Analogue-sequencer

>>Does that happen for stored patterns, or is it just re-scaling the
positions of the knobs in edit mode ?<<

good question.
we (r.m.i.) pretty much gave up using the memories in the maq because
when a preset is recalled, the knobs could be pointing any where. as
soon as you move one, it is rescanned & the new note is based on the
current "range" setting & the external transpose note number, if
applicable. 
however, any of the other knobs that are "dithering" between one value
& the next are also re-acquired as live steps & so the stored pattern
very quickly morphs into something new. it's as if the maq doesn't
rescan anything until one knob is moved, then it rescans all of them
after that.

(if you've seen us in concert, you may have seen steve "clearing the
decks", as he calls it. if all the maq's knobs are fully cw before a
preset is recalled, this minimises the potential for mishap. even so,
it's a bit dodgy.)


I'm pretty sure that recalling a pattern & then changing the
note-range for one or more rows will have no effect on the recalled
pattern until one of the knobs is rescanned.
so yes, it's the note numbers that are recalled, not the knob
orientation. I don't know about the external transpose- have to check.
I should know this- I've had maqs since 1993!

BUT while the maq is running "fully live", altering the range setting
for a row is quite a dramatic effect. 
this is especially useful, musically, if the maq's output is being
forced-to-scale by some mechanism. 
I have used custom patches in emu samplers & romplers to achieve this
(modified keygrouping in the sampler, user-tuning scales in the
romplers), aswell as dope-fer's own analogue quantiser (a156 I think)
to do the same thing with a pair of moogs. 
needles to sew, these days I put the maq's midi-out through the p3 &
let that do the FTS instead.

the effect of changing the row's range setting when the notes are
being forced to scale is that the riff stays the same "shape" but
spans different notes. so a three-note sequence on C, D# & G might end
up playing on C, G & C+1. imagine that effect on an 8 or 16 step
pattern, spread over two octaves & then being spread over four or five
octaves.... nice.

I can see why this would appeal as an option on the p3- to build a
riff & then change the note-range of the track (up or down) in order
to change the riff. 
it would have to be one of those track or global options, though,
because you might also want to build a track with high resolution
(e.g. one octave range) & then add a couple of notes with a lower
resolution but without messing up what you already did.
to be honest, I mostly enter pitch values using a keyboard anyway.

everyone understand this so far? I'm fighting a cold & an odd sort of
hangover with which mr nagle is surely familiar.. :-)

duncan/r.m.i.