Analogue-sequencer

--- In analogue-sequencer@yahoogroups.com, Atom Smasher <atom@s...> 
wrote:
> i just recently learned about the P3, so forgive me if these 
questions are 
> lame. i did check the archives, and as best as i could find through 
> yahoo's message search facilities, these haven't been asked before.
> 
> 1) where does the name "P3" come from?
>


Yeah!  what does P3 stand for anyway.  I always thought
it had something to do with the 3 P's mentioned on the
panel.

Pattern / Part / Playlist

Enlighten us Colin!  ;)

A1k

i just recently learned about the P3, so forgive me if these questions are 
lame. i did check the archives, and as best as i could find through 
yahoo's message search facilities, these haven't been asked before.

1) where does the name "P3" come from?

2) how good a job does it do creating 303 style sequences?
2a) compared to something like the future-retro mobius?

3) how does a P3 & drum-station compare to a TR-909? what are the 
pros/cons of each?

4) do you find yourselves tending to use the P3 more for percussion 
sequencing, 303 style sequencing, or everything else?

5) the P3 seems to use the same size/type buttons as the TR-909, but the 
909 spaces them a bit further apart. has this caused any problems with 
using the P3? i'm wondering; if i take the DIY route should i invest in a 
square punch and make my own "step" PCB...?

6) one of my favorite features of the TR-808 is the different color 
buttons clearly delimiting four groups of four. i did the same thing to my 
PC1600x <http://synthmod.net/peavey/1600_paint/left.jpg> and it's so much 
more intuitive, especially on a dark stage. has anyone used colored 
keycaps on their P3? where can they be found?

7) has anyone located a case/knobs/buttons that are styled like the 
TR-909? i'm tempted to make a P3 so that it looks like a TR-909 from 
across the room... of course i'd have to hit the lottery first.

thanks...


-- 
         ...atom

  _________________________________________
  PGP key - http://atom.smasher.org/pgp.txt
  762A 3B98 A3C3 96C9 C6B7 582A B88D 52E4 D9F5 7808
  -------------------------------------------------

 	"If we don't stop extending our troops all around the
 	 world in nation-building missions, then we're going
 	 to have a serious problem coming down the road."
 		-- George W. Bush, to Al Gore, during Campaign 2000.

> 1) where does the name "P3" come from?

"P"attern sequencer, number "3".
There's a potted history in the archives:
http://launch.groups.yahoo.com/group/analogue-sequencer/message/3652
 
> 2) how good a job does it do creating 303 style sequences?
> 2a) compared to something like the future-retro mobius?

The 303 sequencer is really very limited in user interface and operation.
The key to recreating a 303 sequence on another sequencer is to understand
these limits.
P3s pattern structure is suitable for copying a 303 pattern 100%, if you
know how to do it.
Personally I don't try to recreate 303 sequences on my P3. I create them on
my 303, then record them into the P3 using my MidiBass303 MIDI retrofit:
http://www.colinfraser.com/mb303/index.html
That gives me authentic 303 patterns, with the flexibility of tweaking them
without losing the essential character, and no messing around in write mode,
writing down notes etc.
I really can't hear the difference between the 303 sequencer playing a
pattern, and the P3 playing the same pattern via MidiBass, and I'm pretty
fussy about that sort of thing...
 
> 3) how does a P3 & drum-station compare to a TR-909? what are the 
> pros/cons of each?

P3 isn't optimised for percussion patterns, though there are plenty of
people using it very successfully for them.
I can't comment on the Drum Station sounds personally, but I wouldn't part
with my real 808 and 909.
If Trevor Page is still doing his 9090 boards, that might be a way to get
the real sounds for much less $$$.
 
> 4) do you find yourselves tending to use the P3 more for percussion 
> sequencing, 303 style sequencing, or everything else?

I used to use mine for percussion patterns as well as 303 patterns and
everything else.
I moved away from that when I replaced my 808/909 clone with the real
things.
In some respects the internal sequencers on the x0xes are a bit irritating -
especially the inability to change between play and edit while running, and
the lack of independent per step accent for every sound.
I'm going to fix that sometime ;-)
 
> 5) the P3 seems to use the same size/type buttons as the 
> TR-909, but the 
> 909 spaces them a bit further apart. has this caused any 
> problems with 
> using the P3? i'm wondering; if i take the DIY route should i 
> invest in a 
> square punch and make my own "step" PCB...?

