The Official Sequential/Oberheim Forum
OTHER DISCUSSIONS => General Synthesis => Off Topic => Topic started by: Gerry Havinga on June 04, 2018, 11:10:44 AM
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Well that's a good looking sequencer. I'd really love to get the Polyend, but it's out of my price range. You ever look at those?
Yes I have (never seen one though).
Perhaps we should ask the OP to start a new thread, as I can ramble about this subject forever.
My prioritized list at the moment is:
- Sequentix Cirklon
- Squarp Pyramid
- Manikin Schrittmacher
- Elektron Octatrack
The Cirklon tops the list, way above all the others. Colin (Sequentix) has really focused his design on "controlled", read low, latency. The Cirklon has 5 MIDI outs and can also function as a class compliant USB MIDI interface to a host computer. All the others stick with two or one MIDI outs and tend to be more USB focused.
As my setup is currently MIDI based I want as many routing options as possible. The good ol' AKAI S5000 for example, has two MIDI ins and can run 32 MIDI tracks. It can drive many more tracks with triggered samples on the same MIDI channel on different note values. My most complicated composition (still running in Bitwig) already uses more than 16 Bitwig external tracks simultaneously using the "HW Instrument". Mind you several of those only play an occasional note, but often targeting a different synth or sample.
On top of that, the Cirklon is very feature complete and can do practically everything the others can (and in some cases more). It is lacking in things like Euclidean rhythm generation and does not have much ability in assisting with auto-generating very sophisticated chord progressions (that is why I ordered a Kordbot to help me learn :)).
I believe at the moment the Cirklon will work best in my studio where I want instant on and all synths / samplers addressable instantaneously. This will also translate slowly next year to me setting up a live rig. Knowing myself and that I only have started to fanatically ;) write music in the last 3 years, I will need a lot of capacity.
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Done. Can remain in this sub forum, as it's both a general topic and not manufacturer specific.
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I also dig Killpatrick Audio’s Carbon And Social Enthropy’s Engine.
That all being said I think something that a lot of people overlook is the Pioneer SP-16. That can have 16 midi tracks being sequenced although with only four note polyphony each...still..it seems very user friendly, has on board sampling capabilities, analog filters from the P6 and a number of on board sounds built in. The issue with a lot of stand-alone sequencers is you arent getting enough tracks and more often than not they have sequencing only. No on board sounds. That’s nice but for me since where I live and where my studio is (in two separate buildings) it’s nice to be able to write a sequence on a machine late at night with headphones and a small midi controller at the kitchen table or laying in bed then take that machine to the studio and send the sequence to all my hardware gear.
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I seems like the only downside of Cirklon is actually obtaining one!
It also seems a bit awkward to use CV. You have to buy the upgrade board, and then one of the breakout boxes. Of course, when you're done, there's a lot more CV than you get with the Squarp Pyramid, but it seems like it's more elegant to use one or more MIDI-to-CV modules in lieu of the Cirklon's analogue buss.
I'm considering sequencers at the moment, too. Specifically, I'm debating with going full-featured with the Squarp Hermod, or simple with Malekko's Varigate 4+. It's a real fork in the road, style-wise, and I'm not even remotely sure which way I'll go.
These are such highly-specialized pieces of equipment, but you need to be pretty committed to something before you have a chance to try it. My hardware sequencer of choice back in the 90s was the Alesis MMT-8, and it was like an extension of my body. I've owned no fewer than six MMT-8s in my life. It wasn't until I dove into modular that I finally gave it up.
I liked that I could build little bits of music and piece them together. Each instance of a sequence could have different parts muted and unmuted. Nowadays, I work differently. Rather than muting and unmuting entire parts, I like to work by composing sequences of notes, and then using gates to "play" and "hide" different parts of the sequence. If you use different meters in your notes and gates, various patterns and melodies emerge. I'm looking for a way to explore this idea more deeply. I'm still okay with using a computer (and notation software) for more traditional stuff, but I again want something that's an extension of my body.
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Done. Can remain in this sub forum, as it's both a general topic and not manufacturer specific.
Thanks Paul
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I also dig Killpatrick Audio’s Carbon And Social Enthropy’s Engine.
That all being said I think something that a lot of people overlook is the Pioneer SP-16. That can have 16 midi tracks being sequenced although with only four note polyphony each...still..it seems very user friendly, has on board sampling capabilities, analog filters from the P6 and a number of on board sounds built in. The issue with a lot of stand-alone sequencers is you arent getting enough tracks and more often than not they have sequencing only. No on board sounds. That’s nice but for me since where I live and where my studio is (in two separate buildings) it’s nice to be able to write a sequence on a machine late at night with headphones and a small midi controller at the kitchen table or laying in bed then take that machine to the studio and send the sequence to all my hardware gear.
I just re-discovered this flexibility through the Digitone. I did have, many years ago, a QY10, with its great VHS cassette format. But I never manage to dig it, mainly because of feeling limited by my own insecurity (in those days). At the moment in my studio I am very much in a mind frame of "each device one function only". That is why I am looking for a rack mounted main sequencer to replace the laptop (sorry Bitwig ;-) ). Having as much as I can rack mounted in easily transportable cases makes setting up a live rig easier (I hope).
I am now planning to use the Digitone for on my lap, on the couch, together with our cats, for mobile sound sketching and working out harmonies and chord sequences. I will need to figure out sooner or later how I want to transfer and/or integrate this with the Cirklon. I already started using a good old fashioned (paper) notebook to keep track of which chords / notes "belong" to each Digitone pattern. So this should be straightforward. Using the Digitone practically doubled my "composing" speed, quite amazing.
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I seems like the only downside of Cirklon is actually obtaining one!
It also seems a bit awkward to use CV. You have to buy the upgrade board, and then one of the breakout boxes. Of course, when you're done, there's a lot more CV than you get with the Squarp Pyramid, but it seems like it's more elegant to use one or more MIDI-to-CV modules in lieu of the Cirklon's analogue buss.
