Analogue-sequencer

Probably a silly question, but is there anyway to have FTS on transposed
patterns?
At the moment when I transpose a pattern it changes key, I may be missing
something obvious, but I can't find anywhere to this could be set.
Cheers
Jez

Paul,
I had thought FTS was global, but it doesn't seem to be on my P3 (v3.1.005).
I'm not using playlists, just transposing a part using 'PXPos' and it
definitely isn't forcing to scale.
Cheers
Jez


Paul wrote

>FTS is global and forces all (non protected) notes to the scale you
>select. If  you transpose a pattern within a playlist, it must still
>conform to that set of notes. Or did I misunderstand?

>Something you might like to play with is part transpose - specifically,
>try experimenting with Func+Transpose and compare the two transposes
>(you should see an F next to the transpose value)..

>Alternatively, wait a while until Colin explains it properly....:)

> I had thought FTS was global, but it doesn't seem to be on my 
> P3 (v3.1.005).
> I'm not using playlists, just transposing a part using 'PXPos' and it
> definitely isn't forcing to scale.

The FTS behaviour around PXPos was not what you might expect...
But this has been made selectable in the current beta version, which I will
post the release build of this weekend.

Up to 3.1.005, FTS was applied *before* part transposition.
Which meant in effect the root note of the FTS scale was also being
transposed by PXPos.
i.e. notes in a pattern get forced to a pattern of intervals around the
root, then get moved up by the PXPos amount, so they now fit into the
pattern of intervals around the root plus the PXPos value.

In the next release (or current beta) you can choose whether PXPos is
applied before, or after FTS.
You do this by pressing FUNC+PXPos at the appropriate play mode page.
The PXPos value will be shown with an 'F' after it if it is pre-FTS.

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

Jez Creek wrote:

>Probably a silly question, but is there anyway to have FTS on transposed
>patterns?
>At the moment when I transpose a pattern it changes key, I may be missing
>something obvious, but I can't find anywhere to this could be set.
>  
>
FTS is global and forces all (non protected) notes to the scale you 
select. If  you transpose a pattern within a playlist, it must still 
conform to that set of notes. Or did I misunderstand?

Something you might like to play with is part transpose - specifically, 
try experimenting with Func+Transpose and compare the two transposes 
(you should see an F next to the transpose value)..

Alternatively, wait a while until Colin explains it properly....:)

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 
** New JIC Live CD available at the BogusFocus site now!! **

Aha, thanks Colin, I thought I was either going mad or my P3 was not
functioning correctly.
It turns out it's neither, just that the manual doesn't explain this at all,
maybe something to add in the next update (under FTS and part transpose).
Being able to choose will be good
Cheers
Jez

colin wrote

>The FTS behaviour around PXPos was not what you might expect...
>But this has been made selectable in the current beta version, which I will
>post the release build of this weekend.

>Up to 3.1.005, FTS was applied *before* part transposition.
>Which meant in effect the root note of the FTS scale was also being
>transposed by PXPos.
>i.e. notes in a pattern get forced to a pattern of intervals around the
>root, then get moved up by the PXPos amount, so they now fit into the
>pattern of intervals around the root plus the PXPos value.

>In the next release (or current beta) you can choose whether PXPos is
>applied before, or after FTS.
>You do this by pressing FUNC+PXPos at the appropriate play mode page.
>The PXPos value will be shown with an 'F' after it if it is pre-FTS.

Jez Creek wrote:

>Paul,
>I had thought FTS was global, but it doesn't seem to be on my P3 (v3.1.005).
>I'm not using playlists, just transposing a part using 'PXPos' and it
>definitely isn't forcing to scale.
>  
>
Ah, sorry, I'm easily confused.. :)

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 
** New JIC Live CD available at the BogusFocus site now!! **

Another thought on this topic (transposing).  In the transposed part, I 
tend to change the root and sometimes the scale itself. So if I'm in C 
aeo and I transpose up 5 semitones, I would always change the root to F 
so it's truly F aeo. Or indeed FMaj. Of course this can be odd when I 
have both my P3s in sync and I forget to change the slaved one...

The new method using Func is interesting and gives a quite different 
colour to your sequence. I think both offer a lot of scope.

Actually, a lot of my favourite sequences are done by programming in one 
key then simply changing the root afterwards. It can give a great 
"unresolved" feeling that adds a degree or urgency or doubt. When you 
then change back to the "proper" key in performance, you can actually 
feel yourself sighing in relief. Funnily enough, most people sigh in 
relief when I hit "stop".

Paul

> Aha, thanks Colin, I thought I was either going mad or my P3 was not
> functioning correctly.
> It turns out it's neither, just that the manual doesn't 
> explain this at all,
> maybe something to add in the next update (under FTS and part 
> transpose).

The manual doesn't explain it mainly because I hadn't worked out the
implications of it until recently.
I mostly do techno myself, so I don't change key much ;-)
It is possible to compensate for post-FTS PXPos by transposing the FTS root
note in the opposite direction such that PXPos brings it back to where it
should be. But I took the easier option of changing the implementation
rather than trying to explain that one...