The P3 keys have 3/4 inch spacing, the 909 roughly 7/8 inch.
I think you'd need pretty chunky fingers to have a problem.
Main reason for the narrower P3 spacing is to fit in a 19" rack, and cutting
out a single rectangular slot was *much* less work than 16 square holes
would have been in the DIY case days.
 
> 6) one of my favorite features of the TR-808 is the different color 
> buttons clearly delimiting four groups of four. i did the 
> same thing to my 
> PC1600x <http://synthmod.net/peavey/1600_paint/left.jpg> and 
> it's so much 
> more intuitive, especially on a dark stage. has anyone used colored 
> keycaps on their P3? where can they be found?

I used to use groups of four colours on the knobs, though I've switched to
alternating white and grey, since these are easier to see in low light than
some of the darker colours.

> 7) has anyone located a case/knobs/buttons that are styled like the 
> TR-909? i'm tempted to make a P3 so that it looks like a TR-909 from 
> across the room... of course i'd have to hit the lottery first.

I've not been able to find keys that will take tri-colour LEDs like the
909s, or I might have used them.

BTW the production P3 panel slopes at exactly the same angle as the 909.
If you elevate a 909 on some blocks, and sit it directly behind your P3, you
get a nice control surface for synth and drums ;-)

Best regards,
Colin Fraser
Sequentix Music Systems Ltd
http://www.sequentix.com

Atom Smasher wrote:

>2) how good a job does it do creating 303 style sequences?
>  
>
Well, Colin is a tota 303 nut and has put a MIDI out socket on his own 
303. When he played some of his own 303 patterns into my P3, I hit 
record and -hey presto- identical!
With careful use of note tie and velocity accents, I find that my 303 
clone hits the spot every time; so if you pair up the P3 with an 
appropriate module, you're totally there. The P3 even adopts some of the 
cool pattern chaining tricks that 303 lovers are familiar with. But it 
can do way, way more than just give you 8 x 303 sequencers at once...


>4) do you find yourselves tending to use the P3 more for percussion 
>sequencing, 303 style sequencing, or everything else?
>  
>
P3-style sequencing personally. The three members of the band I'm in 
*all* have P3s. My role is lots of wild, morphing, evolving, 
interactively improvised sequences; Phil uses his mostly as a MIDI 
routing box-cum-MIDI looper and Andy uses his almost exclusively as a 
drum machine. I reckon almost every P3 owner uses it slightly 
differently and the cool thing is that, even though I have been using 
one for... hell, ages, I still feel there are new things to try, to 
explore, to stumble across. But I'm a rabid enthusiast, of course and 
very biased.

Hope this helps; your other questions were too tough (and I never owned 
a 909).

Paul

---
Paul Nagle / Soft Room Music / Bogus Focus Records / Binar / Headshock / The Joint Intelligence Committee
        www.softroom.co.uk / www.BogusFocus.com / www.JointIntelligenceCommittee.com

Paul Nagle <softroom@b...> wrote:

> Perhaps you need to understand how cool a P3 is before deciding an
MMT-8 
> could be more suitable for dance music. Unless you think unmuting
tracks 
> is all the interactivity you really need... :)
> 

True - if all you need is a sequencer that can do the typical
programming/storage routines that other products do, then there are a
lot of choices.

I, for one, looka at the P3 as a completely new approach in creating
sequences.  The implications of the random and FTS features are ground
breaking, deserving special examination.

gc

On Fri, 30 Sep 2005, Colin f wrote:

>> 1) where does the name "P3" come from?
>
> "P"attern sequencer, number "3". There's a potted history in the 
> archives: 
> http://launch.groups.yahoo.com/group/analogue-sequencer/message/3652
====================

ahh... a love story...

maybe you're the man for another sequencer i've been dreaming up in my 
head. for performing live techno/dance music, it's hard to find a 
sequencer better than a small army of MMT-8s. if someone made an 
"MMT-8000"... more memory, more patterns, tactile buttons, solid OS, 
plenty of mutable tracks, etc... i think i'd put that higher on _my_ 
priority list than a P3.

hhmmm.... how many notes can the P3 trigger at once? although, 48ppq could 
be a limiting factor...


