounds, those envelopes on the A + B levels can do so much. Route that through the ST’s drive and filter, and set up some fast and glitchy ratcheted percussion…
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I have that stand. works v well , fits the two decksavers also
I had an A4.
I was using fast ramp / saw lfos plocked to volume / filter / anything for that kind of stuff.
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Nice! I’ve been committed to A4 over the last year almost exclusively and still I have to admit, I really only scratched the surface and did possibly use only half its potential!
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what the heck is that
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But I read you could get an OT for free.
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Yeah Im fairly bad at it after 3 years. I don’t use envelops enough, and transpose function. Perfs and LFOs are tasty and my go to 
ha my attempt to describe the quality of analog synthesis. fuzzier may have been better ha
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To answer in a different way.
I’ve had Octa, A4, AR, DN, DT and ST, some more than once. But only one at a time really.
Ultimately, I really really like the Rytm pads for banging in notes / samples and using it for mute mode.
Idk it just feels the most like a self contained instrument to me in that I can use samples, synthesis, analog drum sounds, etc.
All that while being, in my opinion, much simpler to use than OT. Or rather, less in my way when I want to create.
I could say a lot of these things about A4 as well (sans sampling) and tbh, it makes some more unique and varied drum tones. The arp / transpose is really great too.
Hard to explain but I’ve just connected with the rytm the most. For a while I fricken hated it. It’s been my most love hate machine. The gain staging and headroom is something you have to wrestle but it feels like a living, breathing beast because of it.
The update smoothed that aspect a ton and it just feels easier to manage whether you want clean, dirty or in between.
The other day I was jamming with some buddies who had some hand drums and shit. Just porch chillin.
I made every pad into sine waves at different pitches with different pan / delay / verb / lfo settings.
I added a bunch of pressure mods to dip the pitch and vary the lfos.
Then I made a quick perf to simultaneously shift all of these notes up a 5th.
The thing played like a real instrument. That’s the side of the Rytm I’m excited to explore more.
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“aliased” is a term that applies to low quality digital oscillators or sampling, which would be the maximum opposite of analog oscillators 
Wouldn’t even agree on “fuzzy” either, analog oscillators usually sound bright and fat. Of course, using them purposely in a dirty way can lead to purposely fuzzy results
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Enough audio rate mod to anything will get you fuzz. And also aliasing ish sounds because the lfos sound like shit (in a way I appreciate.)
Audio rate lfo on kick panning is a pretty tasty secret. Low amounts, like less than 5 depth.
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Please… no need to discuss terminology (be it very interesting, educational or not) in here. Everything you might want to add on topic is much appreciated, though!
Thank you! 
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… whatever “fuzz” means for you, him or me (presumably three different things) …
… which are digital oscillators, not analog oscillators …
The performance mode with the pads sold me on the Rytm. SY CHIP can do cool stuff that doesn’t sound like chiptune at all [besides chiptune]. Also, that it is a sampler with distortion (contrary to Digitakt). Still I’d never part with the Syntakt, which is much more flexible and I made tons and tons of tracks on it.
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Knowing you own(ed?) both, how would you see it in comparison with A4? Like immediacy, flexibility designing sounds, etc…