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

Hi 
   
     can anyone here outline the Arp sequencers model 1623 etc and whether the P3 can emualte them well? any differneces in Arp sequencer models  and any good ?:) would a P3 replace one ?  
   
  cheers for any advice.
   
  matt
   
  Ps my votes for Variphrase electribe .I guess thats unlikely to happen ! 
   
   


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

Colin wrote

>It is possible to compensate for post-FTS PXPos by transposing the FTS root
>note in the opposite direction such that PXPos brings it back to where it
>should be. But I took the easier option of changing the implementation
>rather than trying to explain that one...

Probably for the best, I feel a gumby moment coming on ;-)
Jez

Vrx wrote:

>Hi 
>   
>     can anyone here outline the Arp sequencers model 1623 etc and whether the P3 can emualte them well? any differneces in Arp sequencer models  and any good ?:) would a P3 replace one ?  
>  
>
The P3 certainly replaced one of mine (I kept the other as it is rather 
unique: it has MIDI clock sync).
The ARP sequencer is a delightful design - 16 steps that can run as two 
parallel streams of up to 8 steps. You have a variable gate length (that 
you can modulate), direction of either forward or random, skip or reset 
(skip steps, Moog-style or reset to step 1 at any point), plus you can 
modulate the speed, too. If you run the seq fast, you can generate audio 
waveforms with it - something no MIDI sequencer can do AFAIK, similarly, 
you have a useful 3 bus system for triggers/gates, two note quantizers etc.

Essentially the P3 can do all the cool stuff, within the limitations of 
MIDI compared to voltage. So you have the ability to skip steps, reset 
at any point, modulate the step length or tempo and of course it doesn't 
need note quantize as MIDI notes are always quantized. About the only 
useful thing it can't do is be manually stepped or stepped via the note 
triggers of another synth. One MIDI sequencer that can do this is the 
one in the Evolver - cos I asked Dave and he put it in for me.

That's about all from memory, for more detail I'd  have to wander into 
the studio and look at mine... :)

The ARP is my favourite analogue CV/Gate sequencer.

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 
** New JIC Live CD available at the BogusFocus site now!! **

--- In analogue-sequencer@yahoogroups.com, Paul Nagle <softroom@...> 
wrote:
>
> Vrx wrote:
> 
> >Hi 
> >   
> >     can anyone here outline the Arp sequencers model 1623 etc and 
whether the P3 can emulate them well? any differences in Arp 
sequencer models  and any good ?:) would a P3 replace one ?  
> >  
> >
> The ARP sequencer is a delightful design - 16 steps that can run as 
two 
> parallel streams of up to 8 steps. You have a variable gate length 
(that 
> you can modulate), direction of either forward or random, skip or 
reset 
> (skip steps, Moog-style or reset to step 1 at any point), plus you 
can 
> modulate the speed, too. If you run the seq fast, you can generate 
audio 
> waveforms with it - something no MIDI sequencer can do AFAIK, 
similarly, 
> you have a useful 3 bus system for triggers/gates, two note 
quantizers etc.
> 
> Essentially the P3 can do all the cool stuff, within the 
limitations of 
> MIDI compared to voltage. 
> 
> The ARP is my favourite analogue CV/Gate sequencer.
> 
> Paul
> 

Paul gave a good rundown here.  Just a few more points.  The only 
difference in the various ARP sequencer models is the physical 
construction.  The featureset didn't change.  From a serviceing point 
of view, the latest ones (orange/white/black) are easier since the 
top hinges up and you don't have to remove the power supply board to 
get the main circuit board out.

As far as functionality vs. the P3, I'd say don't compare.  They are 
two different beasts.  Without getting into a MIDI vs. cv debate, I 
would say you get two totally different feels if for example you're 
driving a Pro-1 directly w. the ARP versus P3->MIDI/cv box->Pro-1.

The other big thing is the ARP is more limited (in a good way).  
There's no menus, no complex featureset, 16 steps maximum..  To make 
it fun and interesting, you really have to interact with it.  With 
the P3, there is a tendency sometimes to program something into it 
and then sit back and listen to it do it's thing.  With the ARP, 
there's an almost overwhelming urge to do something while it plays.  
Set the sequence length, tweak the length, change step values, etc.  
The ARP really is an instrument to be played like a piano or 
something.

If you can afford to have both, and have the ARP triggered externally 
so it syncs to the rest of your gear, I'd say have/keep both.  Paul 
did.  I did.  Many others have as well.

>>If you can afford to have both, and have the ARP triggered
externally so it syncs to the rest of your gear, I'd say have/keep both.  
Paul did.  I did.  Many others have as well.<<

yowsa. in fact, some of us are a little sequencer-retentive, & have
ended up in some sort of sequencer-hell because of our over-indulgence.
:-)
there's something about running a pro-1 or a little moog from an
analogue sequencer... whatever it is, it disappears (i.m.o) when the
same arp (or roland 104, or w.h.y.) is clocked over midi.