>> 3) how does a P3 & drum-station compare to a TR-909? what are the
>> pros/cons of each?
>
> P3 isn't optimised for percussion patterns, though there are plenty of
> people using it very successfully for them.
===================

i guess it's capable of many of the same things as a MAQ16/3, SQ-16, 
or mobius... huh? that just didn't occur to me when i first saw the 
pictures.

hhmmm... feature request(?): "909 accent mode" if enabled on a track, 
press a button once to send triggers at low velocity, the LED is dim. 
press again, it triggers at higher velocity, the LED is bright. press 
again, the note trigger and LED are off.


> I can't comment on the Drum Station sounds personally, but I wouldn't part
> with my real 808 and 909.
> If Trevor Page is still doing his 9090 boards, that might be a way to get
> the real sounds for much less $$$.
======================

i could probably trade/sell my TR-909 and get enough $$$ for a P3 kit and 
a drumstation. or, in US dollars, i could sell my 909 and buy a P3 already 
built.

yes, i have plenty of experience - http://smasher.org/303/


-- 
         ...atom

  _________________________________________
  PGP key - http://atom.smasher.org/pgp.txt
  762A 3B98 A3C3 96C9 C6B7 582A B88D 52E4 D9F5 7808
  -------------------------------------------------

 	"You can't hold a man down without staying down with him."
 		-- Booker T Washington

On Fri, 30 Sep 2005, Paul Nagle wrote:

>> 2) how good a job does it do creating 303 style sequences?
>>
> Well, Colin is a tota 303 nut and has put a MIDI out socket on his own 
> 303. When he played some of his own 303 patterns into my P3, I hit 
> record and -hey presto- identical! With careful use of note tie and 
> velocity accents, I find that my 303 clone hits the spot every time; so 
> if you pair up the P3 with an appropriate module, you're totally there. 
> The P3 even adopts some of the cool pattern chaining tricks that 303 
> lovers are familiar with. But it can do way, way more than just give you 
> 8 x 303 sequencers at once...
===================

http://smasher.org/303/

it would be fun to have a good interface for 303 style sequencing, but in 
the meantime i can do it by hand (on an MC-50mk2)... sometimes it sounds 
like a real 303 sequencer, sometimes it doesn't... either way, it can be 
cool. of course, it would also be nice to have that type of interface for 
all of my other synths that have a mono mode and are capable of legato 
glide.


>> 4) do you find yourselves tending to use the P3 more for percussion 
>> sequencing, 303 style sequencing, or everything else?
>>
> P3-style sequencing personally. The three members of the band I'm in 
> *all* have P3s. My role is lots of wild, morphing, evolving, 
> interactively improvised sequences; Phil uses his mostly as a MIDI 
> routing box-cum-MIDI looper and Andy uses his almost exclusively as a 
> drum machine. I reckon almost every P3 owner uses it slightly 
> differently and the cool thing is that, even though I have been using 
> one for... hell, ages, I still feel there are new things to try, to 
> explore, to stumble across. But I'm a rabid enthusiast, of course and 
> very biased.
=======================

to me, it just ~looks~ like it was meant to be used for percussion. but in 
my previous email, i've come so far as to wonder if it might be a good 
master sequencer for playing live... now, i'm even wondering if i'd 
~really~ need a keyboard controller for interfacing with my modules, or 
can this handle the job, too...?


-- 
         ...atom

  _________________________________________
  PGP key - http://atom.smasher.org/pgp.txt
  762A 3B98 A3C3 96C9 C6B7 582A B88D 52E4 D9F5 7808
  -------------------------------------------------

 	"Pick battles important enough to fight
 	 and small enough to win."
 		-- Johnathan Kozol

Atom Smasher wrote:

>maybe you're the man for another sequencer i've been dreaming up in my 
>head. for performing live techno/dance music, it's hard to find a 
>sequencer better than a small army of MMT-8s. if someone made an 
>"MMT-8000"... more memory, more patterns, tactile buttons, solid OS, 
>plenty of mutable tracks, etc... i think i'd put that higher on _my_ 
>priority list than a P3.
>  
>
Perhaps you need to understand how cool a P3 is before deciding an MMT-8 
could be more suitable for dance music. Unless you think unmuting tracks 
is all the interactivity you really need... :)

>to me, it just ~looks~ like it was meant to be used for percussion. but in 
>my previous email, i've come so far as to wonder if it might be a good 
>master sequencer for playing live... now, i'm even wondering if i'd 
>~really~ need a keyboard controller for interfacing with my modules, or 
>can this handle the job, too...?

