Introducing Digitakt

But its not real p-locking. I can remember that you needed to record a Motion Sequence first. After that you had access to the individual Step Values by going into some Menu, manually skipping through the Steps and dialing on a Knob … that wasnt really cool.

What was cool on the EMX is that it has two different types of automation: Motion Sequences AND Song Events. And those were really great! You could program some automation via MS into the Pattern directly and in Song Mode you could do Automation on top of that - without affecting your pattern. That was probably the best the EMX had - totally useful!

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Exact!!! Really impressive reverb on A4!!!

I imagine the reverb and delay on the DT will be as good as the ones on the analog machines.

I’m curious if those 2 x 1/4" inputs and 2 x 1/4" outputs can be addressed as mono ins/outs (since the tracks are mono), then that should mean that we can have an effects loop on the DT for even more creative resampling. That would be awesome. Not sure if anyone asked about this already.

Also, I hope that it also functions as a soundcard (with OB, I guess).

Do you have the reverb level on fx track way up, fx track level itself up, and legacy fx send unchecked?
I’ve gotten huge reverbs on AR especially with the dec on inf…

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I use the spring reverb most on OT. Gritty/lofi :slight_smile:

Hoping there’s a bunch of interesting new insert fx on the digitakt. If the mpc turns out to suck/never arrive I might grab a digitakt for overspill I can’t fit in OT (always run out of tracks fast on OT). But if it’s only reverb/delay sends I have a feeling I’d possibly get more mileage out of a Squarp Pyramid + a used korg es2…Decent fx suites on es2 (+ more voices and stereo etc) and 64 tracks/true polyphony/extras (better connectivity for my Dom1) on the Pyramid. Hoping Elektron cram more in to this thing than they seem to have…

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Cauton on the ES2. If you haven’t already tried it, you might find its limitations odd and frustrating. They’re not like the ordinary “This feature but not that feature”-leftouts - like the Digitakt appears to be, for example, or the older tribes for that matter - but rather sloppy and uneven implementation.

Sloppy, since some of the things it can’t do, isn’t a matter of having to decide between apples or pears, but just lack of implementation skill.

Uneven, since some of the things it does well, it does really well.

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Yeah heard about some annoying es2 stuff. Would much rather consider the digitakt and have one box instead of two tbh (pyramid + es2), but owning an OT and AK already it doesn’t really excite me as it stands. Would be super useful but also feel like buying watered down pieces of what I already have. The midi trig conditions are nice but not £600 nice :wink: For me at least. Whereas Pyramid + Es2 would offer a load of new fx/sequencing options etc. But be clunky with housekeeping etc cos 2 separate boxes… Ugh.

You’re pretty well covered in the sampling department, with the OT in place.

What I think that the Digitakt, or anything like it, could contribute to, is the immediacy of such a machine. That it’s so different in how you play it, that it generates ideas you’d never come up with using the high-end stuff. The most immediate Electribe I’ve ever used is the ES-1 MKII, where I managed to put together entire live sets from its meager 90sec sample memory. But it was just in the way it worked, the way you could approach it, that made it such a brilliant piece of kit. If the storage solution hadn’t been such a nuisance, I would’ve kept it.

I’m hoping the Digitakt might be the Electribe for the Elektrons. If it touches on those instant synapses that Elektron hasn’t yet reached for, then features will have nothing to do with what the Digitakt is or isn’t.

If you’d get a Pyramid and an ES2, you’d still be in Complicated Country. It would add nothing new, since whatever they’d bring in features and palette, wouldn’t make all that much of a difference anyway. There’s not a lot you can’t do with an OT and an AK, after all.

But if you threw in something in the mix that made you approach your work differently, to go between the deeper structures and designs of the OT and AK, to the wham bam immediate slam of the Digitakt - notice I’m presuming that’s what it’s gonna be - then it doesn’t matter if the OT can do all the things the Digitakt can, and then some.

It still doesn’t play the same. That’s the key. We’re musicians. No matter how we’re trained, where we’re schooled, what we make and don’t make - we play. And electronic instruments encourage different kind of play.

This is where the Digitakt will shine, I believe. This is why I think it’ll hold its own even in a complete Elektron rig.

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There are a lot of posts in here so sorry if this has been covered: does anyone know if Digitakt has a 64-step pattern limit? I think this is the one limitation—not unique to Elektron, but emblematic of their products—that keeps me from going any deeper compositionally with Elektron stuff.

Don’t think it will. Try the MPC.

Trig conditions help a lot

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TASCAM ixr + Iphone + Ruismaker FM and Troublemaker and Phasemaker + Digitakt

Could be fun :loopy:

A compact and inspiring set-up

Curious about the re-sampling and Midi-controlling capabilities of the DT

I left this topic alone a few weeks ago and briefly went trough the last couple of days,

So atm its looking like tis going to be a drumSYNTH after all?

Sorry for asking the impossible hahaha

Trig conditions are… pretty good, but they increase the amount of housekeeping I need to do in a pattern, and can make it hard to visually know where I’m at if I want stop the sequencer and make an edit. (“Wait, is this 1:2 or 2:2?”)

Hard to fathom this limitation in 2017. I guess this pushes me towards niche kit like the Pyramid.

I just can’t buy the MPC. Aside from low levels of trust in Akai (and a desire to give my money to other companies) it looks like Akai executives submitted a design brief “Make it look like something a teenage boy would want to buy… Like an Xbox crossed with a paintball gun… Yeah, that’s it, more red!”

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Digital synth engine, please.
Or crazy edit possibilities on the sample.

Some (like me) would argue that trig conditions make it easier to keep long evolving patterns more concise, and easier to work with visually. Fewer pages that are slightly more complex can be less complicated than more pages that are slightly less complex.

Regarding not going deeper with the other Elektrons, have you tried out pattern chaining?

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The UX for pattern chaining is a bit cumbersome tbh. I think the underlying issue is my own frustration because I feel like I hear eight-bar loops by default and the rest of the world hear four-bar loops. I just find myself wanting the flexibility to just create eight-bar sequences without trickery or funny business.

Oh, who am I kidding, the Digitakt will still be my first choice. I love Elektron workflows and I’m more productive than I have been in years… only four bars at a time instead of eight :joy:

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It’d be kind of nice if there was a different led behavior to indicate if a trig is conditional…

  1. Digital Synth engine
    or
  2. A better sample engine with (a lot) more editing/playing capabilities than the one in the RYTM

So If I had to choose I would pick option 2.

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based on a big assumption for sampling into the DT:

16 bit, 44.1 KHz, Mono: [88.2 KB per second; 5.292 MB per minute; 317.52 MB per hour]
16 bits per sample x 44,100 samples per second = 705,600 bits per second.
705,600 bits per second / 8 = 88,200 bytes per second x 60 seconds = 5,292,000 Bytes or 5.292 MB per minute.
5.292 MB per minute

16 bit, 44.1 KHz, Stereo: [176.4 KB per second; 10.584 MB per minute; 635.04 MB per hour] (Note: This is the standard setting for CD audio files)
16 bits per sample x 44,100 samples per second = 705,600 bits per second x 2 channels = 1,411,200 bits per second of stereo.
1,411,200 bits per second / 8 = 176,400 Bytes per second x 60 seconds = 10,584,000 Bytes or 10.584 MB per minute of stereo.
10.584 MB per minute of stereo