I have purchased the ST and had the Analogs for some months and I’m sure the ST will be awesome, but there’s no way it can compete on the live department with Rytm mk2 and its sensitive pads with after touch, scenes, performance mode, quick performance macro, etc. it’s really another thing
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…no one has experienced the st in live action yet…
can’t speak for the rytm…but as much as i love my a4, i stopped pretty fast to get it on stage with me, since all it’s beautiful live macro options, which are not the exact same thing, i know, but still quite comparable, were just too much for truu harvesting any realtime action…
and simply too big for daily live use and abuse…
and from what i’ve seen so far, the st will do magic in truu live setups…complexetity nicely tamed with instant gratification by most possible impact…right under ur fingers…
what to play live for, if u always have to make ur mind up and focus on all fragile options instead of really just play that thing…
in a studio enviroment, complexity is great to have…on a stage, u depend on simplicity as much as possible…
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What is source of this information? 2^7 = 128 so you should get only integers, but technically you can tune DVCO more precise on a rytm with for example constant LFO, looks like it at least 12bit)
I assume it’s been said for the 14 bit, because it was related to the use of float instead of integer on the interface. I mean it’s my current understanding of that 14 bit mystery we see on the thread. I don’t know if it’s real or not.
One other thing which I trust to be right but can be misleading is now they use analog encoder ( DT and DN ) instead of digital encoder. Those analog encoder are more precise.
On DT/DN you can have parameter which is more fine tune than some of the older and bigger box which goes from 0 to 127 by increment of 1.
Maybe it’s the case with the syntakt on the analog part. But to be honnest I don’t know. And I don’t think all parameter are subdecimal.
please use the marketplace or PMs only for buy/sell transactions
If they’re good enough for a MKII version, they’re good enough for a MKIII.
That’s not right, every “synth” track on the A4 can spit out midi, you just need to tell it to 
Hey guys, we’re all talking about second LFO for Rytm, but have you ever thought how you would use it in real life? Any thoughts how it would make your music more vivid ?
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I played the Rytm today, and sampled the DNK into it for a snare sound. I really love the sampling on the Rytm.
I pondered selling one or both machines to fund a Syntakt, but damn the sampling is good on Rytm. I think if I didn’t own these two already, the Syntakt would be an instant buy. It is very cool. I really like the all-in-one form factor.
Still, I hope the Rytm gets a nice update soon. 
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The big thing everyone is overlooking here is the aftertouch pressure pads and the ability to resample the sounds made using this feature. Want more dynamic snare rolls? Use the retrigger latch and after pressure, sample your 1 bar snare performance and then put the sample on a trig. Syntakt can’t do that.
Oh yeah and the performance modes too.
Rytm has a lot of features not found in any drum machine ever.
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LFO to overdrive or level can do amplitude modulation. Combined with filter LFO, can get some fun synth tones out of the cowbell machine.
Can also be used as a one shot LFO / envelope (mod envelope)
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nice to have one LFO to make EXP envelope, and second to modulate something
or
balance and tuning on DVCO
tuning on SCW and also filter
lfo on delay time and reverb filtering
sample slot and filter
making fake arps and modulate something also
pan everything as @xidnpnlss say)
exp evnelope on pitch and overdrive or bit reduction for kick or percussion samples
one lfo to make FM at 2k rate on filter or sample pitch, second to control it speed/amount
one lfo to timestrach, second to modulate filter
always one dedicated lfo to wobble sample pitch on 0.05, second to filter or something
a lot of examples…
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Panning filter sweeps delay send gated reverb overdrive variable decay pitch sweep sample start stop madness.
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My RYTM went into repair last year from elektron. When it came back the technician wrote a banger on it. At that point I knew that I would regret it if I let the machine go for another machine
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The way I see it, with OT and Rytm already in use, adding Syntakt doesn’t so much replace Rytm but supplement it. However, ST would replace a Model:Cycles more so.
I could see folks with both Rytm and M:C possibly considering an ST and then liquidating Rytm and/or M:C to make room for an OT or Digitakt.
Not saying it would be wise or unwise to do, but I would understand the reasoning. ST is the overlap machine. The question is how far out do you want that overlap to help you spread your capabilities?
For some, ST may overlap too much with what they already have. For others, it may just double up things they already love about Rytm (who doesn’t want 3 more DVCOs!?) and/or M:C (who doesn’t want 8 more tracks of M:C with full envelopes, and dual LFOs per track?)
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I’m talking about the DVCO tuning control dial, the oscillator could be controlled with approaching infinite precision.
There’s no decimal control within the Rytm or DT etc, it’s …on an A4… e.g. usually 14bit control resolution wrt pitch param so if you use an NRPN combo you can externally control the A4 pitch parameter to the same accuracy (in fact it’s separated out on the UI for convenience) but note that you can scroll through fine/lsb zero
You can monitor this midi info too to see how it’s 2 linked 7bit controls
The next common control resolution is in effect 8 bit so you can see data representing twice the normal control resolution, typically on modulation depth parameters
It’s communicated in a 7bit midi friendly package
Then you have coarser still with 7bit
The reason 14 bit via MSB/LSB works well is that you have compatibility with coarser MSB Cc controllers, so they don’t serve up the finer steps
The implementation in ST is just going to be by the adoption of the extra 7bits LSB, there’s no source required. That’s how it’s always implemented
The oscillators can be tuned in a number of ways, take pitch end itself a 14 bit control, that can probably he spread across 1 or 2 semitones so there’s a deeper dive into the infinitely analog potential.
I don’t know if that is helpful, but there are set ways to achieve greater than 7bit resolution, and the way it’s implemented here isn’t going to be anything new, the LSB and msb params are probably in the manual anyway. You stick those into a 4string NRPN message using ordered CCs and the NRPN acts in a midi sense like the output of a pitchwheel serving up 16k-ish worth of steps
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you can make simple experiment: get DVCO, balance to -64, slow HALF lfo square, stable SCW on sample trace. now try to dial in lfo depth parameter, you will hear DVCO tuning change before you reach value 1 or -1 on lfo depth as beating between sample and osc will change slowly. Also you can make the same test with tuner instead of sample)
I think it is not hardware limitation due to this ability)
EDIT: made it right now to be 100% sure, it works, just software limitation
EDIT2: maybe I misunderstood, and you talking only about software not hardware limitation, so my explanations are unnecessary
ha that’s cool as fuck
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I don’t think anyone was suggesting it was s hardware thing, the coarse nature of the machine tuning was just a choice. They chose to keep it simple, probably as it’s a drum machine at heart. If you plug a CV cable into the expression port on an AR2 you’ll get very fine control
The discussion in my head was that people were bemoaning the restricted easy access to the fine tuning control at source, without modulation. The ST has this, plus it has an extra lfo
There’s no technical reason why they can’t enhance the control over the AR coarse tune to include fine tune. But as mentioned elsewhere, it’s not going to be identical to the ST. As the circuits are a little finessed
It could come in an update, I have no doubt, but until then we can only ask, this is indeed just a relatively simple limitation of the firmware, not the circuit. This doesn’t mean the the rest of the hardware can support unlimited extension to the midi bandwidth by supporting a lot more data though.
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For sure, that’s the page I thought we were on. It’s arguably a bit of a disappointing restriction (on their part) to limit direct control over an analog oscillator to 7 bit control directly (putting aside lots of other ways to influence pitch)
Given the A4 had many fine resolution params prior to its release
I’d really like to see fine tuning control direct on the filter too, no reason why that cannot happen, and on delay time etc. But who knows if it’ll be coming, I’d say we can be moderately optimistic it will in light of this being on the ST
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