What sets the duration of the sustain phase in ADSR if it’s looping?
I was connecting to overbridge and saw the option for routing audio to the 4 analog tracks … I was trying to figure out the application for which you would route audio to the 4 analog tracks … is there a trick here I’m missing?
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basic tip for selecting sound presets for tracks (this wasn’t obvious to me) …
hold function and scroll the Level/Data knob …
hold function and hit Yes to audition a sound …
hit Yes to select the sound for the track or hit No to return to main screen.
Any changes to a sound only pertain to the pattern you are using it in, I believe.
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This is a very good question.
For claps, for instance, as you can see on @Soffter’s vid, it’s the clap time span parameter. It works the opposite of what you’d expect btw, a longer span get you a short osc retrig.
For the other machines, the sound turn into an simple osc. I need to spend more time on this one, especially with the Toy piano…
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Yes, this is written in the manual: Sounds in the +Drive or the Pool get copied to a Pattern.
To change them, you have to overwrite them.
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I don’t have a syntakt (yet) but I’m guessing it’ll be something to do with trig conditions? Probably a load of trigs set to “not the first time” or something similar.
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Sustain is a level control it has no duration. But I guess the answer to your question is, as long as you hold the note.
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Anyone know how to ratchet? Or do stuff akin to running an LFO on retrig timing on the Octatrack.
Edit: why would you flag this? I’m asking a question about tips and tricks about the Syntakt…
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Strange thing that your post was flagged? 
Ratcheting works with retrig. There is no LFO destination for retrig.
Ahhh, thanks everyone for the explanation on the audio routing. That makes sense. Another layer peeled back on the onion for me.
I’m really enjoying the Syntakt so far.
It works for claps, turn the amp envelope to ADSR and set the LFO to SPCR parameter 
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The ducking effect on the AFX amp is cool, but I’ve been using the regular envelope shape (with the Filter) as a cool trance gate effect. Works great with the Chord machine set to 4x Unison.
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the plastic bd also makes a very nice bass synth. i think my favorite machine for bass is toy though. hard to say, they are all actually really great for bass. i’ve made so many bass patches already, its ridiculous
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The basic Snare Maschine makes a really good shaker. For more human feel make a subtle random trigger LFO on every hit for the Attack.
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how do you guys use the chord machine? i strictly use it in unison mode with the voice param all the way counter clockwise, as a mono wavetable osc, but the chords do sound beautiful. so im just wondering if there is a more intuitive way to “play” this voice without meticulously p-locking different chords on steps
is it even designed for that kind of use?
i should also disclose that i know almost nothing about theory, so i would be randomly selecting chords and seeing if they make sense together, but for now, and when i had the cycles, i just use it as a mono synth, which i do enjoy. but i feel like im under-utilizing it
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For project management it is kind of benifical that there are no samples on ST. you are able to copy and paste patterns from one project to another. So after months of starting new projects you could still collect your favorite patterns in one project easily.
Edit: maybe more complicated when utilizing soundlock and sound pool capabilities…
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I p-lock different chords on steps – and it’s not tedious at all, because usually you only want very few chord changes, not on every step. Recording sweeps of the Chord Type parameter also leads to interesting results. And just staying on one Chord type, but sweeping the Voicing Parameter sounds great.
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Yes, you can use one of the modulation macros for this. It makes it more natural to choose a chord.
(Edit: I checked this, you’ll have to use the velocity macro, as mod a/b can’t be assigned all SYN parameters for now).
I’d love MA/B to get 4 destinations, that would really open the chord engine.
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