by minorguy » Mon Oct 04, 2021 9:27 am
chapolin wrote: ↑Mon Sep 20, 2021 12:14 am
Hi,
A great thing that would make sounds even more organic (...) would be that each of the 4 sounds of the multimode can have a different bpm.
Then if you wanted the clocks of all four parts to be synchronized with each other you would need a master clock for them to be synchronized to, right? (Actually there's a master clock now although parts don't have their own BPM clock.)
chapolin wrote: ↑Mon Sep 20, 2021 12:14 amI would even go even further by proposing the idea, that within the same sound, each sequencer (SeqA, SeqB, SeqC, SeqD) can have its own bpm, or a way to vary the bpm for each sequencer in particular.
Also, perhaps we could imagine that bpm could be a modulation destination?
One thing to keep in mind is that although they happen to be named SeqA, SeqB, SeqC, and SeqD these are not really four separate sequencers. It's one sequencer with four modulator lanes or tracks. When you have it set to a gated mode notes are triggered according to the one BPM and the division. SeqA is a little different in that it's used to indicate rests (step value 127). So the sequencer, as it is, can't really have four different BPM clocks. However it does make more sense that the four arpeggiators could have different clocks. The sequencer would need to be re-thought. Perhaps that could be done, though, by separating the modulation lanes from the note triggering part.
Now if each lane had it's own clock, and you wanted to be able to synchronize those with each other and the sequencer's note-triggering lane then you'd need a sort of master clock for just that sequencer. Then there would be the master-master clock that synchronizes all four parts together. So that's three layers of clocks!
chapolin wrote: ↑Mon Sep 20, 2021 12:14 am
Another request would be that the sequencers do not mute as soon as you lift your fingers from the keyboard keys, but that they can continue playing until the end of the EG6 release. Could that be an option?
This would be useful for example, if I assign the SeqA to the pitch of Osc, with a 10 second release in EG6: if I play a chord and remove my fingers from the keyboard after 3 seconds, the sound continues during the release, so 7 seconds, and so what we hear could keep the characteristics given by the SeqA (instead of the sound continuing without the SeqA as with the current OS). So during this time we could play other notes with the free hand ... (Hope I write well my idea with my bad English).
I think what you're saying is that the sequencer should have its own "release" time. So when you release the last key the sequencer continues to advance. That sounds like a good idea to me. I don't know yet if there are any negatives or any reason it would not work. Just as a point of comparison, I noticed that my Iridium works the same way as Solaris works.
[quote=chapolin post_id=24116 time=1632125651 user_id=951]
Hi,
A great thing that would make sounds even more organic (...) would be that each of the 4 sounds of the multimode can have a different bpm.[/quote]
Then if you wanted the clocks of all four parts to be synchronized with each other you would need a master clock for them to be synchronized to, right? (Actually there's a master clock now although parts don't have their own BPM clock.)
[quote=chapolin post_id=24116 time=1632125651 user_id=951]I would even go even further by proposing the idea, that within the same sound, each sequencer (SeqA, SeqB, SeqC, SeqD) can have its own bpm, or a way to vary the bpm for each sequencer in particular.
Also, perhaps we could imagine that bpm could be a modulation destination?[/quote]
One thing to keep in mind is that although they happen to be named SeqA, SeqB, SeqC, and SeqD these are not really four separate sequencers. It's one sequencer with four modulator lanes or tracks. When you have it set to a gated mode notes are triggered according to the one BPM and the division. SeqA is a little different in that it's used to indicate rests (step value 127). So the sequencer, as it is, can't really have four different BPM clocks. However it does make more sense that the four arpeggiators could have different clocks. The sequencer would need to be re-thought. Perhaps that could be done, though, by separating the modulation lanes from the note triggering part.
Now if each lane had it's own clock, and you wanted to be able to synchronize those with each other and the sequencer's note-triggering lane then you'd need a sort of master clock for just that sequencer. Then there would be the master-master clock that synchronizes all four parts together. So that's three layers of clocks!
[quote=chapolin post_id=24116 time=1632125651 user_id=951]
Another request would be that the sequencers do not mute as soon as you lift your fingers from the keyboard keys, but that they can continue playing until the end of the EG6 release. Could that be an option?
This would be useful for example, if I assign the SeqA to the pitch of Osc, with a 10 second release in EG6: if I play a chord and remove my fingers from the keyboard after 3 seconds, the sound continues during the release, so 7 seconds, and so what we hear could keep the characteristics given by the SeqA (instead of the sound continuing without the SeqA as with the current OS). So during this time we could play other notes with the free hand ... (Hope I write well my idea with my bad English).
[/quote]
I think what you're saying is that the sequencer should have its own "release" time. So when you release the last key the sequencer continues to advance. That sounds like a good idea to me. I don't know yet if there are any negatives or any reason it would not work. Just as a point of comparison, I noticed that my Iridium works the same way as Solaris works.