Take two slices of bread, put a slice of cheese between them. Place that on a tabletop. Place Syntakt on top of cheese sandwich. Make piping hot tunes for half an hour. Lift Syntakt, remove cheese toasted melted delight. Enjoy 
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It’s obvious enough that Elektron should just add the voice sharing feature from the Digitone. (Not jabbing at your tip here, but at Elektron!)
What is the purpose of the TRIG on and off switch in the modifier setup menu? I thought that I would be able to modify parameters of running sequences without triggering new notes, but that’s not the case.
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Set to On, Modifiers trigger active track.
Set to Off, you need to press track trigs while holding Modifiers.
With the TRIG parameter set to ON.
Press [TRIG 13–16] to trigger the sound on the active track with the selected modifier value applied.
With the TRIG parameter set to OFF.
Press and hold [TRIG 13–16], to select modifier value and then press [TRIG 1–12] to trig the track’s sound with the selected modifier value applied.
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Thanks! In fairness, I tried to access the manual before asking, but Elektron.se was down (in preparation for a 10 year anniversary of the Analog Four I thought, but no such luck 
).
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Quick question, does this mute the pattern or just the song mode instance.
If I have the same pattern three times in a row for example, and I want to mute a couple parts for variation, would this work?
I would have to experiment more but it seemed like it was the song mode instance. I was playing back different pattern mutes for the same pattern. It’s great to have the playback going and see the mutes changing and also being having the visual on what’s actually muted.
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Thank you!
I can confirm for certain that the pattern mutes work with the same pattern in a song also the mutes don’t affect the regular pattern that’s not in song mode (if that makes sense)
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It does. Thank you.
Returning to the Formants subthread—others might have more luck with this than. I found FMing a resonant filter (rather than using 2 different resonant filters) yields interesting results for hunting around for formants (LFO at 2k and a depth of 5, and then the macro matrices, like mod wheel or velocity, let you dial in adjustments to LFO depth, filter envelope, filter frequency, and the like). Here on a SY bits saw wave, with a second joining in.
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I guess this tip can be summed up as “read the manual”, but maybe I reach someone who has fell for the same trap in regards to LFOs on the ST.
The manual reads:
Multiplier multiplies the SPD parameter by the set factor either by multiplying the current tempo (BPM settings), or by multiplying a fixed tempo of 120 BPM.
Until yesterday, I always thought is was the other way around. Setting Multiply to BPM 128 sets it to 128 BPM, and the setting 128 is relative to the pattern tempo. Maybe it is just me, but the UI is a bit counterintuitive in this regard. However, I get Elektron’s reasoning now.
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Maybe. 
I ran into something I thought was cool…
If you record automation (start record, and turn an encoder), you can change the conditions for those lock trigs (the yellow ones), and still record automation back into them; they keep their conditions.
For example, you could change tune, filter, pan, etc. and have the lock trigs apply the recorded values conditionally. Maybe this is obvious to the veterans up here, but it was new to me.
I made a video to show this, as I thought it was interesting:
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I use it for PAN and lfo Multiplier* mainly. I use TRC 100% and PROB.
Example with wobble bass with probabilistic lfo Multiplier :
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amazing work!
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Put together a quick tutorial on using the FX block as a toggle with FILL conditions:
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Oh that’s simple and slick!
Of course FX block can be set to fill conditions! 
Never thought to use it that way.
Thank you for sharing!
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