Analogue-sequencer

On Wed, 18 Feb 2004, Colin f wrote:

> > this is *truly* insane... i'm going to need to take a week off of work to
> > explore all the hidden treasures in this deceptively simple-looking little
> > box...
>
> Bear in mind you don't have to use the complicated stuff if you don't want
> to.

pfff... but that's part of the brilliance of the P3! really, it seems like
it will make me think about sequencing in a whole different way... in a
better way. sequences are no longer condemned to being static, that is the
real innovation in the P3... even really intense analogue seqs like peter
grenader's milton can't really touch this... i imagine the way i'll use
the P3 is to create "building block" sequences that are what get stored
and filed away... then these sequences are built upon during every
performance or recording, giving some sense of recognizability to a song,
but detonating a 100 megaton nuclear warhead in the face of boredom, heh.

> The LFO stuff is reasonably straight-forward. Each accumulator has a 'limit'
> value, and options to set how it behaves when it reaches the limit. These
> options are 'reset to zero', 'clip at limit', and 'reverse'.

ahh, that sounds cool... so the lfos are actually just different ways of
using the accumulators?

> of the accumulator target (note, velocity, or aux D). Or if you use a
> sequence of different offset values, you can get other modulation shapes.

*yum*

bleep.
out.

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