Introducing Syntakt

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#2160

It does, but it’s kinda clumsy and it’s simply a constraint of how the sequence is working with velocity intrinsically

If you use the encoder with Mod Wheel and breath, you can see that the encoder becomes a proxy controller

If you do the same with velocity, well, it’s awaiting notes, but those notes have velocity set (this may be varied or default 100) but the fact is that the velocities are set and if you vary the track velocity (or input velocity from a keyboard) you will audition the effect

so what’s the point in retaining the line that encoder will affect it - it’s because it’s doable, but clunky, i.e. it’s the best you’ll get for a feel for what’s happening albeit it is not anywhere as useful as MW e.g.

Just vary the velocity quickly enough that you change it as a note is struck, or play lots of notes, or play long notes and the effect of velocity is momentarily superimposed onto the sound that’s started - it’s offering a hint of what’s happening, at best, as soon as another note comes in the encoder is reset to audition at the notes’ vel level, so to get a feel, it’s best to have long sustaining notes

I can see why the info would be left in, but I do follow the confusion it can bring as it only works (at best) conditionally - I don’t think there’s an obvious neat way to improve this encoder auditioning as it needs to listen to incoming notes

1 Like
#2161

I request as a feature that when in Velocity Mod setting menu, one would be able to use the Velocity modifier keys and even set them directly by holding the modifier key while adjusting the level encoder.
That would be nice.

#2162

It sorta does this already as it happens, it doesn’t actually change the range of velocities you set on a modifier, but it does allow you to hold the note and adjust the velocity in situ up and down - so it’s actually less clumsy than I suggest above - plus it no doubt works well with auto channel keys

But for the purposes of auditioning it’s a qualitative improvement on the workflow above

I.e. it’s useful enough to be determining how some sounds will sound when sequenced, obviously some sounds with ‘internal’ decay will not sustain and sound the same but it’s definitely useful to use the encoder whilst auditioning with Modifiers

I had high hoped for this, it seemed like it could be genius, it works okay on some machines over moderate velocity swings, but it doesn’t undo all the link to volume, it may be because an exponential relationship is only ‘offset’ by a linear one - it’s indeed possible to get the volumes to flip a bit, but they don’t work in a consistent way across machines and all velocities

e.g. step program alternate notes to velocity 1 and 127 and see how that can be overcome

a side effect is that there’s often a large loss of total volume and there also seems to be sounds which still link the velocity to the synthesis, so the sounds can’t be consistent

It is however, still a very handy tip, useful in many real world circumstances to keep a bit of volume consistency and have some sauce added

all of this just fuels my near decade long lust to have a repurposing across all devices

Nobody (1/1000) is live programming any Elektron box and exploiting Breath Control

There are four modifiers (here) that are probably never tapped

What if we could tick a new check box …

Velocity to Breath

or even

Keytrack to Breath

and this disabled Breath CC input and directed Velocity or Keytrack as though that was the incoming controller data, thus alleviating some of these issues

I’d still like to have a velocity to volume switch

So having Keytrack as an effectively new modulation source as a substitution for Breath would be very nice indeed

#2163

Yeah, if I’m honest I only tried it once when I was playing around with Velocity Mod and the M2 Modifier. It worked for that specific scenario, but it probably won’t suit every situation. Something worth playing around with though :slight_smile:

2 Likes
#2164

I don’t understand this part, can you elaborate, please? Thank you @David.

#2165

bottom row …

syntakt io
syntakt io771×519 21.6 KB

1 Like
#2166

OK, but what are these 8 “outs to ST” channels exactly?
2 stereo pairs + 4 mono tracks, how can we even use this?

1 Like
#2167

1/2 Your computer audio (whatever you like, added) using ST as if a soundcard

3/4 Your (other?) computer audio but this time via AFX

5/8 Your (other?) computer Audio (mono) via any of 4 independent Analog Filters (think ‘real’ plugins)

Mix to taste

:wink:

3 Likes
#2168

Syntakt is the piece of gear I was searching everywhere, but did not exist.

Then the Syntakt was announced!

There are some tiny overlaps of some of the Model:Cycles machines with some of the Syntakt machines, but after having used both (and am keeping the Syntakt), I have to say they are incomparable.

7 Likes
#2169

Oh yes. Even the chord machine, the sound of which is very characteristic and hard to escape on M:Cycles, can be kneaded and tamed to taste on the Syntakt.

I thought first it was “only” a drum machine, but the machines are very flexible, despite their focus.

5 Likes
#2170

oh yes, i was just playing around with the chord machine:

9 Likes
#2171

I’m still pretty baffled by a lot of the critism of the Syntakt.

I mean…

It isn’t.

8 Likes
#2172

Sick. And I thought I had been exploring ^^

4 Likes
#2173

however, i fully agree with that (NordDrum) and would love to have one or two acoustic sounding machines (especially snare) included, with an emphasis on resonance.

2 Likes
#2174

I think it’s because drum boxes can be polarizing. While a good amount of sounds are attractive, unfortunately enough sounds/machines are not preferred… therefore making the total package “not worth it” for some.

What a bunch of people are doing with the ST is awesome.

However this does not mean I don’t like it! It’s a beast of a box and clearly has awesome potential. I’d get it for the DFAM like sounds alone. What a gem.

This is the syndrome of “it’s too new” and a lot of default sounds are pushing some people away.

I don’t even know why I’m defending this, I never brought this up… but there are some cycles sounds that I can never get around to liking, and maybe that’s what is pushing people away?

It’s like not liking a soda machine because it has a soda you don’t like even though you aren’t forced to drink that one soda you don’t like…

5 Likes
#2175

the dvco are the best aspect imo. you should really spend some time with those. no elektron synth sounds as good as those. and you cant get wave/physical modelling/va plus analog on ny other elektron machine. those sounds inside a mutli-track elektron sequencer alone are enough incentive for me to keep it. apart from its incredible overall sound.

elektron instruments are extremely deep, you just have to get creative. and this is the elektron box with the most varied sound design options that currently exists

like the sy bits engine isnt as limited as it seems. you can set up like 8 tracks all with different waveforms and varying bit depths and sample rates, detune relationships to the fundamental, decay, and noise/osc balance. that one machine alone makes for a pretty impressive multi track synth, esp when run through analog saturation and an analog notch filter

8 Likes
#2176

i made this one quick, between the last post and this one somewhere (took like 6 minutes), so its not a masterpiece but i think the syntakt excels at making very musically interesting compositions/patterns from the tools available within the deep interconnected framework

this is four slightly varied sy bits tracks

18 Likes
#2177

If you look enough, there’s tons of people hating on the machinedrum too for its sound. Then there’s people who will be buried with their MDs. Not comparing the ST and MD. Just agreeing with you that people are being people. Lol

1 Like
#2178

spam: one SY BITS :wink:

… and who hasn’t visited yet, there’s this thread with literally every style of music: Syntakt standalone music

9 Likes
#2179

Was expecting

Spam-1
Spam-14032×3024 1.94 MB

Is disappoint

7 Likes