It won't replace a keyboard controller for most people and as for 'meant 
to be used for percussion', appearances can be deceptive. In the case of 
the P3, very much so: there's a lot tucked away in there for live 
improvisation, weird, evolving studio stuff and explorations like you 
never found before. Like a lot of powerful tools, it doesn't necessarily 
show  you all it can do in a few days, or weeks, or even months! If 
you've used others sequencers like the ARP or Moog or the Polymorph or 
Notron, you may have an inkling of the possibilities.

Paul (former MMT8 owner).

---
Paul Nagle / Soft Room Music / Bogus Focus Records / Binar / Headshock / The Joint Intelligence Committee
        www.softroom.co.uk / www.BogusFocus.com / www.JointIntelligenceCommittee.com

On Fri, 30 Sep 2005, Colin f wrote:

>> 3) how does a P3 & drum-station compare to a TR-909? what are the 
>> pros/cons of each?
>
> P3 isn't optimised for percussion patterns, though there are plenty of 
> people using it very successfully for them. I can't comment on the Drum 
> Station sounds personally, but I wouldn't part with my real 808 and 909. 
> If Trevor Page is still doing his 9090 boards, that might be a way to 
> get the real sounds for much less $$$.
===================

http://www.introspectiv.eclipse.co.uk/
This page last updated on 5th January 2004

$100 for the boards, PIC, and sample EPROMS.... by the time i got all of 
the components (from discrete components to pots, knobs, jacks, etc), put 
it in a case with a power supply, and make the case look decent, i don't 
think it would cost much less than buying a TR-909... and that's assuming 
that ones time is of no value.

just a guess, but it seems like putting together a 9090 in a hackish and 
ugly way would run $300-500. according to prepal, a drum-station v2 is 
worth about $338... and fits in one rack space.

now, i know that nothing but a TR-909 is ~really~ a 909, but to paraphrase 
one of the drum-station reviewers on harmony-central; the kids on ecstasy 
don't know the difference (i suppose i didn't really have to point that 
out... this is the P3 list, not AH).

so... question for the DIYers in the US: about how much should i plan to 
spend at digi-key or mouser for all of the P3 parts (assuming that i go 
with the standard case)? would i save any money building it myself?


-- 
         ...atom

  _________________________________________
  PGP key - http://atom.smasher.org/pgp.txt
  762A 3B98 A3C3 96C9 C6B7 582A B88D 52E4 D9F5 7808
  -------------------------------------------------

 	"IDEA's key length is 128 bits - over twice as long as DES.
 	 Assuming that a brute force attack is the most efficient,
 	 it would require 2^128 (10^38) encryptions to recover the
 	 key. Design a chip that can test a billion keys per
 	 second an throw a billion of the them at the problem,
 	 and it will still take 10^13 years - that's longer than
 	 the age of the universe. An array of 10^24 such chips can
 	 find the key in a day, but there aren't enough silicon
 	 atoms in the universe to build such a machine. Now we're
 	 getting somewhere - although I'd keep my eye on the dark
 	 matter debate."
 		-- Bruce Schneier, Applied Cryptography

Atom Smasher <atom@smasher.org> wrote: 
On Fri, 30 Sep 2005, Colin f wrote:

>> 3) how does a P3 & drum-station compare to a TR-909? what are the 
>> pros/cons of each?


I was really disapointed with my Drum-station because it didn't sound like the real thing.

The only advantages they have over real 909's are patch memories,midi automation and size but these do not make up for how crap it sounds. 

If you already own a 909 and you like it,I would not recomend you get a Drumstation.There are much better clones available.Even the Wizoo sample cd will get you closer to the 909 sound than a drum-station.