I'm considering sequencers at the moment, too. Specifically, I'm debating with going full-featured with the Squarp Hermod, or simple with Malekko's Varigate 4+. It's a real fork in the road, style-wise, and I'm not even remotely sure which way I'll go.
These are such highly-specialized pieces of equipment, but you need to be pretty committed to something before you have a chance to try it. My hardware sequencer of choice back in the 90s was the Alesis MMT-8, and it was like an extension of my body. I've owned no fewer than six MMT-8s in my life. It wasn't until I dove into modular that I finally gave it up.
I liked that I could build little bits of music and piece them together. Each instance of a sequence could have different parts muted and unmuted. Nowadays, I work differently. Rather than muting and unmuting entire parts, I like to work by composing sequences of notes, and then using gates to "play" and "hide" different parts of the sequence. If you use different meters in your notes and gates, various patterns and melodies emerge. I'm looking for a way to explore this idea more deeply. I'm still okay with using a computer (and notation software) for more traditional stuff, but I again want something that's an extension of my body.
I very much like your phrasing, it totally reflects what I feel: "extension of my body" and I would even go one further: "extension of my mind". I don't have much musical playing ability, but semi-automation and tweaking a live performance with the occasional playing, really inspires me (Klaus Schulze was a big inspiration).
As soon as I decided on getting a hardware sequencer I asked to be put on Colin's waiting list. After all he is not asking for a real commitment till you are on top of the list. My only feelings of hurry are related to that I now have less time ahead to live my life than what lies in the past .....
My workflow emerged slowly over the last three years through using Bitwig. It is mainly linear at the moment, classic piano roll, but I am ready to start diverging from that. The design of the Digitone sequencer already teaches me different ways and pushes me slowly in a another direction which feels to me a lot more natural.
Although I have been playing with synthesizers for more than 35 years I only now start to have the courage to actually write music with them. It is great to hear about your experience Chysn, especially in the modular world.
What I have read so far (gone through the Cirklon and Schrittmacher manuals almost twice already) is that those sequencers can give that experience of being a extension of oneself.
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Still my favorite Cirklon demo
https://www.youtube.com/watch?v=XNhzhiagiA0
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I need to spend some time with my MMT-8 I think.
Being a drummer for nearly 30 years with so many songs stuck in my head, I'm at the point right now with electronic music that I can't really get anything done: just overwhelmed with new processes, technical limitations, workflow, that sometimes I wish I would've picked up guitar or bought an upright piano instead.
I just want to be able to sit down, not look at a screen, and write music. Unfortunately none of the boutique sequencers on the market are available in the big box stores, so I can't take advantage of the 30-day return policy, so I'm hesitant to pull the trigger on anything.
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I need to spend some time with my MMT-8 I think.
It's a beautiful thing. Well-placed buttons, not much menu diving. The dream would be a modernized MMT-8. I still think that eight tracks is enough. But higher resolution, SD storage, multiple projects, a bigger screen, USB, MIDI effects, and CV, in the MMT-8 form factor and workflow, would be absolutely killer.
Meanwhile, with my earlier post, I think I sort of talked myself into what I want to do. I think I want to remain screenless and highly modular.
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I'm currently using Synthstrom Deluge. Originally got it to fill the sampler/drum machine hole in my rig but kept it because it's an amazing sequencer. 128 button jelly roll plus an intuitive interface without sacrificing capability. CV capable, unlimited tracks, decent synth engine(s) so you can write a scratch track "in bed" or on the beach (runs on USB/battery) then port that track to an external module with one button push.
Has limits of course like everything else but I'd recommend it to anyone who needs a sequencer as an all around tool & scratchpad vs just a pure MIDI logistics machine.
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I'm currently using Synthstrom Deluge. Originally got it to fill the sampler/drum machine hole in my rig but kept it because it's an amazing sequencer. 128 button jelly roll plus an intuitive interface without sacrificing capability. CV capable, unlimited tracks, decent synth engine(s) so you can write a scratch track "in bed" or on the beach (runs on USB/battery) then port that track to an external module with one button push.
Has limits of course like everything else but I'd recommend it to anyone who needs a sequencer as an all around tool & scratchpad vs just a pure MIDI logistics machine.
Yes indeed the Deluge does sound amazing. It was at one time on my list of candidates. The Deluge also only has 1 MIDI input/output and relies on USB for greater connectivity. Indeed I am looking at a pure MIDI logistics machine (well said!).
The thing I am very impressed with is that the Cirklon is capable of dealing with USB latency issues, from the manual (version 1.1 page 7-5):
In a situation where Cirklon is sequencing both hardware instruments connected via the hardware MIDI, CVIO or drum trigger ports, and virtual instruments running on a PC or Mac connected via the USB MIDI port, the inevitable audio latency of the virtual instruments will cause their audio output to be delayed relative to the proper instruments.
To compensate for this, the Latency matching delay setting allows you to delay output to the hardware MIDI ports, CVIO and drum trigger outputs, in increments of 0.25ms, up to a limit of 64ms.
In my particular case, wanting to completely "drop" usage of the computer in my setup, USB is not that important. Happily if I ever change my mind and want to use a computer sound source (Raspberry Pi + Pure Data for example) I can still go the MIDI over USB route with the Cirklon.
Anyway I don't have the Cirklon yet and I am currently experimenting with and learning the Digitone. Which has surprised me a lot as a portable composing platform. Always nice to learn new things and adjust my view of the world.
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I need to spend some time with my MMT-8 I think.
It's a beautiful thing. Well-placed buttons, not much menu diving. The dream would be a modernized MMT-8. I still think that eight tracks is enough. But higher resolution, SD storage, multiple projects, a bigger screen, USB, MIDI effects, and CV, in the MMT-8 form factor and workflow, would be absolutely killer.
