btw I wanted to subscribe to your Youtube page but I noticed it was already done 
It’s made of 2x Bits with the following settings:
Last picture, filter settings are the same on both machines, root key is G4 and some delay
Basically it’s two machines tuned to a minor chord playing the same root note and sequence.
Biggest drawback of that approach is opening filters and Amp decay to create tension.
Using the modwheel macro hack would make this more playable.
Give it a go, let me know how you like it.
BTW: Big thanks for having subbed. And even bigger thanks for wanting to sub again! Huge compliment, next beer is on me! Cheers 
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Gonna try this today and I’ll let you know 
Ok for the next beer 
I am quoting myself as I think it went a little bit under the radar but it may be a part of the answer :
Anyone got any opinion about it ? Would like to know if I need to get some external delay or reverb to achieve that kind of result ?
Yes. They’re great! They sound really good and are quite controllable. The delay is especially good with the analog distortion. Its feedback control is really nice - it has a wide sweet spot around 1:1 feedback that’s loads of fun.
Depends what you want.
I want to repeat what I said upthread: please post sound examples of what you’ve made and explain how it’s not what you want. It’s incredibly hard to give you anything other than general advice, or for us to recreate your settings in our own devices, which takes time. Analysis is much easier by ear.
Something else to think about: in at least one of your original inspiration examples, it sounds to me like Andre Crom had two sets of chords/stabs playing giving offset rhythms, or different tone/filter settings, maybe even a 2nd delay set with different timing for further rhythmic excitement/variation. So, try a more simple chord structure (use two channels, not three or four) for one chord, and then a second set, muted, slower A and R, with slower (or faster) delay times. You might struggle with the two delays on the Syntakt ;-). I guess we’re back to “it’s easier in a sampler”…
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I understand your point and I agree but as I told it before I have no room yet (thats also why I couldnt try anything with the A4 or my sampler). I am only able to work on the Syntakt with headphones and that makes it impossible to record.
I’ve tried any timing from Tempo synced delay cheat sheet and cant get anything close to the example I try to achieve
Gotta love the Matriarch’s delay:
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I gave it a try and the result was pretty cool !
Not really close to this topic example but closer to “Aril Brikha’s groove la chord” and that’s for sure something I’ll use later !!! Big thank you !
In an earlier example, I was told to use the TUN to make the chord (and the DET to a range 0-0.6) which worked nicely too. Could you explain yout use of the DET?
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TUN is “tuning”. It’s the root pitch of the oacillator (but it’s relative to the NOT param on the TRIG page, so TUN=-12 means “one octave lower than the trig’s note).
DET is “detune” - an offset of oscillator 2’s pitch away from osc 1’s.
DET’s useful for a few things:
- making chords - if the balance between the oscillators is fairly even, both notes are heard clearly so use TUN/DET to create two note chords. When TUN is 0, the trig plays the notes specified by the NOT param on the TRIG page, which is usually easier think about. For either param, good values are 3, 4, 5, 7, 10, 12, referring to minor 3rd, major 3rd, 4th, 5th, 7th and octave from musical scales. Minus numbers work too. As the octave is 12, you can separate by two octaves with 24.
- adding harmonics: when the balance is set unevenly, one tone will be heard more quietly, so you can use this to add/emphasise harmonics. The same values as chords work, particularly 5, 7 and 12/24/36
- creating shimmer: when the difference between TUN and DET is very low, 0-0.6ish, you don’t really hear them as different pitches, it’s more like a fizzy wide movement as the phase differences between osc 1 and 2 affect each other
Your earlier experiments used multiple tracks for your chords. So then you can spread the notes of a chord over multiple tracks, and use DET for harmonics or shimmer. If you’re keeping your track count down, you should probably use DET for making chords.
You could use different TUN/DET values, but they tend to get more discordant. That works great for some sounds and some genres of music. As said earlier, techno stabs tend to be minor triad chords, or minor 7th chords. The TUN/DET values for those are 3, 7, 10 and 12/24/36. So long as one of your channels has TUN=0, you’ll be hitting a “root note” and the chord will sound “settled”.
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wow, thanks! that makes everything clear now!
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(thanks for spending so much time to share your knowledge btw )
I finally made some (temporary 
) space for the Analog Four MK2 and I gotta agree - it sounds closer than most of what I achieved with the Syntakt. I really need to get that studio ready ASAP.
Anyway, if you guys have some tips regarding the stab design on the A4, they are welcome too
(Next step : adding a Digitakt in the setup for the sampling part)
Try this threat:
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are you sure about the link ? or do you mean I have a “premature GAS” ? 
(I have one for sure but not really in this case )
Haha, mixed something up 
Now it’s correct 
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cool, thanks ! really helpful can’t wait to be back from work and give it a try!
Hey everyone ! I just upgraded my Syntakt and I was wondering if you guys think any of the 2 new machines could be helpfull to design those techno stabs?
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I am reviving this topic as my GAS has got me once again… Digitakt is on its way 
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I do think, looking at your comment above, that multitracking/layering either SY SWARM or double-stops/intervals of saws or squares on the SY RAW makes great stabs, as both have the upper harmonics that are so difficult to achieve with the chord engine.
But Digitakt … I’ve recently tethered DT and ST together, and I’m finding it’s an absolutely brilliant combination, hope you enjoy it! Being able to sub in a few samples (and a track count of 20) truly makes it feel limitless, and having the sound macro control over the ST from DT means I’m in no danger of abandoning the synth sounds, stabs included, from ST…
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