 

Toodle-pip

 

Acid Mitch

 



		
---------------------------------
Yahoo! for Good
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[Non-text portions of this message have been removed]

Hi,

On 10/1/05, Atom Smasher <atom@smasher.org> wrote:
> hhmmm... feature request(?): "909 accent mode" if enabled on a track,
> press a button once to send triggers at low velocity, the LED is dim.
> press again, it triggers at higher velocity, the LED is bright. press
> again, the note trigger and LED are off.

Hmm... I like that idea very much. Simple 3-stage velocity switching
using the buttons (maybe configurable or predefined) would be a great
feature...

Sascha

Thanks for the info on playable sequences .Can anyone recommend a good setup or midi patchbay device ? the only device i know of is the Akai mep8? 
 
cheers
 
matt


[Non-text portions of this message have been removed]

--- In analogue-sequencer@yahoogroups.com, Atom Smasher <atom@s...> 
wrote:
> maybe you're the man for another sequencer i've been dreaming up 
in my 
> head. for performing live techno/dance music, it's hard to find a 
> sequencer better than a small army of MMT-8s. if someone made an 
> "MMT-8000"... more memory, more patterns, tactile buttons, solid 
OS, 
> plenty of mutable tracks, etc... i think i'd put that higher on 
_my_ 
> priority list than a P3.
> 
The P3 isn't really like an MMT-8 because each track is only 
monophonic (barring aux event weirdness).  If you're looking for a 
super MMT-8, get a Q-80EX.  They are the fuckin bomb of mutable-
track sequencers - you get 32 tracks, 2 MIDI outs etc.  But you 
can't change patterns on the fly, or compose new patterns while it's 
still running.  That's why there's stuff like the P3.

> i guess it's capable of many of the same things as a MAQ16/3, SQ-
16, 
> or mobius... huh? that just didn't occur to me when i first saw 
the 
> pictures.
> 
The Moebius is monophonic, so you're already getting heaps more with 
the P3.  The MAQ16/3 i'm not familiar with.  The SQ16... well i just 
sold mine.  It's a great drum sequencer, like a TR-606, but it 
doesn't have shuffle and it doesn't have triplets, which really 
sucks.  It also has some very fiddly and annoying "features" like 
accidentally hitting a button while it's playing will stop the 
sequence or totally send you off on a wild goose chase of crap you 
didn't want to happen.  The P3 can do most of the cool things that 
an SQ16 can do ("rotate" = aux events) and it's heaps more drunken-
composer-proof.

That said, you only get 8 tracks which imho isn't enough for drums 
unless you want to use it solely for drums.  If you could afford one 
for drums and one for melody, cool... but one by itself won't be The 
One True Sequencer if you're trying to do techno.  Then again, i've 
only ever heard of one One True Sequencer candidate and that's the 
Yamaha RS7000.

I've never spent more than about us$400 on anything in my studio, 
this was my first (and last) big expense and i gotta say it was 
worth every cent.  It is BEYOND cool that we are get real-time 
support online, constant firmware updates etc.  It's so easy to use 
i can get non-musicians in my room to put together a pattern and 
they "click" almost straight away.

As far as your drum problem goes...  I've got the same problem.  
Most people i've talked to recommend the Korg ES-1.  If you want to 
spend stupid money there's the XBase09, MachineDrum etc. but basic 
samples cover 99% of what you need to do with drums in techno so i 
wouldn't spend the money unless it's really burning a hole.

Hope that helps
Al

On Thu, 6 Oct 2005, amwgroups2003 wrote:

>> maybe you're the man for another sequencer i've been dreaming up in my 
>> head. for performing live techno/dance music, it's hard to find a 
>> sequencer better than a small army of MMT-8s. if someone made an 
>> "MMT-8000"... more memory, more patterns, tactile buttons, solid OS, 
>> plenty of mutable tracks, etc... i think i'd put that higher on _my_ 
>> priority list than a P3.
>>
> The P3 isn't really like an MMT-8 because each track is only monophonic 
> (barring aux event weirdness).  If you're looking for a super MMT-8, get 
> a Q-80EX.  They are the fuckin bomb of mutable- track sequencers - you 
> get 32 tracks, 2 MIDI outs etc.  But you can't change patterns on the 
> fly, or compose new patterns while it's still running.  That's why 
> there's stuff like the P3.
=====================

i've got a Q80-EXe, and it sucks (IMHO) at what the MMT-8 is good at: 
playing looped patterns and going from any pattern to any other. the Q80 
(et al) is very linear-oriented: once you press "play" the beginning, 
middle and end are very much predetermined. there's other things it's good 
for, but beyond getting that off my chest, we can talk more about the Q80 
off list... unless anyone wants to compare it to the P3, which i've never 
used.