Meanwhile, with my earlier post, I think I sort of talked myself into what I want to do. I think I want to remain screenless and highly modular.
I have never played with the older sequencing gear (except the QY10), but I am attracted by the easy of use and straightforward simplicity. On the other hand I would find 8 tracks very limiting and for some reason I do get drawn to complex (not menu diving!) setups, in hardware. I know this is a weird contradiction.... Not sure why that is, perhaps I get bored easily or don't want to get stuck in a routine for too long.
Last Sunday I did see a Squarp Hermod in action. Really versatile module! But I am no way ready yet to go that route (modular).
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The thing I am very impressed with is that the Cirklon is capable of dealing with USB latency issues, from the manual (version 1.1 page 7-5):
...To compensate for this, the Latency matching delay setting allows you to delay output to the hardware MIDI ports, CVIO and drum trigger outputs, in increments of 0.25ms, up to a limit of 64ms.
You know, the MMT-8 does this (per track, since there's only one MIDI out). Just saying. :D
Last Sunday I did see a Squarp Hermod in action. Really versatile module! But I am no way ready yet to go that route (modular).
I can't say I've completely ruled it out, but it's a lot of space. Another thing I'm considering is Ornament and Crime, which isn't really a sequencer. It's an open-source module with a Cortex M4 and Teensy, with enough CV ins and precision outs to write whatever sequencer I want.
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You know, the MMT-8 does this (per track, since there's only one MIDI out). Just saying. :D
Ah I had no idea, just liked the attention to detail. Puts things in perspective ;)
I can't say I've completely ruled it out, but it's a lot of space. Another thing I'm considering is Ornament and Crime, which isn't really a sequencer. It's an open-source module with a Cortex M4 and Teensy, with enough CV ins and precision outs to write whatever sequencer I want.
Wow I have a bunch of Teensies sitting in a drawer here, waiting to be included in my own step sequencer design (long term project together with my stepson). Not modular though, but who knows in the future. I am really amazed about peoples inventiveness and creativity in the world of modular.
At the moment my main focus of my creativity is in sound design and creating more harmonically complex songs (tracks). Learning a lot about (Western) music theory. But in the next few years I do want to get into writing my own software, possibly on a modular.
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Wow I have a bunch of Teensies sitting in a drawer here, waiting to be included in my own step sequencer design (long term project together with my stepson). Not modular though, but who knows in the future.
Ha ha, that's cool.
I just ordered an Ornament and Crime this morning. Out of the box, its firmware doesn't do what I want in the least, but it's got the hardware that I need in a nice package, and a decent underlying OS. So while it makes its way from Arizona, I'll be looking at code.
Basically, I don't want to enter notes on a screen, I want to enter them via voltage control from Tetrapad in real time. And not in patterns of 16 steps, but in phrases of many modulation steps and notes. So I've got my summer pretty much laid out for me now!
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Wow I have a bunch of Teensies sitting in a drawer here, waiting to be included in my own step sequencer design (long term project together with my stepson). Not modular though, but who knows in the future.
Ha ha, that's cool.
I just ordered an Ornament and Crime this morning. Out of the box, its firmware doesn't do what I want in the least, but it's got the hardware that I need in a nice package, and a decent underlying OS. So while it makes its way from Arizona, I'll be looking at code.
Basically, I don't want to enter notes on a screen, I want to enter them via voltage control from Tetrapad in real time. And not in patterns of 16 steps, but in phrases of many modulation steps and notes. So I've got my summer pretty much laid out for me now!
Wow that is even cooler, I hope summer for you doesn't get too hot ;) Working out more interesting note combinations and progressions with some kind of good sounding randomization could be very interesting and rewarding.
I just noticed this video: https://youtu.be/oVME_l4IwII (https://youtu.be/oVME_l4IwII) about Why Modern Music Is Awful.
I found it an interesting watch (we knew it already of course). But it motivates me to work on creating more harmonically complex tracks with more deeper levels of composing (chord progressions, transpositions, etc.). To create something that keeps feeling good and is not boring or in the wrong way repetitive.
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I just noticed this video: https://youtu.be/oVME_l4IwII (https://youtu.be/oVME_l4IwII) about Why Modern Music Is Awful.
I found it an interesting watch (we knew it already of course). But it motivates me to work on creating more harmonically complex tracks with more deeper levels of composing (chord progressions, transpositions, etc.). To create something that keeps feeling good and is not boring or in the wrong way repetitive.
When I started watching this, I expected invective not about current popular music, but modern classical (or art) music, so I was prepared to rise up in defense. But as for modern popular music, I might grant the video's case (loudness wars, timbral variety, etc.), but with plenty of exceptions.
When I listen to process pieces like Piano Phase, YouTube commenters get passionate about how awful "modernist" music is, while I sit there in amazement at how novel rhythms evolve within this specific series of note classes. Certainly Piano Phase can be done with a sequencer (https://www.youtube.com/watch?v=nIeYg61ThWg&t=578s), but the musicianship required to perform it as a human (duet, but especially solo) is inspiring. And but also, forget the fact that calling 50-year-old classical music "modernist" says a lot about how stagnant that scene might still be.
There's certainly great music being written today. I don't think I need to go any further than Phillip Glass's Piano Concerto #3 (2017). It's not on YouTube, nor any other streaming service that I could find, so you'll probably have to buy it. But it's just beautiful, and worth purchasing. The third movement might be one of my favorite pieces of music, period.
Sequencers provide valid tools for serious composition, I think. Repetition is a thing that the brain likes, but only when the thing being repeated has enough going on. Thus, I find the eight-step sequencer inadequate, except as a tool for switching things. A common modular technique is "sequencing the sequencer," and you can get anything between nice complexity and incomprehensible chaos. I don't know if these kinds of techniques can be done within a single Cirklon, but it's a good way to break the perception of rigidity that modern ("popular") music may have picked up.
