Hello I have been taking a lot of focus into the Syntakt solo recently and was wondering what kind of methods are used to write full tracks with it. I come from the Octatrack mk1 where I normally make 1 part with several different patterns as 1 song and then the second part with different patterns as a second song and so on. The lack of kits or parts so to say kind of throws me for a loop as to how I should go about creating arranging and structuring tracks on it. I considered using Octatrack as a looper to do transitions. Any tips and tricks from fellow users?
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If youāre doing sets. Then making transitional patterns is good practiceā¦
So your main patterns are at 1,3,5,7 etc.
on patterns 2,4,6,8 etc. you take elements from the pattern before it and from the one after it, so you will be blending between the two main patterns.
Works surprisingly well for when you donāt have a mixer or a Octatrack.
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Minimalistic approach :
One track = one song 
Perfect for transitions.
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I also like throwing in a delay-based 1-bar loop occasionally to carry across patterns and filter away as elements come into the new pattern: Syntakt FX Scenes + Techniques - #4 by tdmusic
As for structuring songs, I tend to get my sounds how I want them in pattern 1 and then copy to other patterns for B or C sections, usually replacing a sound or two
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Ok i see this I will try. Yes I have done some set with the sp-404 and deluge but was interested in this one and it performative power as it stands alone. Could always use it as a sound module end of the day. Its quite fun to experiment with external sequencing and sound locking trigs. Thanks for this.
Spoketh the wise sage-
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Multiple patterns per song for me. Maybe 4 at most. Especially when I pair the Syntakt with the Digitakt, thatās a lot of variety, even with complex song structures.
I also like to use song mode to keep records of intended song structure, including track mutes and so forth. That way, if I come back to working on or performing a song after some time away, I wonāt be reverse engineering my basic intent for performance. Iāll have pattern changes and mutes logged. Of course, Iām free to deviate from this, but having some consistency of intent works for me.
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Yeah, on DT+ ST too, and song mode is a blessing for returning to old things and not having to remember what was where. I also like how changing the pattern mutes on a test play through makes it easy to revise a song, or to make up a sketch of an arrangement and fill in the details while playing through.
With up to 20 tracks between the machines, Iām finding plenty of room for A+B sections, alternate lines, and layered tracks in one pattern. ST stand-alone usually 3-4 patterns, again with song mode.
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I start with one pattern and create all elements for a track. Then I copy and past it to the row. So the complete track consists of eight pattern (1-8/9-16). I do the same on the Digitone which in slave mode to Syntakt. If I play the Syntakt with a pattern length of four bars and the Digitone with eight bars I achieve a transition of four bars from one track to the other. And inside a track I can also create transition in this way from one pattern into another.
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In general: Each track has its patterns in a dedicated bank. Each pattern is named after the trackās working or final title.
When Iām jamming, I come up with a pattern and when I have something interesting going, I copy it to another pattern. I will repeat this and try to come up with variations of the pattern. When I have a few of them, I try to come up with a new pattern that has a different vibe/melody/scale etc. that could form a next part. Then I do the whole copy and change stuff thing with this pattern.
Iām already trying to separate and group patterns visually during this phase. This means that Iām trying to leave empty patterns in between so I can see where different āphasesā of the track reside. This ususally means that e.g. the original pattern for the first part is on 1, for the second part itās on 5 (or 6, if patterns 2-4 are filled with variations of pattern 1). I usually copy the first variation of a pattern underneath the pattern, e.g. 9 is a variation of 1. Itās an advantage of the digi trig layout for me, I got the idea from @cuckoomusic .
When Iām working out a track, I listen back to the patterns and jam out an arrangement, then I delete patterns and tracks that didnāt work. I then refine how the patterns are laid out so that I can hopefully see at a glance how to move through the song. If I change stuff from a pattern but want to keep a reference of it for backup purposes, I usually copy that to 16. 16 can also be the ātest patternā to try out a variation first, if it works, it will be copied to an earlier trig and deleted on 16. I also program the transition into song mode for recording and reference.
One thing you have to keep in mind is that Syntakt doesnāt have kits. For me this is a plus, because I can quickly copy and change stuff like Iāve described. But if your music is based on continually evolving one sound without abrupt changes, you should stick with one pattern or come up with quick pauses of a track before changing the pattern.
If youāre working a lot with different track lengths, itās also good to always set master channel to infinite and change length to e.g. 16, but you might be used to that from OT. Maybe set up a default project/pattern with these settings and maybe a few sounds you like on the track you use them on, MIDI settings, input volume etc.
Edit: oh, this thread is already a few months old. So maybe let us know how youāre using patterns nowadays, @8thMyth ?
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So my workflow has developed into a multiple pattern based system. Currently im using about 8 patterns per song or section as i call it. I have been writing a liveset recently so all 16 patterns in a bank are like a progression and piece of the whole set. I write the live sets into ne fresh projects so every projevt is aesthetically its own liveset. Syntakt is my master with octa and a4 supporting. I write 8 bar phrases. Usually i start with 1 pattern then as i progress i copy the pattern across the trig line and and slowly and progressively start to tweak the sounds notes and rythms in the second pattern. I then repeat this formula. I use the circle of fifths to help me get from point a to point b. Patterns such as 8 to 9 will have elements of the previous section while introducing the next sections. What i have been doing is using the idea of adaptive music approach they use in game design to.make patterns. Simply put every element of the song stand on its own 2 legs withouth any assitance. Any combination of the elements in the pattern should āworkā once ive done this i copy paste and do the process i mentioned above. If anyone has any question iād be more then willing to explain more.
Currently at the job spot ha
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I do a song per bank, using anywhere from 13-16 patterns. Easy peezy lemon squeezy.
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