>> i guess it's capable of many of the same things as a MAQ16/3, SQ- 16, 
>> or mobius... huh? that just didn't occur to me when i first saw the 
>> pictures.
>>
> The Moebius is monophonic, so you're already getting heaps more with the 
> P3.  The MAQ16/3 i'm not familiar with.  The SQ16... well i just sold 
> mine.  It's a great drum sequencer, like a TR-606, but it doesn't have 
> shuffle and it doesn't have triplets, which really sucks.  It also has 
> some very fiddly and annoying "features" like accidentally hitting a 
> button while it's playing will stop the sequence or totally send you off 
> on a wild goose chase of crap you didn't want to happen.  The P3 can do 
> most of the cool things that an SQ16 can do ("rotate" = aux events) and 
> it's heaps more drunken- composer-proof.
>
> That said, you only get 8 tracks which imho isn't enough for drums 
> unless you want to use it solely for drums.  If you could afford one for 
> drums and one for melody, cool... but one by itself won't be The One 
> True Sequencer if you're trying to do techno.
===================

is 16 tracks on the list of feature requests? or do we have to wait for 
the P4?


> Then again, i've only ever heard of one One True Sequencer candidate and 
> that's the Yamaha RS7000.
====================

or the RM1x? or an MPC-xxxx? or a small army of MMT-8s?


> I've never spent more than about us$400 on anything in my studio, this 
> was my first (and last) big expense and i gotta say it was worth every 
> cent.  It is BEYOND cool that we are get real-time support online, 
> constant firmware updates etc.  It's so easy to use i can get 
> non-musicians in my room to put together a pattern and they "click" 
> almost straight away.
======================

hehe... i sat my wife in front of a TR-909 last weekend, and she had FUN! 
well, she had fun after after i ran the kick through a distortion pedal. 
prior to that, her tolerance for geeking out with gear has never exceeded 
10 seconds.


> As far as your drum problem goes...  I've got the same problem. Most 
> people i've talked to recommend the Korg ES-1.  If you want to spend 
> stupid money there's the XBase09, MachineDrum etc. but basic samples 
> cover 99% of what you need to do with drums in techno so i wouldn't 
> spend the money unless it's really burning a hole.
====================

just talking about this on AH - 
http://www.retrosynth.com/ah/search/lookit.cgi?-v0510.207


-- 
         ...atom

  _________________________________________
  PGP key - http://atom.smasher.org/pgp.txt
  762A 3B98 A3C3 96C9 C6B7 582A B88D 52E4 D9F5 7808
  -------------------------------------------------

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On Thu, 06 Oct 2005 01:58:54 -0000, "amwgroups2003"
<alison@sdf.lonestar.org> wrote:

>As far as your drum problem goes...  I've got the same problem.  
>Most people i've talked to recommend the Korg ES-1. 

Good advice. I find that its bigger brother (sister?), the ESX-1
combined with a P3 gives me pretty much the ultimate marriage of
sequencing and percussion programming. 

Paul

---
Paul Nagle - SoftRoom Music - www.softroom.co.uk
          Bogus Focus Records - www.BogusFocus.com

Paul Nagle wrote:
> On Thu, 06 Oct 2005 01:58:54 -0000, "amwgroups2003"
> <alison@sdf.lonestar.org> wrote:
>
>> As far as your drum problem goes...  I've got the same problem.
>> Most people i've talked to recommend the Korg ES-1.
>
> Good advice. I find that its bigger brother (sister?), the ESX-1
> combined with a P3 gives me pretty much the ultimate marriage of
> sequencing and percussion programming.

