Analogue-sequencer

hi all,
> I find it way, way faster. For example, I now dare to dial up auxes
> mid-performance which was too slow to do when you just had the large
> list to scroll through. The page key still toggles between cc# and
> auxes but the function key toggles between top level aux groups (e.g.
> Accumulator, Randomize, Inter Track etc.) and the members of those
> groups (e.g. offset note rel, rand mask tie, grab etc.).
> 
> Paul

me too. it took a bit of getting used to, especially if you have 2
P3's and one has the "old" method and the other has the new, but i'm
finding it much faster and a lot clearer. the first events in the
groups are in many cases the ones I use the most, so dialing up the
right event is a breeze now.
I'm also very pleased with the front-panel (play-mode) knob-access
from pattern-edit mode, although it makes me wish for a similar
function in playlist-edit mode. ;-)

and @ Duncan:
> I've found that I'm using a whole set of a track's patterns to store
> a sequence with more complex timing requirements & a lot of notes.

I've had a similar dilemma, where for instance I'll want a bassline
that is more or less the same for a while, but i'll want, say, 8 small
variations on the basic pattern before they start repeating. Instead
of filling all 8 available patterns (in 6*8 memory mode) with these
variations, I now mostly use the aux D accumulator & accumulator masks
to get the same effect. for example i'd set the dAcc limit to 7, aux D
to 'offset aux D rel' with step 16 set to a value of +1, and set aux C
to 'mask gate, dAcc>n'. If you then also set aux A (or B, depending on
what you're after) to 'aux C = event n' there's a whole new world of
possibilities; for instance there's some lovely stuff you could do
with aux B set to 'mask gate, dAcc>n' and aux C set to 'mask gate,
n>dAcc'. great stuff is possible with auxes manipulating auxes...

grtz Chiel