The A4’s four CV/gate outputs have been split out to individual jacks they were previously shared among two TRS connectors. The Ext Audio through is now via two ports, instead of the MkI’s single stereo jack, and more significantly there are two new audio inputs dedicated to sampling. Half of these carry two channels, giving you discrete output of all 12 drum channels. The Rytm MkII has eight outputs available for individual sound outputs, compared to the original’s four. The Analog Four now has separate outputs for each of its voices as well as a main mix output, turning it into a fully fledged multi‑timbral sound module. The Ins & OutĪll the MkIIs benefit from some form of upgraded connectivity on their rear panels. These provide direct access to all the main views and operating modes, many of which were reached via secondary shifted functions on the MkI models. The main front‑panel layout change is the addition of a few extra mode buttons to all three devices. Despite missing out on this, the new Octatrack is still cute, and its flat aspect works in a live setting. The Octatrack MkII’s overall form remains much the same as the original, but the Rytm and Four have gorgeous new raked panels that are angled perfectly if you’re sitting in front of them. On the Octatrack the pixel count stays the same, but the display is smaller and denser. On the Four and Rytm the screens are double the original height in terms of pixel lines. The displays use white graphics on an inky black background, which is much easier on the eyes than the previous grey on slightly‑less‑grey. All the devices have inherited the same high‑contrast OLED screen as seen on the Digitakt. These have a glorious silky smooth response and a secondary push function. The Rytm alone offers built‑in dynamic input via its 12 drum pads.Īll knobs have been replaced with the new high‑resolutions encoders, checking another item off of Paul’s MkI wishlist. As I said when reviewing the Digitakt, I love the old‑school feel of these chunky buttons, although their consistent, light action comes at the price of velocity sensitivity. Legibility of the controls (something noted as problematic by Paul Nagle in his original reviews) is improved greatly as functions are now printed in bold white on the buttons themselves, with secondary functions below. They all have the new style ‘trig’ buttons with internal red‑yellow‑green lighting. The MkIIs all have aluminium bodies, and a lighter grey finish than their predecessors, contrasting them with the darker paintwork of the Digitakt and Digitone. The Octatrack is the daddy of Elektron’s range, a sampling and sequencing hub that embodies the company’s ethos of real‑time performance and deep expert‑level workflow tools. The Four is a four‑part analogue desktop synth. The Rytm is an analogue drum synth with sampling. The MkII line‑up comprises the Analog Rytm, Analog Four, and Octatrack. I initially thought this was a major misstep, but I’ve softened on this the more I’ve thought about it. Notably absent from the ‘what’s new’ list is Octatrack MkII support for Overbridge, Elektron’s DAW integration software that provides streaming and control over USB. Alongside the physical upgrades are a few feature additions and a general clean up of panel operations facilitated by some extra controls. When Elektron released their Digitakt sampling drum machine last year they promised that a refresh of their three flagship instruments would follow soon after, bringing them the same slick look and feel. Elektron have treated three of their flagship instruments to a major redesign.
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