OT- jez- rather a convoluted route to answer a simple question, but
here goes: the little lights are from a computer shop (e.g. maplin), &
come with a USB plug on them. 
it's a tricky operation, but you can replace the USB plug with an XLR
& then add a corresponding socket to the back of y'r controller
keyboard. find the 5V regulator & take a feed off that via a
several-hundred-ohm resistor. the hard part is trimming back the
spring-steel goosenecky stuff to get at the wires inside.
emu saw fit to provide a bnc connector on the command stations for
such purposes- I wonder if colin could be persuaded to add one to the
p3..?

d./r.m.i.

Thanks,
For those who don't know, at RMI's recnt gigs there have been little
gooseneck lamps attached to their gear.
(see http://www.modulator-esp.co.uk/images/photos/misc/HJ4/rmi/02.jpg for an
example)
I thought it looked like they were connected to the midi outs of the
equipment and that they looked really useful. I looked high and low before
asking Duncan where he got them and had a sneeky feeling he might have made
them himself.
So would it be possible to do this with midi?
Cheers
Jez

Duncan wrote

OT- jez- rather a convoluted route to answer a simple question, but
here goes: the little lights are from a computer shop (e.g. maplin), &
come with a USB plug on them.
it's a tricky operation, but you can replace the USB plug with an XLR
& then add a corresponding socket to the back of y'r controller
keyboard. find the 5V regulator & take a feed off that via a
several-hundred-ohm resistor. the hard part is trimming back the
spring-steel goosenecky stuff to get at the wires inside.
emu saw fit to provide a bnc connector on the command stations for
such purposes- I wonder if colin could be persuaded to add one to the
p3..?

d./r.m.i.

Jez Creek wrote:
> Thanks,
> For those who don't know, at RMI's recnt gigs there have been little
> gooseneck lamps attached to their gear.
> (see http://www.modulator-esp.co.uk/images/photos/misc/HJ4/rmi/02.jpg
> for an example)
> I thought it looked like they were connected to the midi outs of the
> equipment and that they looked really useful. I looked high and low
> before asking Duncan where he got them and had a sneeky feeling he
> might have made them himself.
> So would it be possible to do this with midi?
> Cheers
> Jez
>
> Duncan wrote
>
> OT- jez- rather a convoluted route to answer a simple question, but
> here goes: the little lights are from a computer shop (e.g. maplin), &
> come with a USB plug on them.
> it's a tricky operation, but you can replace the USB plug with an XLR
> & then add a corresponding socket to the back of y'r controller
> keyboard. find the 5V regulator & take a feed off that via a
> several-hundred-ohm resistor. the hard part is trimming back the
> spring-steel goosenecky stuff to get at the wires inside.
> emu saw fit to provide a bnc connector on the command stations for
> such purposes- I wonder if colin could be persuaded to add one to the
> p3..?

I had the idea of adding one of those "mixer lights" to my p3. I asked Colin 
about the posibilities, but he was not very enthusiastic.

:-)

Gert van Santen
www.waveworld.tv

> > I wonder if colin could be persuaded to add 
> one to the
> > p3..?
> 
> I had the idea of adding one of those "mixer lights" to my 
> p3. I asked Colin 
> about the posibilities, but he was not very enthusiastic.

USB can provide up to 5v @ 500mA power to each socket, for the purpose of
driving peripherals.
You can't draw more than 10mA or so from a MIDI socket, and you're not
strictly supposed to take more than 5mA.
I'm not sure how much power an LED light needs - maybe it could work...
The older style incandescent gooseneck lights need 12v I think.
Adding the extra load to the P3s voltage regulator might not be a great idea
either.
You could take always take feed from the DC input and drive a light
separately.

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

I've been using lights made by the Mighty Bright company.You can 
check them out here  http://www.bill-lewington.com/mighty.htm
They are cheap and work well.
I have the extra flex model which can run for about 30 hours on 
rechargable batteries and it can take a bit of a battering.
It also has the added bonus of not needing modified and it won't 
affect your gear.
When I was using an EMU Command station the included light used to 
make the Command Station malfunction.EMU tech support told us the 
solution was not to use it.After that,I don't think modifying 
eqipment to take a light is such a good idea.

Later's

Acid Mitch





--- In analogue-sequencer@yahoogroups.com, "Colin f" <colin@...> 
wrote:
>
>  
> > > I wonder if colin could be persuaded to add 
> > one to the
> > > p3..?
> > 
> > I had the idea of adding one of those "mixer lights" to my 
> > p3. I asked Colin 
> > about the posibilities, but he was not very enthusiastic.
> 
> USB can provide up to 5v @ 500mA power to each socket, for the 
purpose of
> driving peripherals.
> You can't draw more than 10mA or so from a MIDI socket, and you're 
not
> strictly supposed to take more than 5mA.
> I'm not sure how much power an LED light needs - maybe it could 
work...
> The older style incandescent gooseneck lights need 12v I think.
> Adding the extra load to the P3s voltage regulator might not be a 
great idea

> either.
> You could take always take feed from the DC input and drive a light
> separately.
> 
> Best regards,
> Colin Fraser
> Sequentix Music Systems Ltd
> http://www.sequentix.com
>