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I just noticed this video: https://youtu.be/oVME_l4IwII (https://youtu.be/oVME_l4IwII) about Why Modern Music Is Awful.
I found it an interesting watch (we knew it already of course). But it motivates me to work on creating more harmonically complex tracks with more deeper levels of composing (chord progressions, transpositions, etc.). To create something that keeps feeling good and is not boring or in the wrong way repetitive.
When I started watching this, I expected invective not about current popular music, but modern classical (or art) music, so I was prepared to rise up in defense. But as for modern popular music, I might grant the video's case (loudness wars, timbral variety, etc.), but with plenty of exceptions.
When I listen to process pieces like Piano Phase, YouTube commenters get passionate about how awful "modernist" music is, while I sit there in amazement at how novel rhythms evolve within this specific series of note classes. Certainly Piano Phase can be done with a sequencer (https://www.youtube.com/watch?v=nIeYg61ThWg&t=578s), but the musicianship required to perform it as a human (duet, but especially solo) is inspiring. And but also, forget the fact that calling 50-year-old classical music "modernist" says a lot about how stagnant that scene might still be.
There's certainly great music being written today. I don't think I need to go any further than Phillip Glass's Piano Concerto #3 (2017). It's not on YouTube, nor any other streaming service that I could find, so you'll probably have to buy it. But it's just beautiful, and worth purchasing. The third movement might be one of my favorite pieces of music, period.
Sequencers provide valid tools for serious composition, I think. Repetition is a thing that the brain likes, but only when the thing being repeated has enough going on. Thus, I find the eight-step sequencer inadequate, except as a tool for switching things. A common modular technique is "sequencing the sequencer," and you can get anything between nice complexity and incomprehensible chaos. I don't know if these kinds of techniques can be done within a single Cirklon, but it's a good way to break the perception of rigidity that modern ("popular") music may have picked up.
I often sequence the sequencer myself. I do a sequence on the Tempest and use the synth voice as a root note. I Midi that root note out to the Moog Sub 37 which is set in sequencer mode do the Tempest is transposing the sequence on the Moog which frees my hands up to play something else.
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A common modular technique is "sequencing the sequencer," and you can get anything between nice complexity and incomprehensible chaos.
That's one of the things that has saved my Rhythm Wolf from the 2nd hand pages. I run a gate out from a BSP to it's clock in to advance it. Usually a bass drum or tock sequence. I've tried writing sequences on it like that but it's much more successful if I write a pattern that will stand alone if played with a regular clock.
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I'm currently using Synthstrom Deluge. Originally got it to fill the sampler/drum machine hole in my rig but kept it because it's an amazing sequencer. 128 button jelly roll plus an intuitive interface without sacrificing capability. CV capable, unlimited tracks, decent synth engine(s) so you can write a scratch track "in bed" or on the beach (runs on USB/battery) then port that track to an external module with one button push.
Has limits of course like everything else but I'd recommend it to anyone who needs a sequencer as an all around tool & scratchpad vs just a pure MIDI logistics machine.
Yes indeed the Deluge does sound amazing. It was at one time on my list of candidates. The Deluge also only has 1 MIDI input/output and relies on USB for greater connectivity. Indeed I am looking at a pure MIDI logistics machine (well said!).
That is one of its limits and while I'm loathe to spend valuable budget on boring logistical gear, a MIDI patchbay can resolve that issue fairly cheaply. I've one on the way that has the massive added bonus of turning my Rev2 into a multi-zone capable controller, something I've missed since I started using it as my keyboard controller.
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I just noticed this video: https://youtu.be/oVME_l4IwII (https://youtu.be/oVME_l4IwII) about Why Modern Music Is Awful.
I found it an interesting watch (we knew it already of course). But it motivates me to work on creating more harmonically complex tracks with more deeper levels of composing (chord progressions, transpositions, etc.). To create something that keeps feeling good and is not boring or in the wrong way repetitive.
When I started watching this, I expected invective not about current popular music, but modern classical (or art) music, so I was prepared to rise up in defense. But as for modern popular music, I might grant the video's case (loudness wars, timbral variety, etc.), but with plenty of exceptions.
When I listen to process pieces like Piano Phase, YouTube commenters get passionate about how awful "modernist" music is, while I sit there in amazement at how novel rhythms evolve within this specific series of note classes. Certainly Piano Phase can be done with a sequencer (https://www.youtube.com/watch?v=nIeYg61ThWg&t=578s), but the musicianship required to perform it as a human (duet, but especially solo) is inspiring. And but also, forget the fact that calling 50-year-old classical music "modernist" says a lot about how stagnant that scene might still be.
There's certainly great music being written today. I don't think I need to go any further than Phillip Glass's Piano Concerto #3 (2017). It's not on YouTube, nor any other streaming service that I could find, so you'll probably have to buy it. But it's just beautiful, and worth purchasing. The third movement might be one of my favorite pieces of music, period.
Sequencers provide valid tools for serious composition, I think. Repetition is a thing that the brain likes, but only when the thing being repeated has enough going on. Thus, I find the eight-step sequencer inadequate, except as a tool for switching things. A common modular technique is "sequencing the sequencer," and you can get anything between nice complexity and incomprehensible chaos. I don't know if these kinds of techniques can be done within a single Cirklon, but it's a good way to break the perception of rigidity that modern ("popular") music may have picked up.
Thank you, this is inspired thinking. Sequencing the sequencer is certainly on my list of things to get into. Starting with Kordbot (should arrive soon) --> Digitone and eventually Cirklon --> Digitone/Kordbot and other combinations.
There is a really great amount of excellent music being made and produced, probably more than ever. In my personal experience I only know a small amount of people that nowadays goes out of their way to find the good stuff. My teenage (step) kids know little else than each others' play lists on iTunes and Spotify. I believe what has happened in the last 20 years with regards to popular music is a logical effect from a focus on making money and getting returns on investment. When the need to make money is taken out of the equation, creativity is boundless. But we are not all that fortunate to be able to do that.
