@rrodseth Another constraint (no doubt to limit memory/CPU load) is that there are a finite number of parameter locks you can use in a pattern.
Up to 72 different parameters can be locked in a pattern. A parameter counts as one (1)
locked parameter no matter how many trigs that lock it. If for example the cutoff parameter
of the filter is locked on every sequencer step, there are still 71 other parameters that
can be locked.
Same goes for the Digitakt but interestingly the Digitone gets 80. Syntakt feels like the most likely box youāll ever hit that limit with thoughā¦ āonlyā 6 params per track!
It doesnāt actually say in the manual whether or not sound locks have a limit to them or whether they have any impact on the parameter lock limitā¦ as really a sound lock is just a parameter lock for every single parameter at once (26 on the Syntakt at a rough count, plus all the sound setup settings too), so in theory placing a sound lock on three tracks would be enough locked parameters to hit that limit which doesnāt seem likely, so perhaps it is managed separately - if there is a limit then Iām not sure what it is!
ARmk1 wants SY RAW please
ARmk1 wants SY RAW please
ARmk1 wants SY RAW please
ARmk1 wants SY RAW please
ARmk1 wants SY RAW please
ARmk1 wants SY RAW please
ARmk1 wants SY RAW please
ARmk1 wants SY RAW please
ARmk1 wants SY RAW please @Elektron
Less if you do what I doā¦ to get around the fact that you canāt directly machine lock Iāve got a ādefaultā version of each machine saved to the pool so I can be more flexible within a single track (first sound lock to get the other machine then param lock it to edit), handy but takes up nearly 1/3 of the slots now! Can do this on the AR as well.
I didnāt get into machine locking when I had a Cycles, so the effect is lost on me. I donāt get what yāall see in itā¦
Anywayā¦ once you have p-locked the ānewā machine, do you then save the sound and reset the sound lock to the saved sound? That would free up some of your slots.
Itās just useful for doing more within one track, e.g. if youāre doing some standard house beat stuff you can have your on-beat kick, off-beat hihat and maybe some toms or other percs all on one track, freeing up all the others for more complex stuff.
No Iāll always keep the default machines as they are, cos then I can use them elsewhere and always know where Iām starting from when I sound lock them. Tbh Iām not that bothered about the limited number of slots, Iāve never actually filled the list all the way up (so far).
Well, with the update, RAW is of course my favourite kick machine
However, this SY TONE kick was inspired by my Digitone, where I have exactely the same patch and recreated it on the Syntakt. Different kicks for different songs
One of the coolest things of the synthesiser journey for me is that whatever piece of gear I have or once had (like the DFAM), it influences and expands on how I use all other synths ā¦
For me the first port of call is always an exponential LFO in āoneā mode on the pitch, most of the kickiness is dialled in there and the other machine/filter settings just add flavour. Works on almost anything, youād be surprised how solid of a kick you can make with almost any sample on the Digitakt if pitched down to the right point.
Square wave and then the low pass filter, letting a short klick through and then only bass. Noise can be added as well (and then, at maximum overdrive, no noise is audible, but then you can slowly dial overdrive down).
One can always layer a digital kick (with a high pass filter) to have a āklickā, i believe that is what people on the Analog Rytm do, except there with samples.
(Edit: of course, as @tehbilb said, lfo exp ā pitch is the first order of business )
An alternative click method to briefly allowing noise through with the LPF at the start is to turn the noise (or BR on the Digitakt) down to 0 then use a second exponential LFO (also in one mode) to crank it right at the start - freeing up the filter for EQing work, like a bass boost or cutting some mids out etc.
Nov 30th - should I buy a third one? : Do it - any money will be worth half or less in a few months - ST is black gold - and even has utility : Donāt do it. You donāt even have money. Donāt listen to them. Dept is money and money is dept. : No! Only money is money. Use what you have, master it first, find happiness in diligence and constant improvement, go for a walk : rubbish. You mastered one ST, you can be master of 2, 3 - all of them : and you might be dead by tomorrow.
Yes I planned this too, especially for Analog Drums machines. I start from scratch most of the time and never use factory presets.
Once I know perfectly the machine (ST in this case), I do templates.
Plocking machines without Soundlocks would be greatā¦
Yeah it would be so handy, at least this workaround exists but in a way that makes it all the more frustrating cos clearly the hardware can handle it!
My advice if youāre gonna do it is to use the Overbridge app, quicker to get around and obviously typing out the names of 37 default presets like āD-BD MODERNā would be dire on the box itself.
I would save them to the library first rather than the pool so that you can use them again in other projects - only issue is Overbridge only saves presets to the first bank with an empty slot, and has no functionality for moving saved sounds as far as I can see, whereas I wanted to keep all of mine at the start of bank H so I can easily find them again (the BANK+trig keys shortcut when viewing the library is a handy feature that I bet not that many people are aware of), so once I was done creating them all in Overbridge, I then had to use the box itself to select them all, copy to Bank H and then delete from wherever they started. Then easy enough to copy to the pool either on the box or OB and youāre done takes a bit of time to get through them all either way but worth it once you do.
: Do it - any money will be worth half or less in a few months - ST is black gold - and even has utility
: Donāt do it. You donāt even have money.
takes a bit of time to get through them all either way but worth it once you do.