| Unison × 2 | 0 | 0 | — | — |
| Unison × 3 | 0 | 0 | 0 | — |
| Unison × 4 | 0 | 0 | 0 | 0 |
| minor | 0 | 3 | 7 | — |
| Major | 0 | 4 | 7 | — |
| sus2 | 0 | 2 | 7 | — |
| sus4 | 0 | 5 | 7 | — |
| m7 | 0 | 3 | 7 | 10 |
| M7 | 0 | 4 | 7 | 10 |
| mMaj7 | 0 | 3 | 7 | 11 |
| Maj7 | 0 | 4 | 7 | 11 |
| 7sus4 | 0 | 5 | 7 | 10 |
| dim7 | 0 | 3 | 6 | 9 |
| madd9 | 0 | 3 | 7 | 14 |
| Madd9 | 0 | 4 | 7 | 14 |
| m6 | 0 | 3 | 7 | 9 |
| M6 | 0 | 4 | 7 | 9 |
| mb5 | 0 | 3 | 6 | — |
| Mb5 | 0 | 4 | 6 | — |
| m7b5 | 0 | 3 | 6 | 10 |
| M7b5 | 0 | 4 | 6 | 10 |
| M#5 | 0 | 4 | 8 | — |
| m7#5 | 0 | 3 | 8 | 10 |
| M7#5 | 0 | 4 | 8 | 10 |
| mb6 | 0 | 3 | 7 | 8 |
| m9no5 | 0 | 3 | 10 | 14 |
| M9no5 | 0 | 4 | 10 | 14 |
| Madd9b5 | 0 | 4 | 6 | 14 |
| Maj7b5 | 0 | 4 | 6 | 11 |
| M7b9no5 | 0 | 4 | 10 | 13 |
| sus4#5b9 | 0 | 1 | 5 | 8 |
| sus4add#5 | 0 | 5 | 7 | 8 |
| Maddb5 | 0 | 4 | 6 | 7 |
| M6add4no5 | 0 | 4 | 5 | 9 |
| Maj7/6no5 | 0 | 4 | 9 | 11 |
| Maj9no5 | 0 | 4 | 11 | 14 |
| Fourth | 0 | 5 | 12 | — |
| Fifth | 0 | 7 | 12 | — |
11 Likes
What a complicated mess. Just make it 3 voice polyphonic.
10 Likes
I still find the midi machines complicated in that sense, it can be helpful to program in by name sometimes when keyboard is folded and I have no idea what pad is assigned to what
Nice chart but still find it more intuitive on the monomachine to tweak intervals
I really wish that the chord machine could look at the current key and only play chords in that key.
10 Likes
4 Likes
It’s most likely listed but adding custom wavetables for the chord machine would be great. I want to echo that there should just be more weird idea machines that don’t neatly fit into drum, lead, pad etc.
Anything but cables. Lets GO.
5 Likes
Louder would be sufficient 
How about a secondary reverb for room or plates?
I find myself way to often wanting to add a little bit of room on a stab or percussion.
2 Likes
You should be able to assign an LFO to gate length on MIDI tracks (and everything else on the trig page).
1 Like
Since there’s no better mechanism for dialing in a mix globally, level should come along with copy/paste track sound.
1 Like
I 100% agree, this is already on digitone, its called track layer and i’m pretty sure it was there from the original firmware, on machinedrum I think it was track relate (sold mine a while ago but it was a really useful feature there too) so its not something elekron cant or wont do! makes a lot of sense for a drum machine to have this feature. Really hope it happens for both syntakt and digitakt alike.
1 Like
maybe i’m being autistically semantic here, and if so, my bad in advance…
but keeping your chords in key is both simple and complicated: you have to follow the key signature. this is both very easy and a task lol. I’ll explain the easiest way imo to keep track of this and then talk about the Chord machine and how it makes our lives easier!
the easy part:
All scales follow their key signatures. Starting with the simplest key: C major is C-D-E-F-G-A-B- and then back to the root of the scale at C, all natural notes, no sharps or flats.
So the chords available to us that are “harmonic” with the key of C major are those same chords starting with the root notes of the scale of C major: C through C, all naturals.
Before we continue, don’t forget that the only note in a chord that determines whether or not it is major or minor is the 3rd note in the chord.
The root note determines the chord, so C, and then if it’s a C major it would go C-E-G-C (1st, major 3rd, 5th, Octave)
If it’s a minor chord it would be C-Eb-G-C (1st, minor 3rd, 5th, Octave)
the hard part:
where it does get trickier is choosing what chords are major or minor depending on if your key signature is Major or Minor, which is where the roman numerals system comes in handy.
The root note of the scale is called the “Tonic” chord, so C major in our example. We have two “formulas” to follow for Major or Minor songs:
Major Key Chords:
I-ii-iii-IV-V-vi-vii°
(First, second, third, Fourth, Fifth, six, seventh diminished)
Minor Key Chords:
i-ii°-III-iv-v-VI-VII
(first, second diminished, Third, fourth, fifth, Sixth, Seventh)
So for literally any key signature you just have to follow these formulas to keep your chords in key. It helps to make your chord progression always get back to the 1 chord somehow, but I can’t tell you what chords to put where, cause that’s your job as a musician… but the chord machine makes it sooo much easier.
So all we have to do for this is pick a key signature for your song, then set up your key in your Syntakt with the chord machine. Decide whether you want to be in major or minor, and then follow the relevant formula.
You can do a ii-V-I, which in C major could be a D minor chord, to an G Major chord, to a C major chord.
Or it could be literally any combination of things, cause remember, 7th chords, 9th chords, add9, add11, all those fancy weird chords in the chord machine are just extensions of this basic principle, and the more you play with it the more advanced you can get.
it also really helps to have a basic keyboard in front of you so you can play the chords out, I find the visual aspect of a keyboard helps a lot in figuring this out.
chords are tricky as hell but they’re also really fun like a puzzle >:3
I hope this was helpful and not annoying LOL
6 Likes
Yeah, that’s the thing with Elektron devices, everything is a puzzle. I like solving puzzles but I when I have to solve a puzzle to add a single element to a song, I never finish anything because I get tired of solving puzzles after like 3 or 4 of them. Also I don’t know what I want ahead of time, I can’t think of a chord progression in my head that sounds good, I have to play it out and hear it. That is essentially impossible with the chord machine in the syntakt. I can P-Lock different steps to be all the right chords for my key, then preview them by pressing trig+yes, but I can’t record a performance of that into the sequencer.
2 Likes
there’s always saying fuck it to using chords and just arpegiatting everything!
you’ve got 12 tracks, just make up chords out of different leads that you can play into the syntakt in real time
play around with the chord machine but in one of the unison modes or 5ths to make leads too
2 Likes
Yeah, I tend to basically make accidental chord progressions by playing various melodies into the different tracks. I got started with synths with modular so my mind can get stuck in a monophonic way of working.
1 Like
Probably already in thread but:
Distortion effect, compressor (more fx in general)
More digital machines, for example something for quick pad sounds. My favorite part of Syntakt is that the machines are really quick to get nice sounds out of so more is better for versatility.
Who knows?
Fingers crossed 
5 Likes
What’s this?!
On Syntakt:
Settings->Pattern->Reload from Project->KIT DATA
Hopefully this will be expanded in the future.
1 Like
Would love if you could switch off tape mode on the delay for more digital artifacts when modulating the time or changing patterns. An alternative to the current wobbliness.
3 Likes