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I'm currently using Synthstrom Deluge. Originally got it to fill the sampler/drum machine hole in my rig but kept it because it's an amazing sequencer. 128 button jelly roll plus an intuitive interface without sacrificing capability. CV capable, unlimited tracks, decent synth engine(s) so you can write a scratch track "in bed" or on the beach (runs on USB/battery) then port that track to an external module with one button push.
Has limits of course like everything else but I'd recommend it to anyone who needs a sequencer as an all around tool & scratchpad vs just a pure MIDI logistics machine.
Yes indeed the Deluge does sound amazing. It was at one time on my list of candidates. The Deluge also only has 1 MIDI input/output and relies on USB for greater connectivity. Indeed I am looking at a pure MIDI logistics machine (well said!).
That is one of its limits and while I'm loathe to spend valuable budget on boring logistical gear, a MIDI patchbay can resolve that issue fairly cheaply. I've one on the way that has the massive added bonus of turning my Rev2 into a multi-zone capable controller, something I've missed since I started using it as my keyboard controller.
Which MIDI patchbay did you order?
I managed to pickup a second hand Anatek SMP-16 patchbay (audio + MIDI) and am just starting to put it into service so I can switch easily between laptop + Digitone sequencing. Just a beginning but works really well.
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I took too long to edit my accidentally posted too soon post, so here's the rest. If someone could remove the post above, it would be as if nothing ever went wrong....
I'm a little obsessed with sequencers. Umm, Pyramid I haven't played with much for some reason. It's an unorthodox box that doesn't really do linear, which is surprisingly alien to me. Beast of a sequencer though going far beyond the regular functions of a workstation sequencer.
QY700 is another beast but of a different nature. Truly GM sequencing at it's finest, but does require a great knowledge of MIDI to run without using GM synths. It likes to send every reset and zeroing messages that exist, especially if you are using the pattern mode, you need to tailor the track to the exact preset on the synth/dmachine you are using it with. The way around it is to use filtering or editing out the messages after each initial recording pass. It also has a woeful event max which sorta forces the user to resort to the patterns (and the pain that comes with that). Aside that, you can really ride the sequencer with it's mixer screen. The buttons and keys are great and no digiencoders to fail like on later Yammy machines. There's something about punching in values with a keypad that is satisfying.
Q80. Great box. Linear sequence with no pattern mode that I can remember, but did have a phrase recording function I used to paste out linear compositions. Higher event max than the QY700, but two line displays are hard to go back to. Going from an M1 sequencer to the Q80 was a dream though.
MV8000 has a crazy good sequencer on it with features that are only rivaled in my kit by the Pyramid. Excellent drum/pattern + linear sequencer, CC envelope/lfo generator, easy to edit, pita to use as a sampler though. Not really tried it out as a performance sequencer as such, though it's quite flexible on the sample triggering side of things, and I also recall some way of triggering the patterns for muting/unmuting percussion.
I really use it as a modulations utility for hard printed CC's. Pyramid uses actual LFO's to modulate CC's but without printing the output to a pattern or the like, so to have a particular modulation or swell of CC's occur on cue exactly the same each time the MV8000 is perfect.
The Fat Controller is great fun, if hard to find now. Fun 2x8/1x16 step sequencer. As well as MIDI out it has two CV and two trigger outs plus sync24. Can run as 2x8 step sequences or an 8 + 16 step sequence via CV+trig. Got slide on CV which in conjunction with hold can give 303 like sequencing.
Then there's the Arturia stepsequencers I have, Beatstep Pro and Keystep. Both are quite nifty loop sequencers that I am really revolving every other sequencer I own around. The BSP has a pattern chaining function so can work well along side my linear sequencers and the Keystep's a simple but very usable chord progression machine pretty much. Sequencing the BSP transposition via the Keystep is a natural thing to do really, which brings us to:
A common modular technique is "sequencing the sequencer," and you can get anything between nice complexity and incomprehensible chaos.
That's one of the things that has saved my Rhythm Wolf from the 2nd hand pages. I run a gate out from a BSP to it's clock in to advance it. Usually a bass drum or tock sequence. I've tried writing sequences on it like that but it's much more successful if I write a pattern that will stand alone if played with a regular clock.
I setup a little patch where I had my Keystep feeding the arpeggiator in the Bitstream 3x (it's got some preset note intervals for some of it's arpeggio patterns for pseudo-sequencing). Result was like something Kate Bush would have written.
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My prioritized list at the moment is:
- Sequentix Cirklon
- Squarp Pyramid
- Manikin Schrittmacher
- Elektron Octatrack
I somehow missed this thread so am a bit late to the party.
I have three of these:
The Cirklon is a great piece of kit, highly recommended.
The Pyramid I just haven’t got on with, with the recent OS release I keep meaning to give it another go but when compared with the Cirklon I just kept thinking “why is this so hard to use?”
The OT is also an amazing piece of kit, but as a sequencer for external gear I would give it a miss.
I seems like the only downside of Cirklon is actually obtaining one!
It also seems a bit awkward to use CV. You have to buy the upgrade board, and then one of the breakout boxes. Of course, when you're done, there's a lot more CV than you get with the Squarp Pyramid, but it seems like it's more elegant to use one or more MIDI-to-CV modules in lieu of the Cirklon's analogue buss.
Yep getting hold of one is not that simple, I was lucky and got one of the first batch. Since then I have upgraded the screen to the newer version, apart from that it has been totally solid.
The CV on the Cirklon is excellent, the advantage over a MIDI-CV converter is you are not going anywhere near MIDI with its sloppy timing and serial nature with bandwidth issues.An envelope per CV was added recently as well, pretty useful. Every CV output can also be calibrated to make sure different modules stay in tune.
