Just to be clear, I didn’t try to make it sound like video game music. I just thought you said you thought it had that sound. I learned that it’s 90s IDM. 
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Probably very influenced by music games then !
Could be. Or just that I’m getting old.
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I meant if it’s called 90s IDM…
I’m nearly half a century !
But these days I’d like to make dirty punkish music.
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I have RYTM mk1 aswell, and Syntakt, the HH engine sucks on both, but you have the analog Tom, Samples to fill the gap on Rytm, the synth engine on Syntakt is still too limited for my taste. I would continue with Rytm.
Wait a bit ?
Well i didnt and succumbed to the syntakt, but getting an analog heat would have been probably wiser, or an OTO boum. Still the ST is a nice box and i keep it, its practical on the couch.
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At least you have a filter with overdrive…
I had AH and I’d want a BOUM.
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That a big part of why I’m into it!
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I have been using a model: cycles since around it’s launch and I think that those synth engines and the ones on the syntakt are actually deceptive in their depth. They do a good job of appearing simple and easy to understand right off the bat, and I think partially because of that they can very easily be used in such a way that keeps them in a specific sound palette, that video gamey type sound (which is a blessing and a curse). But I think they start to show their depth when you start playing at the edges of the “intended” use of the machines. Things like turning the ratio and pitch of the tone machine way up and exploring the aliasing that happens. Or using audio rate lfos on synth parameters. I think the fact that every new pattern defaults to the same sounds makes it seem more restricted than it actually is.
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I agree with this. In fact, I find the default sounds of a new projekt to be extremely uninspiring. If I were Elektron, I’d make a bunch of templates and ask the user to pick a kit when starting a new project. I know you can create your own projects/templates but if I were Elektron, I’d explore ways to make this feel more versatile while still accessible to new users. You have to really work every sound to turn it into something useful.
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The Octatrack is basically unusable for anything in its initialised state. The Rytm’s default sounds are famously dull and flat. The A4’s initial tone upsets most people. I’ve come to think Elektron intentionally make their defaults useless, so that you have to make it your own.
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It’s ready to record inputs. 
But yes, making something interesting with it from scratch takes more than 5 minutes (it was a challenge).
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I spontaneously decided to Syntakt, if that’s of any help 
With the price being lower right now, I guess it’s possible to sell it again later without a big loss…if necessary.
In the meantime hoping for a sampling machine to come. Otherwise an OT mk1 is on the list.
You sell your Octatrack from your tutorials etc
Yes…I stupidly sold it.
I’d really like the mk2 back, but the price shot up too much here in JP.
So I am waiting for a good mk1 offer.
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Yes - learnt that lesson haha
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Seems to be the common thing with the OT.
Back to the Syntakt though…I never thought I’d buy it until a few hours ago.
One popped up on mercari, looked through the threads here, checked if it had MIDI channels…got tempted by promises of nice updates, thought, wow it actually sounds really nice and probably will fit well in my setup…and BANG, bankruptcy!
That’s how it goes, don’t do drugs kids.
how’s it been for you?
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That’s what I prefer. Just a “beep” that says nothing, ready to make a great sound from scratch and be guided by my own taste, and not that of someone else.
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I agree. I barely care what the defaults are. I think the “useless defaults” help avoid pigeon-holing the instruments, too.
An aside, not about the Syntakt
The only one I feel it’s worth actively discussing is the OT because I think the “useless defaults” contribute to the impression the machine is hard to learn/use. You have to go through a few pages of config to make it fit your current use case. Some of the config is spread across several sub pages, some of it is described in separate parts of the manual, and little of it does immediate sound design so the learning-feedback cycle is slow.