Busting this bad boy back out and playing around with it. It’s got a lot of character. Started my Elektron journey with it and since I have gotten a Heat, DT, and DN. Def going to try that MIDI feedback loop trick. One trick I’ve discovered that works for the M:C DT and DN is to disconnect a track from the master. You can do this in the audio settings. This way you can kind of have a “100% wet” track for the Reverb and Delay. Kind of get some good pad type sounds with this and also tame some of the hats and snares.
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Might be an obvi one but FUNC + trig in record mode gives you a condition-less trig that you can then add anything to. I use it a lot to change the LFO multiplier.
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Gerry thanks for the tip about the reverb/delay track. It does allow you to create some lush textures.
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Yeah dude it totally opens this thing up to create interesting sounds! I really wish they would make this pattern specific instead of global so you could bring everything back by recalling a saved pattern. Or at least have it more accessible.
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I’ve found it interesting using retrigger and LFO Start Phase as the Velocity modulation destination . LFO should be set on reset and this means that each time it triggers it starts at a different point on the LFO meaning you can make interesting patterns when linked to pitch etc. The beauty of it is that the results are predictable patterns whereas when using LFO alone without reset on can create patterns , but there’s no control on the Start Phase .
The effect can be controlled using a combination of Velocity Modulation amount , retrigger fade value and LFO amount and shape per individual retrigged note . It takes a bit of head scratching to get your head round how all these correlate to each other but I’ve enjoyed playing around with it . Of course you can also play with Start Phase in LFO menu to vary start point .
I am aware that you can send midi CCs to Cycles to get the LFO to achieve a similar effect each time a note triggers , but I’ve not done this yet .
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Hello, I posted this previously but probably in the wrong place. Just wondering if this user error or an actual thing? I upgraded from 1.12 to 1.13 in hope the behaviour was fixed but it remains:
I’ve just updated from 1.12 to 1.13 and the microtiming seems to not be functioning. I can’t get a probability lock trig to shift back 1/16 (-23/384).
I.e. I have a trig locked 1/2 on trig 9 and another locked 2/2 on 10 shifted -23/384 but it trigs on 10 not 9 as expected.
Perfect, that solved it, thanks 
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Gonna be trying this!
A very belated reply on this , it is interesting. Having played around, it is because when you change machine the parameters reset to the default for that machine and are also then applied to the machine locked trigs . Is this the conclusion you came to , or have I missed something?
Not really a technical tip but a sound design tip. You can get more complex sounds by doubling tracks. By copying the track then making essentially two layers for the same sound. Or just making a slight change to the sound and wide panning.
Sacrifices a track but can be useful. Especially if you need more out of your snare or need a little extra something on your kicks.
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Setting the note for the pad and the keyboard range to different notes/octaves in the track setup menu gives you kind of two different presets for one machine in one track. Also useful for live recording, because you can play the two sounds at the same time.
A sound can be very different 3 octaves up.
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I noticed that i can set up the note for the pad only on the kick track
Changing the note of the pad of the other track has no impact
Each pad is connected to its track. You have to change it for each pad separatly in its track setup menu. The trig keys are used as a chromatic keyboard.
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One tiny little trick I saw someone doing on youtube and found useful:
I sometimes mess things up, when creating a break by muting tracks, modifying sounds and then try to go back to the original pattern by simultaneously unmuting the muted tracks and reloading the pattern from temp.
An easier way to go back to the original pattern with all tracks playing is to mute individual tracks by quickly turning down the volume/distortion knob, instead of actually muting it. This way you can go back to the original pattern by just reloading the pattern from temp and you don’t have the hustle of trying to unmute tracks at the same time. I still use the mute function though… depends on the situation 
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Knew about this yet never thought to try it. Might be great for some ambient experimental
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When in Preset selection (FUNC+MACHINE) it’s often convenient to exit with a double tap on MACHINE (or any other alternative to using BACK). That way when you next do FUNC+MACHINE, preset selection opens on the same preset folder.
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Currently playing around with controlling it via a keyboard split for two-handed play. It’s an amazing experience that I highly recommend. Mapping params to velocity massively increases its expressiveness and is quite nice
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Will try this
Thank you 
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