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The Fat Controller is great fun, if hard to find now. Fun 2x8/1x16 step sequencer. As well as MIDI out it has two CV and two trigger outs plus sync24. Can run as 2x8 step sequences or an 8 + 16 step sequence via CV+trig. Got slide on CV which in conjunction with hold can give 303 like sequencing.
Then there's the Arturia stepsequencers I have, Beatstep Pro and Keystep. Both are quite nifty loop sequencers that I am really revolving every other sequencer I own around. The BSP has a pattern chaining function so can work well along side my linear sequencers and the Keystep's a simple but very usable chord progression machine pretty much. Sequencing the BSP transposition via the Keystep is a natural thing to do really, which brings us to:
Thanks for the great write-up megamarkd. Looks like the Fat Controller is a real fun sequencer. Unfortunately Frostwaves domain is up for grabs so I don't think they are in business anymore. Perhaps I can pick one up second hand .....
I do have an Arturia Beatstep, which I bought looking for a step sequencer to try out 3 years ago, but it is back in it's box as I really don't like it. There is no visual feedback what notes/key the system is running in. Perhaps I wasn't ready for it then. I do understand the Pro is much better in that respect.
I did buy a second hand SQ1, which has the same issue for me, but for some reason I feel more comfortable with it. I got to still find a way for it to be slaved to an external clock somehow (if at all possible). Incidentally buying it second hand got me introduced to some great local people that are manufacturing the Dato DUO synth. We stayed in touch since.
The more I read up about this subject and investigate, the more I realize I would want a multi-tiered sequencer setup. Kind of a master sequencer that keeps the beat and triggers other sequencers within the right key, or outside if I want that. These second tier sequencer can run their own melodies, patterns whatever which I can then adjust in real time. Hmmmmm interesting.
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I did buy a second hand SQ1, which has the same issue for me, but for some reason I feel more comfortable with it. I got to still find a way for it to be slaved to an external clock somehow (if at all possible).
There are two ways to slave SQ-1 to an external clock:
(1) USB MIDI: The SQ-1 appears as two MIDI devices, MIDI Out and CTRL. Send MIDI clock to the CTRL device.
(2) CV: SQ-1 will respond to a 5V eurorack-type clock signal going to the SYNC IN jack. By default, for some reason*, it advances two steps per pulse. There's a totally forgettable procedure in the manual that explains how to change this, but I've totally forgotten it. Set and forget.
* Yeah, I know, it's for compatibility with Volcas. But it's still a ridiculous default setting.
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I went with the Nexus Plus 2x8. I chose it over the MX-8 as I balanced live performance + studio considerations. 2 inputs is a bit meager but the straightforward interface won the day. Figure I can add another box later.
I'm currently using Synthstrom Deluge. Originally got it to fill the sampler/drum machine hole in my rig but kept it because it's an amazing sequencer. 128 button jelly roll plus an intuitive interface without sacrificing capability. CV capable, unlimited tracks, decent synth engine(s) so you can write a scratch track "in bed" or on the beach (runs on USB/battery) then port that track to an external module with one button push.
Has limits of course like everything else but I'd recommend it to anyone who needs a sequencer as an all around tool & scratchpad vs just a pure MIDI logistics machine.
Yes indeed the Deluge does sound amazing. It was at one time on my list of candidates. The Deluge also only has 1 MIDI input/output and relies on USB for greater connectivity. Indeed I am looking at a pure MIDI logistics machine (well said!).
That is one of its limits and while I'm loathe to spend valuable budget on boring logistical gear, a MIDI patchbay can resolve that issue fairly cheaply. I've one on the way that has the massive added bonus of turning my Rev2 into a multi-zone capable controller, something I've missed since I started using it as my keyboard controller.
Which MIDI patchbay did you order?
I managed to pickup a second hand Anatek SMP-16 patchbay (audio + MIDI) and am just starting to put it into service so I can switch easily between laptop + Digitone sequencing. Just a beginning but works really well.
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The Fat Controller is great fun, if hard to find now. Fun 2x8/1x16 step sequencer. As well as MIDI out it has two CV and two trigger outs plus sync24. Can run as 2x8 step sequences or an 8 + 16 step sequence via CV+trig. Got slide on CV which in conjunction with hold can give 303 like sequencing.
Then there's the Arturia stepsequencers I have, Beatstep Pro and Keystep. Both are quite nifty loop sequencers that I am really revolving every other sequencer I own around. The BSP has a pattern chaining function so can work well along side my linear sequencers and the Keystep's a simple but very usable chord progression machine pretty much. Sequencing the BSP transposition via the Keystep is a natural thing to do really, which brings us to:
Thanks for the great write-up megamarkd. Looks like the Fat Controller is a real fun sequencer. Unfortunately Frostwaves domain is up for grabs so I don't think they are in business anymore. Perhaps I can pick one up second hand .....
I do have an Arturia Beatstep, which I bought looking for a step sequencer to try out 3 years ago, but it is back in it's box as I really don't like it. There is no visual feedback what notes/key the system is running in. Perhaps I wasn't ready for it then. I do understand the Pro is much better in that respect.
I did buy a second hand SQ1, which has the same issue for me, but for some reason I feel more comfortable with it. I got to still find a way for it to be slaved to an external clock somehow (if at all possible). Incidentally buying it second hand got me introduced to some great local people that are manufacturing the Dato DUO synth. We stayed in touch since.
The more I read up about this subject and investigate, the more I realize I would want a multi-tiered sequencer setup. Kind of a master sequencer that keeps the beat and triggers other sequencers within the right key, or outside if I want that. These second tier sequencer can run their own melodies, patterns whatever which I can then adjust in real time. Hmmmmm interesting.
You know I was playing around with some of my workstations like the FA08 And Kurzweil while scoring a WW1 short film and while stand-alone sequencers are nice, there’s also something to be said about using the sequencer inside a workstation to midi sequence external gear as well as internal sounds.
