Amazing, I hope it works! Super impressed with the level of polish you’ve managed to create in an M4L device. Sounds amazing too. Incredible work
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wish elektron would do some Fors collaboration machines for syntakt 
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Well that was easy. I take it all back!!
@tdmusic Thank you for highlighting this! for some reason I just thought this wasn’t in the scope of what a Max for Live instrument has available.
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Aha amazing! Happy to help 
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ha. that’s awesome. looking forward to that update sooner or later.
again, congrats on the release.
This is a fantastic addition. I was wishing for it today, to send one track out to a delay.
Multi-out would let you use the amazing sequencer, but with most of the benefits of the individual devices.
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Incredible release @Ess and everyone at Fors.
Wish I had these sequencer updates and instruments in a Syntakt. Super super fun
A humble request for parameter locks on steps without a gate/trigger (you know what I am talking about 
)
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A little sequencer humor. Probably…
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In this case I’d buy syntakt in a breeze
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i know there have been some feature requests and other posts to reply to
you are probably busy & mine are not urgent but i humbly wanna ask a few technical questions:
- did you consider using RNBO to allow for easy Opal integration outside of Ableton? if so, were there under-the-hood features of m4l which led you to stick with that framework?
- if not…do you know how difficult would it be to port an app with this level of complexity?
- i love the tightly integrated UI animations for all your Fors devices (esp. Chiral, Glänta, & Opal)…can you talk a bit about how that is done? or at least what inspires design implementation and iconography across Fors brand? i must admit that it’s a major factor in my enjoyment when i play with your tools
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No, RNBO doesn’t do much for me that I couldn’t do myself – porting the DSP to C++ is not a big hurdle when it comes to making a plugin for me. The UI and the rest of the functionality is far more difficult for example. Plus, I don’t think RNBO is that viable for creating commercial plugins, licensing being just one issue. Not trying to badmouth RNBO, I just don’t think it makes sense for my use case.
It’s not so much a matter of porting as it is to build it more or less from scratch. 
It would take a lot of time, basically.
Thank you! On a technical level I design the interfaces in Sketch and then implement them in Javascript. But I usually start out just making rough sketches of the layout with a pen and paper. I’m an interface-first kind of designer so often the functionality and visual design/layout goes hand in hand.
Iconography-wise I’m very inspired by classic graphic design, bold and clear logos like the work of Saul Bass, Paul Rand… That kind of stuff. But also I have a deep affection for The Designer’s Republic who, conversely, I think inspired Jesper Kouthoofd’s work for Elektron’s earlier products which/who is also a huge inspiration to me.
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Wow, this is spectacular! I’ve been working on a drum synth, but this sent me back to the drawing board. Excellent work.
Is there any chance of an effect version of the Flux sampler? This is my favorite feature on MD/OT and it’s working beautifully here. I’m just completely blown away.
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DR and their work with PWEI and others is massive.
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Great point…that licensing agreement was actually part of why i hadn’t been so excited to make stuff with it myself
I had totally forgotten why
Thanks for all the other answers & such quick response!
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greaaat !
The one thing I’m struggling with is the Flux sampler. I’ve made about 5 sketches today - and I’ve had the odd happy accident from the flux sampler effect, but not really understanding how to maximise it and what range of sounds is possible/what the modulation sweet spots are etc.
Loving it even more now I’ve got a days experience behind my initial hype though. Hopefully the flux will reveal its treasures to me in the coming days!
Flux is pretty weird! It basically continuously records the whole pattern and divides that into 16 different slices that you can trigger. It will kind of evolve alongside the pattern as different meters and divisions will fall into different places over time.
I find it useful for adding just some effect or top layer run through the reverb. In some sparser patterns it can be cool to use it as a customizable delay too, if you for example trigger the same slice in succession.
Think of it as a tape loop that you can choose different points in time to recall. I had the idea at 5 AM once when I couldn’t sleep, so that could have something to do with its strangeness. Once harnessed, it’s quite the effective tool though.
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