6.2 DATA STRUCTURE
6. OVERVIEW OF THE SYNTAKT DATA STRUCTURE > 6.2 DATA STRUCTURE · PDF p. 19–20 · OS 1.40A
# 6.2 DATA STRUCTURE 6. OVERVIEW OF THE SYNTAKT DATA STRUCTURE 6. OVERVIEW OF THE SYNTAKT DATA STRUCTURE The image below outlines the data structure of the Syntakt. 128 PATTERNS 12 AUDIO/MIDI TRACKS, 1 FX TRACK PROJECT SOUND POOL 128 Sounds +DRIVE Projects, Sounds, Samples 6.1 +DRIVE The +Drive is a non-volatile storage. It keeps up to 128 projects stored internally, and it also holds all saved sounds and samples. 6.2 DATA STRUCTURE 6.2.1 PROJECT A project contains 128 patterns. General settings and states are also stored in the project. When a project is loaded it becomes the active working state of the Syntakt. From here it is possible to edit the patterns and sounds of the project. Every time the Syntakt is switched on, it boots to the active working state, the active project. Projects are saved, loaded and managed in the SETTINGS menu. For more information, please see “14.1 PROJECT” on page 72. 6.2.2 PATTERNS The patterns are the primary data container for the Syntakt. Sixteen patterns are available for each of the eight banks, which means that 128 patterns are available for each project. A pattern contains of up to twelve sounds (one for each audio track), sequencer data like trigs and parameter locks together with the settings on the TRIG page and BPM, length, swing, and time signature settings. The pattern also contains all the parameter settings for any MIDI tracks. For more information, please see “8. PATTERNS AND SOUNDS” on page 29. 6.2.3 SOUNDS A sound is a collection of the audio track settings in the SYN, FLTR, AMP, and LFO PARAMETER pages. Sounds can be stored either in the Sound pool of the active project or the +Drive sound library. The Sound pool holds up to 128 sounds and the +Drive library holds up to 2048 sounds. You can use the SOUND MANAGER to manage sounds. For more information, please see “8.6.3 SOUND MANAGER” on page 33, and “8. PATTERNS AND SOUNDS” on page 29. When a sound is imported to a pattern, it becomes an independent copy of the sound on the +Drive and is not linked to the original sound. Instead, it fully becomes a part of the pattern. 6.2.4 SAMPLES You can load up to 32 MB of samples into the Syntakt, with a maximum of 64 sample slots. Each slot can hold a sample up to 5 seconds long (approximately 0.5 MB). Samples are stored on the +Drive, and the native sample file format is 16-bit, 48 kHz, mono .wav files. To transfer samples from your computer, use the free Elektron Transfer software, available for download from the Elektron website. 6. OVERVIEW OF THE SYNTAKT DATA STRUCTURE TRANSFERRING SAMPLES FROM A COMPUTER TO SYNTAKT 1. Connect Syntakt to the computer via USB. 2. Open the Elektron Transfer software (Available on the Elektron website) on your computer. 3. On the Transfer CONNECTIONS page, set the MIDI IN and OUT ports to your Syntakt. 4. In Transfer, click the EXPLORE tab to open the EXPLORE page. 5. On the top right side, in the drop-down menu, select “Samples”. 6. On the top left side in the drop-down menu, make sure “My Computer” is selected. 7. Under “My Computer” navigate to the files or folders you want to transfer. 8. Drag and drop the files or folders to your preferred location on your device. Transfer automati cally converts many audio formats (such as .wav, .aiff, .mp3, and more) into 16-bit, 48 kHz mono .wav files—the native audio format used by Syntakt. If the samples are longer than 5 seconds they will be trimmed. 9. After transferring samples, reboot the Syntakt to make the samples available for use. • The samples are saved globally and shared across all projects. This means that remov ing, replacing or rearranging samples will affect every project that uses those samples. • If the sample memory is completely full, it can take up to thirty seconds for the Syntakt to boot up. 6.3 ABOUT THE TRACKS The Syntakt sequencer has twelve tracks that can be either an audio track or a MIDI track. In addition, there is also a separate track (the FX track) for the Analog FX block and the Delay/Reverb send effects. 6.3.1 AUDIO TRACKS, VOICE TYPES, AND MACHINES Any of the twelve tracks can be used as an audio track. This is the default track setting. An audio track controls the selected machine with its parameter settings in the PARAMETER pages SYN, FLTR, AMP, and LFO. The voice type is the underlying synthesis model and is either analog or digital. The Syntakt has three different kinds of voice types. Analog Drum, Analog Cymbal, and Digital. A machine is a sound engine that uses a subset of functionality derived from the voice type. There are a number of machines available for each voice type. Every machine has its own set of parameters tailored to give you the most relevant and useful sound-shaping possibilities for that particular machine. For more information, please see “APPENDIX A: MACHINES” on page 91 and “10. AUDIO TRACK PARAME TERS” on page 50. Every track has a dedicated voice type when it is used as an audio track. • Track 1–8: Digital • Track 9–11: Analog Drum • Track 12: Analog Cymbal 6.3.2 MIDI TRACKS You can change any track on the Syntakt from being an audio track to instead be used as a MIDI track, meaning you can have up to twelve MIDI tracks. The MIDI tracks are used to control external, MIDI- equipped gear. Each MIDI track can trigger a chord of up to four notes in a chord with adjustable param eters such as velocity and length, control pitch bend and aftertouch, as well as eight freely assignable MIDI control change parameters (MIDI CCs). For more information, please see “11. MIDI TRACK PARAM ETERS” on page 58. Any MIDI channel can be assigned to a MIDI track and several tracks can share the same channel. If several tracks are assigned to the same MIDI channel the track with the lowest number has priority regarding parameter conflicts. The MIDI tracks function in a similar way as the audio tracks with parameter locks, LFO modulation, and copy and paste commands available. Each MIDI track also features micro timing, individual track length and time signature settings. The main difference is that the MIDI tracks do not generate any sound and the sequencer data is instead transmitted through the MIDI OUT or USB ports.
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