2 different tricks to overcome this:
Mute won’t work indeed, so you’ll have to work with track level or make use of FILL.
Edit: OK, it’s all been said above.
The real problem with long stems is loading time for the project and RAM limit.
I’ve started to think of using DT II more as a recorder for perfectly sized loops that I can use with slice (grid) like scenes but hosted within a single pattern.
There’s one thing stopping me right now, can you intelligent people help me clarify this while I’m away from DT II? When I’m at 120 BPM, I can use the max length recording setting and will get a loop that works perfectly with the slice grid, as the max length seems to end at the end of a bar that’s easily “griddable”. But what if I raise or drop the BPM, will this result in loops that won’t work perfectly with grid meaning bars anymore?
With 120 bpm 1 bar is exactly 2 seconds.
So with 66s sampling time at 120 bpm you sample exactly 33 bars of 4/4.
Selecting sample time in seconds only makes perfect loops for 120 bpm / 240 bpm.
Perhaps is it easier te define your max sample length in steps on de DTII, for you can then sample loops of exactly x bars at any tempo.
If you reuse loops in a project with another bpm than the loop was sampled at, you could use a Werp or Stretch machine to keep your loop running in sync with the project
Thanks for taking the time to respond. I don’t know what exactly you mean here.
Otherwise I’ve figured it’s probably easiest to just record max length and try to be aware that it will be longer than the sample I will play back within a sequence. It’s just hard to perform when recording when I don’t exactly know where the end will be.
Hi folks. After a lot of deliberation I’m jumping into the world of elektron (a mere 3-4 years after joining this forum!)
I’ve been making polished music in the DAW for a while now. However, since this is a hobby I’ve been questioning how deep into that rabbit hole I want to be, and I’d like to get back to some standalone limited-but-fun hardware funtimes. Previously I have tried Polyend Tracker and I liked it but missed things like encoders for playability, or independent sequence lengths for evolving patterns. With my love of The Field and other tracker people who use Elektron gear I feel Digitakt II will be a better fit for the way I make that sort of music. With the idea of using lfos and especially now with 16 tracks, chopping and Euclidean mode, that sampling workflow I like now has a natural home on the Elektron. I don’t tend to play stuff in that much so I know the sequencing approach is the one for me. And even through my intent is to use it solo, I can see it being a studio workhorse in a hybrid setup as well.
We’re out of stock in many UK retailers for some reason, but i had a few basic questions while I wait/prep for some next steps.
Are there any must read/watch resources beyond the manual? I’m aware of Dave’s courses and Cuckoo’s 2 hour thingys on YouTube, but open to suggestions as to what’s best.
My plan is to use the Digitakt solo for a while. This is a) because a single device like this is different to the limitless canvas of the DAW and b) because I’m aware of the depth of the machine which will take time to learn.
However I am wondering long term if this could be a pair with something, whether that be an external synth or in a hybrid fashion with VSTs. I’m interested in how you all run tracks alongside it. Do you tend to re sample directly into it to get around the 4 note polyphony challenge of the MIDI tracks? (Or by using do external sources sequenced separately from the Digitakt.) if you sequence with the DT, do you prefer individual instruments or just one multi timbral instrument that you can pipe back through the DT’s input for processing?
When it comes to exporting, do you tend to process the Digitakt sounds either via Overbridge, or down to a 2-buss with the Overbridge recorder thing (sorry forgot the name of this one.) Or do you try and do it all on the machine with no external processing?
Thanks for any pointers 
you might be interested in this… I like it
Thanks! 
all of those options for me - depending on what makes sense musically.
I’m very late to ask about this, but could you tell me more about how the routing possibilities were changed?
On Digitakt II and Digitone II, you can route the filters BEFORE the track overdrive. Which means, overdrive finally becomes a sound design tool.
Ah, I thought that was there from the start in 2024 on DT2!
Thank you putting me onto its possibilities. I will investigate.
Let me tell you I was afraid it would not come to DT II! But I am over the moon it did! 
Anything that makes you excited as a performer is a plus for us round here 
Slightly OT … but … my qunexus is the same … what’s the solution for cleaning, if any ?
I took it apart and used isopropanol. the labelling went off, but that was ok since after the update some things changed. so i re labeled the dang thing
does anyone know if it’s possible to adjust the encoder resistance?
the pots are super loose on my dt2 compared to the other digis that i’ve owned and it would be awesome if they were a little more resistant!
I don’t think that there’s a legit fix which is safe or easy.
The simplest thing you could try, would be to acquire some very small diameter felt washers, then remove the knob caps and place the felt washers on the encoder shafts, above the faceplate.
These are commonly used to cushion the strap buttons on electric guitars (the metal things which hold the strap in place) and can be purchased as such. In that instance they go in between the strap button and the body of the guitar, then the strap button is screwed down on top of it which helps to keep the screw from backing out when the strap moves and also keeps the metal piece from being in direct contact with the guitar body.
You can buy the same thing not advertised as guitar parts and might save a buck or two.
Over time, the felt might shed some hairs due to the physical contact while turning, which could get fibers into the encoder mechanism. It is therefore not without risk and the best way to avoid this would be to look for some felt washers which use a tighter weave or possibly instead of felt, buy foam washers. Foam washers might be a bit more abrasive and may eventually cause some paint wear underneath, but they won’t shed, so it’s a tradeoff.
Whether the added resistance is consistent or too much is also an unknown factor.
The only real fix, unfortunately, is new encoders with a stiffer feel, but for $5 or $10 might be worth trying felt washers, depending on how much it bothers you.
This problem bothered me many years ago with my first NI Maschine.
I first tried using felt rings. Unfortunately, felt has some kind of a gliding effect. It worked better with o-rings made of rubber (at Amazon you’ll find such small rubber rings for pc keyboards to dampen keystrokes) because the friction between the panel and the knob is higher. However, this solution only works if the knob is firmly attached to the shaft.
If all goes well, the knob resistance is a bit higher, but at the end of the day it is only a workaround.
