Well there are all those pattern modes, you can combine them with the voice parameters to constrain them to a scale. Add in the modulation of the arp params and generative madness awaits.
But I do get the point that up/down/up & down don’t cut it any more. Every arp should have in-out, inversions and other musical options.
Using Length and StpOffset along with Oct Mode gives variations to the arp in general. Also pay special attention to Mode = Order, and the order you key in your arp sequence, especially because you are allowed to repeat notes.
An Entropy control for the Arp ?
i thought the hydra and obx filter could be a match and its even better then i imagined. cv mod and pitch to filter cutoff.
I like these knob substitutions…the knobs are the only thing I don’t like about my hyrda
selco/sifam
I wish they were simpler, just variations on percussive rhythms, which could them be played on the arp order. I know they probably don’t want to open a whole can of worms by letting us program or upload our own rhythms, but it’s a bit of a missed opportunity.
Related to this point, and again me imagining a Hydrasynth Version 2 :
The Leviasynth has 64 preset factory arp phrases, plus 64 user definable arp phrases available ( plus whatever else you do with the sequencer ).
Given that the skeleton’s of these two synths are so closely related, it is not unreasonable to see this change with a new HW version.
I use cc to make arp more instant change so it’s a cool way to get out of static classic arp behaviour.
On the Virus, arp can be send out to other synths. So my Hydra is often chained to Virus to have another bunch of phrases. Futhermore, the Virus arp is cc submit to instant phrases and function changes. Vast possibilities of variations sended to Hydra
My wishlist of things for a next Hydrasynth OS upgrade is pretty small.
~ Increase the transpose range on the Step LFO when in semitone mode to +/- 24, at least.
~ Give us the option of installing a pack of simpler rythm-based patterns for the ARP’s pattern mode. (Basically, I don’t really like using other people’s riffs as my own, but rhythmic syncopations are a little more generic.) (There also might be something I’m missing about how patterns work that would make them more flexible)
And… that’s kind of it. Of course it would be fun to have new effects types and mutants or new filters or something, but this thing is so richly featured already, I’m actually hard pressed to think of something I reasonably need it to do that it can’t already do.
they said they can’t do another update, so it’s at full maturity. it’s run out of processing power. Check out the fb group. Ken posts there frequently
I don’t want to waste anybody’s time with my erratic thoughts and semi-random questions but if you want to chime in…
From time to time a Hydrasynth (any type) pops up in the local second hand market and… and I’m being increasingly tempted. At the same time I stop myself because [GAS & dispersion reasons you’re probably familiar with].
I’m a curious preset tweaker more than an intentional sound designer. I have Bitwig, an Osmose and a Roto, and if I want something specific there are plugins that provide it, and the controllers to bring the hardware feel.
Still, the Hydrasynth sounds keep awaking my curiosity. But then again, I could probably use the time and mental energy such a new synth would bring into digging further in Bitwig, or (say) U-he’s Zebra or Hive 2.
I’m bored of being in this hardware-software mental loop in the past days, and maybe you Hydrasynth users have more thoughts to add to the mix. 
Bitwig can let you make anything you want basically. If you are fine with using a mouse and KB.
I love my HS Explorer, but if I was buying again today it would be the desktop just for the extra 4 encoders. If I had space for it I would instead go for the 49key big version.
I don’t think there is an answer to your question.
The Hydrasynth does have a whole gestalt though.
Bitwig is unbelievably cool, if you already like it and like that way of making music, keep it up.
My computer-made music is objectively much, much better than my hardware jams. But I’m past the mood-moment where I want to make music on the computer.
I love my Hydra Deluxe and the Explorer (I mean, I basically bought the same synth twice, so that tells you) but honestly, I feel that the VST-in-a-box charges at least have some merit.
If someone had the mental workflow with a computer all sorted out, I wouldn’t encourage breaking that spell, as long as it lasts.
But if that spell is broken, and you’re ready to dive into the world of low-productivity but high-fun (at least in my case) then the Hydra is pretty great. I particularly feel that the Hydra combos well with Elektron stuff, especially the Octatrack.
If nothing else, you’re likely to make different music and make it differently simply because you feel and think differently when handling an instrument vs a computer. Perhaps not every time, but not having an instrument cuts access to that bit.
I really love using Octatrack in a trigless looping setup to catch Hydrasynth jammery. This is the AlmostAnalog patch, which I’m pretty sure is factory standard? Anyway, I just mess with the settings and layer, it’s hours of fun.
Great combo !
4 Hydrasynth tracks recorded with OT, sliced and randomly played…
Did somebody tried an Hydrasynth Editor and has a recommendation?