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I went with the Nexus Plus 2x8. I chose it over the MX-8 as I balanced live performance + studio considerations. 2 inputs is a bit meager but the straightforward interface won the day. Figure I can add another box later.
Wow, what a choice! I know that given the option of the Nexus vs the MX-8, it'd be the MX-8 without a second thought. 2in/8out is the simplest thing the MX-8 could do, but I guess if that's the most complex routing you want, the Nexus will suffice.
The MX-8 is sitting as the pinnacle of MIDI routers in my mind right now, to the point of my consider deleting all this talk of it until I obtain one myself.
I'm always on the hunt for decent MIDI routers, currently running a JLCooper MSB2+, Yamaha ME80P, an ex-broadcast co. bespoke 8/16 router that I have worked out how to run as a switch (has no manual and the designing engineer is not id'ed anywhere), Kenton Merge4, Phil Rees V3 and an iConnectivity MIO4. Oh, and a Studio Master MIDI analyser (invaluable!)
An MX-8 could do away with the MIO4 but won't when I do get one (and I will get one) due to the MIO4's USB routing functions. If it wasn't for things like MIDI echo/delay and couple of other unique features and front-face editing, I'd not bother with chasing down an MX-8 and just run with iConnectivity's brilliant range of MIDI utility boxes.
Which MIDI patchbay did you order?
I managed to pickup a second hand Anatek SMP-16 patchbay (audio + MIDI) and am just starting to put it into service so I can switch easily between laptop + Digitone sequencing. Just a beginning but works really well.
Ooh, nice looking box you've snatched up there. I toyed with the idea of getting another company's MIDI controlled mixer, but decided to go with an mixer with MIDI automated faders for that hand's-on thing I seem to need so much.
You know I was playing around with some of my workstations like the FA08 And Kurzweil while scoring a WW1 short film and while stand-alone sequencers are nice, there’s also something to be said about using the sequencer inside a workstation to midi sequence external gear as well as internal sounds.
The M1 sequencer was my first. I realised when I stopped using it that I'd been spoilt by it to a good extent, and it's a very limited sequencer in the grands scheme of workstation things. Way back when Cubase was first released on Windows, a friend used it as an excuse to put windows on our machine. I tried it out and that was the beginning of my life-long hate affair with computers-as-musical-tools. Took it and Windows off and went back to using the computer as a Wolfenstein machine.
I've since made amends with Windows and we now agree to get along, but I still prefer a device devoted to music, not co-opted into doing it doesn't want to do when it's much better suited to and prefers playing games.
Since I'm here now way off the topic, anyone else notice the trend of using old SoundCanvas's as audio-adapters for the true 90's 386 cd-rom gaming experience? It's actually pushed the prices of the things up. Who'd have thunk it back in 2000 that all those SC-55's that were bloating hockshops at $50* a pop would make the sellers $250* today?
*all prices are AUD and are accurate to currency rates at time of publication.
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I did buy a second hand SQ1, which has the same issue for me, but for some reason I feel more comfortable with it. I got to still find a way for it to be slaved to an external clock somehow (if at all possible).
There are two ways to slave SQ-1 to an external clock:
(1) USB MIDI: The SQ-1 appears as two MIDI devices, MIDI Out and CTRL. Send MIDI clock to the CTRL device.
(2) CV: SQ-1 will respond to a 5V eurorack-type clock signal going to the SYNC IN jack. By default, for some reason*, it advances two steps per pulse. There's a totally forgettable procedure in the manual that explains how to change this, but I've totally forgotten it. Set and forget.
* Yeah, I know, it's for compatibility with Volcas. But it's still a ridiculous default setting.
Thanks chysn. I will try to sequence it over USB. I presume it needs a USB host, this won't help me with the Cirklon, but I can slave it off Bitwig. See also my other reply to Lobolives post.
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You know I was playing around with some of my workstations like the FA08 And Kurzweil while scoring a WW1 short film and while stand-alone sequencers are nice, there’s also something to be said about using the sequencer inside a workstation to midi sequence external gear as well as internal sounds.
The last few weeks I tried exactly that using the Digitone. The Digitone slaves (over USB) quite well from the laptop, with Bitwig providing the clock. Interesting to see the Digitone does seem to drift a 0.1 / 0.2 over a beat, with a track I am composing at 125BPM.
The MIDI flow goes like this and works nicely (to my ears):
- Bitwig sequencing my Akai S5000 over 5+ MIDI channels, through one port on a USB M-Audio MIDI-Port 4x4. The Akai does have 2 MIDI ins, so this can go much further.
- Bitwig clocking the Digitone and at the correct moment, in the preceding pattern, sends a program change. Taking into account that the Digitone needs to finish it's pattern which I currently have set to 64/64 measures in each pattern for this song.
- Digitone running several internal tracks, additionally clocking and sequencing the Rev2 and Evolver over 3 MIDI channels. All MIDI coming from the Digitone is routed through the Anatek SMP-16.
So far so good, when I start Bitwig from the beginning of the track I first launch an "empty" Digitone pattern. Which is set to the same voices and effect settings as the rest of the patterns for this song. This avoids any unwanted delay sweeps, when changing patterns. The MIDI channels running from the Digitone work very well. Addressing the Rev2 poly-phonically (with 3 notes at a time) works fine.
This feels like a good beginning for a setup where I will replace the laptop with a Cirklon. As the Cirklon does have a USB interface it can also replace the M-Audio. This has the advantage of being portable for pattern setup and composing on the Digitone.
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I somehow missed this thread so am a bit late to the party.
I have three of these:
The Cirklon is a great piece of kit, highly recommended.
The Pyramid I just haven’t got on with, with the recent OS release I keep meaning to give it another go but when compared with the Cirklon I just kept thinking “why is this so hard to use?”