So how do you use the P3 with the ESX-1? I mean, the ESX has a sequencer of
its own...

cheers,

Gert
www.waveworld.tv

Paul Nagle wrote:
> On Thu, 6 Oct 2005 11:21:23 +0200, "Gert van Santen"
> <g.vansanten@chello.nl> wrote:
> 
>> So how do you use the P3 with the ESX-1? I mean, the ESX has a
>> sequencer of its own...
> 
> Aye, but quite a limited one for my needs in most cases.
> 
> Forgive the OT but...
> 
> I let the ESX do all drums and percussion, sliced loops, triggered
> loops and all kinds of weird vocal phrases. In addition, the ESX has
> two sample parts that let you play samples musically and these I tend
> to play from the P3 rather than the ESX.
> Short reason: they are on separate MIDI channels (so I can control
> their levels - and other sequenced parts - from my Novation Remote 25
> sliders) and, unlike the rest of the drum machine, their parameters
> are accessible via standard MIDI CCs. This means I can sample my
> analogues or acoustic stuff, voice/vocal work or even bells, harps
> etc. from my Triton and sequence them with all the sophistication that
> the P3 can bring. As the ESX has resonant filters, LFOs etc. on every
> part and three effects processors, I can do a hell of a lot with it.
> In fact, my setup for live and studio work consists of :
> 
> Novation Remote 25 -> P3 -> Novation KS-Rack -> ESX-1 -> Freebass with
> a second connected system that is a Virus Polar sequenced by my second
> P3 and also triggering a Korg ES-1 (filled entirely with voice
> samples). Also synced up are a Roland V-Synth and Electrix Repeater,
> completing my noise-making rig. With this little lot, wonders can be
> achieved.
> 
> I use the P3's thru routing so that I can program notes on either P3
> from the Novation keyboard (or both at once); the P3's channel filter
> really works wonders. Plus, with the P3's recent Func+Run feature I
> can do a big zappy roll thing on either drum machine, stop them by
> hand then start again perfectly in sync with the next P3 global bar
> whenever I want.
> 
> In this way I can improvise an entire performance out of nothing. And
> boy, do I... :)

Very interesting read - and certainly not OT.

Thanks for explaining, Paul.

cheers,

Gert
www.waveworld.tv

On Thu, 6 Oct 2005 11:21:23 +0200, "Gert van Santen"
<g.vansanten@chello.nl> wrote:

>So how do you use the P3 with the ESX-1? I mean, the ESX has a sequencer of
>its own...

Aye, but quite a limited one for my needs in most cases. 

Forgive the OT but...

I let the ESX do all drums and percussion, sliced loops, triggered
loops and all kinds of weird vocal phrases. In addition, the ESX has
two sample parts that let you play samples musically and these I tend
to play from the P3 rather than the ESX. 
Short reason: they are on separate MIDI channels (so I can control
their levels - and other sequenced parts - from my Novation Remote 25
sliders) and, unlike the rest of the drum machine, their parameters
are accessible via standard MIDI CCs. This means I can sample my
analogues or acoustic stuff, voice/vocal work or even bells, harps
etc. from my Triton and sequence them with all the sophistication that
the P3 can bring. As the ESX has resonant filters, LFOs etc. on every
part and three effects processors, I can do a hell of a lot with it.
In fact, my setup for live and studio work consists of :

Novation Remote 25 -> P3 -> Novation KS-Rack -> ESX-1 -> Freebass with
a second connected system that is a Virus Polar sequenced by my second
P3 and also triggering a Korg ES-1 (filled entirely with voice
samples). Also synced up are a Roland V-Synth and Electrix Repeater,
completing my noise-making rig. With this little lot, wonders can be
achieved.

I use the P3's thru routing so that I can program notes on either P3
from the Novation keyboard (or both at once); the P3's channel filter
really works wonders. Plus, with the P3's recent Func+Run feature I
can do a big zappy roll thing on either drum machine, stop them by
hand then start again perfectly in sync with the next P3 global bar
whenever I want.  

In this way I can improvise an entire performance out of nothing. And
boy, do I... :)

Paul
---
Paul Nagle - SoftRoom Music - www.softroom.co.uk
          Bogus Focus Records - www.BogusFocus.com