GOTY-level update, sets the bar really high for other companies. When another company X won’t abandons their hyped-up synth two years after the release, everyone will look at how Elektron make the Syntakt into a sampler almost 4 years after its release.
Sounds amazing, really excited, this is really anti-GAS stuff! And the two-layer sample engine is actually pretty innovative as well, can’t think of anything that does this.
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As stated.
Don’t make me say what I didn’t say. I was specific about the basic questions only. It’s good for everybody to develop searching skills and to watch skilled people explain their take on a new update. I’m all with you on this. I’ll be the first to help someone but try not populating a thread asking what you can find on your side by sitting, watching and learning. If you want to progress…
I don’t know why I’m responding. My post wasn’t offending anyone (well, I thought so 
) and was about encouraging people to do their part.
That was not the intent at all.
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Do you have the tuning set +/- a certain number of semitones on the following tracks? How can you get different chord shapes on the following tracks if they don’t have their own trigs? Trigless P-locks on tuning for those steps?
I mentioned this possibility earlier but it truly feels like it did getting my MD back after the UW upgrade, uh………nearly twenty years ago??? Without having to even get up from my desk. Delightful
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Roland TR-1000 can do this. I did wonder if it inspired the Elektron devs. This would be fair as Roland borrowed plenty of Elektron language 
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Not sure if it’s been said but I think the digital engines being totally ignored is a bummer. If they had added a comb filter to the digis, that would have made them a million times more versatile. I do love the update, don’t get me wrong. Starting point on samples… please please elektron add this to the twin shot in the inevitable bug cleanup follow up.
if you crank the FX drive and send everything to it but use really low individual track level you can get at preamp type compression, where you get on the edge of added harmonics and reduced dynamics but before audible distortion. you can also link the sample track to the fx track and every time a sample fires it will trigger the FX track amp envelope, dissonant witchcraft demo showed that. that’s a legit compressor just always on sidechain
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Actually, I was pretty confused by this! 
If I now understand correctly the A and B are placeholders for numbers, right?
Like if the trig has a probability of not 3:4, that would mean it only skips that trig on the third pass of four?
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it’s a lot of fun, sample 17 straight up the chord preset of the A4 which I’ve used a lot to jam some drums to and even sampled with the op-1 
this chord with transient 57 while looping is almost identical to the rtrg knobs on MD, ratcheting from space.
ST is a clean machine, to bring up the analog engines the levels are twice as high as the rest and the lp4 filter on the fx track is great for the final Rytm touch but also a highly md inspired input machine, instead of just trig input you‘ll use the LFO with trig settings and such…
really love the higher octave range on the voices and the „kind of“ vintage elektron flowstate where it’s only knobs and shortcuts. beginning with Adsr settings on all instruments within the shortest range 
expanding over time.
i need to investigate what’s the exact difference on rytms architecture to sound so boomy and deep down, it’s the gain staging I guess and it feels a bit strange first to boost the analog voices on ST to just sound as punchy while at the same time not overdriving the signal into a different body. dunno the rytm rings out a bit if you know what i mean and ST keeps it surgical 
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Roland has used overlaid sounds with independent pitch envelopes on other drum synths before too, the SH4D drum synth does it and even has xmod between the sounds. If there’s one thing Roland does well it’s making a damn fine drum machine.
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Oh. I missed your point, sorry.
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I was thinking… if you “curate” samples and you name them 01, 02… you could create swappable sample packs restoring existing projects afterwards.
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I would name them starting with three digits. 000, 001, etc. Just in case 
if Elektron find a way to increase slot count. It is just one additional digit but we will safe up to 1k samples count.
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Just finished a fantastic session with 1.40, unbelievable fun, feeling so fortunate to be alive with this machine on my coffee table and the PAs turned up loud. I was transported to another world! Being able to decide which tracks are affected by control-all is such a clutch feature, wow!
I can’t even express how happy I am that the devs have continued to support and refine the syntakt. I hope they can take the Trig Modifiers to the next level in a future update, I can imagine exactly how fun that would be.
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Oh you’re right that has to be it!
And looking at it again, LST probably stands for last?
*edit, it’s described in the manual, who would’ve thought haha… The trig plays the last time the pattern plays before changing to another pattern
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I snagged the last one at Juno (UK) before they became unobtainium. I actually bought Syntakt specifically to pair with it.
I’d hoped for some new digital engines. Maybe in 1.5!
It is and Elektron improved this aspect of Syntakt too with the latest update. Now it can load and playback samples, doesn’t mean you have to (I do not use some of the digital machines either).
Check out the SSL threads for a Syntakt synthesis only inspiration source to fill a lifetime of music!
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I‘ve recently said that the only downside of ST as a groovebox for me is that I‘m not as flexible in assigning tracks. I’ve just realized that track layering does alleviate this problem. If I want to mix digital and analog tracks but only use tracks 1-8 for drums, I can just say track 8 is my hat track and let that one trigger track 12 with the analog hat. Sure, it could get confusing when messing with the sound, but it’s a good workaround at least for the sequencer data. I rarely use more than 8 tracks, so sacrifice four to have access to the analog tracks on the upper row shouldn‘t be much of an issue.
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really love the note overlap function, it’s subtle but it doesn’t get in the way of feeding the seq a shitload of trigs 
great for overlapping rolls ^^
it’s crazy to see that a few tweaks on the firmware can do such intelligent tasks, the trig modifiers on Rytm pads would be a big one, midi tracks on track 12-16, SP twinshot with the ability to trig-sample the buffer and creating a 64 sample pack on device to backup with transfer.
but all in all, the obvious thing is the Analog voices on ST do start extremely clean, nearly thin which gives the impression there’s no oomph but if you start to listen to what you know you‘ll end up dialing in higher levels and at least the Drive setting per voice needs to be at 75 upwards, period. then you“lil discover the filter acts more aggressive and got more to bite on (basically rytms default) and from there you‘ll have equal rytm parts to chew on.
from the MD perspective in which i see the ST it’s a great pleasure to have the lightest Analog voice character from the machines, like a rytm voice Level of 30-40 where naturally a lot of frequencies aren’t audible, the obvious Analog punch for instance.
it’s a level thing 