The OT is also an amazing piece of kit, but as a sequencer for external gear I would give it a miss.
I seems like the only downside of Cirklon is actually obtaining one!
It also seems a bit awkward to use CV. You have to buy the upgrade board, and then one of the breakout boxes. Of course, when you're done, there's a lot more CV than you get with the Squarp Pyramid, but it seems like it's more elegant to use one or more MIDI-to-CV modules in lieu of the Cirklon's analogue buss.
Yep getting hold of one is not that simple, I was lucky and got one of the first batch. Since then I have upgraded the screen to the newer version, apart from that it has been totally solid.
The CV on the Cirklon is excellent, the advantage over a MIDI-CV converter is you are not going anywhere near MIDI with its sloppy timing and serial nature with bandwidth issues.An envelope per CV was added recently as well, pretty useful. Every CV output can also be calibrated to make sure different modules stay in tune.
Wow you acquired three sequencer of my list of 4 ;) nice. I was interested in the Octatrack, as a future replacement for my Akai sampler and (external) sequencer. Could you elaborate a bit more about why you don't recommend the OT for sequencing external gear?
At the moment I own a Digitone and it works surprisingly well as a mono and polyphonic MIDI sequencer. I started using the Digitone's MIDI LFO and Modwheel control to generate some movement adjusting the Rev2 filter from within the pattern. It does the job! Triggering the next pattern from another sequencer requires some careful timing, but I got it to work perfectly using Bitwig. It was never my intention to use the Digitone as MIDI sequencer :)
But now DSI has released the Prophet X, I am starting to lose my interest in the OT. Let's see at the end of the year how easy it will be to import one's own samples into the X.
I don't have a any modular gear, if you don't count the SQ1. I am waiting for the Neutron to become available later this year. The Neutron is very affordable and seems to offer a lot of goodness. Since the announcement of the Prophet X, the Neutron might be the only (semi) modular gear I will buy for a few years, I need to save up now..... In that case would you still recommend me getting the Cirklon CV kit and breakout box anyway?
Another thing about the Cirklon is that it also seems to be a good investment. Last year I have seen one being advertised second hand here in the Netherlands (including CV), for over 2000 Euros. The ad disappeared within a month ......
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The Fat Controller is great fun, if hard to find now. Fun 2x8/1x16 step sequencer. As well as MIDI out it has two CV and two trigger outs plus sync24. Can run as 2x8 step sequences or an 8 + 16 step sequence via CV+trig. Got slide on CV which in conjunction with hold can give 303 like sequencing.
Then there's the Arturia stepsequencers I have, Beatstep Pro and Keystep. Both are quite nifty loop sequencers that I am really revolving every other sequencer I own around. The BSP has a pattern chaining function so can work well along side my linear sequencers and the Keystep's a simple but very usable chord progression machine pretty much. Sequencing the BSP transposition via the Keystep is a natural thing to do really, which brings us to:
Thanks for the great write-up megamarkd. Looks like the Fat Controller is a real fun sequencer. Unfortunately Frostwaves domain is up for grabs so I don't think they are in business anymore. Perhaps I can pick one up second hand .....
I do have an Arturia Beatstep, which I bought looking for a step sequencer to try out 3 years ago, but it is back in it's box as I really don't like it. There is no visual feedback what notes/key the system is running in. Perhaps I wasn't ready for it then. I do understand the Pro is much better in that respect.
I did buy a second hand SQ1, which has the same issue for me, but for some reason I feel more comfortable with it. I got to still find a way for it to be slaved to an external clock somehow (if at all possible). Incidentally buying it second hand got me introduced to some great local people that are manufacturing the Dato DUO synth. We stayed in touch since.
The more I read up about this subject and investigate, the more I realize I would want a multi-tiered sequencer setup. Kind of a master sequencer that keeps the beat and triggers other sequencers within the right key, or outside if I want that. These second tier sequencer can run their own melodies, patterns whatever which I can then adjust in real time. Hmmmmm interesting.
You know I was playing around with some of my workstations like the FA08 And Kurzweil while scoring a WW1 short film and while stand-alone sequencers are nice, there’s also something to be said about using the sequencer inside a workstation to midi sequence external gear as well as internal sounds.
This is where I think the product roadmaps of most fell off the cliff.
There's a ton of groove boxes out there, but for those of us who actually want to play a keyboard, the options are limited to high-end workstations (mostly aging now) or MIDI controllers with sub-par keybeds.
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I somehow missed this thread so am a bit late to the party.
I have three of these:
The Cirklon is a great piece of kit, highly recommended.
The Pyramid I just haven’t got on with, with the recent OS release I keep meaning to give it another go but when compared with the Cirklon I just kept thinking “why is this so hard to use?”
The OT is also an amazing piece of kit, but as a sequencer for external gear I would give it a miss.
I seems like the only downside of Cirklon is actually obtaining one!
It also seems a bit awkward to use CV. You have to buy the upgrade board, and then one of the breakout boxes. Of course, when you're done, there's a lot more CV than you get with the Squarp Pyramid, but it seems like it's more elegant to use one or more MIDI-to-CV modules in lieu of the Cirklon's analogue buss.
Yep getting hold of one is not that simple, I was lucky and got one of the first batch. Since then I have upgraded the screen to the newer version, apart from that it has been totally solid.
The CV on the Cirklon is excellent, the advantage over a MIDI-CV converter is you are not going anywhere near MIDI with its sloppy timing and serial nature with bandwidth issues.An envelope per CV was added recently as well, pretty useful. Every CV output can also be calibrated to make sure different modules stay in tune.
Wow you acquired three sequencer of my list of 4 ;) nice. I was interested in the Octatrack, as a future replacement for my Akai sampler and (external) sequencer. Could you elaborate a bit more about why you don't recommend the OT for sequencing external gear?
At the moment I own a Digitone and it works surprisingly well as a mono and polyphonic MIDI sequencer. I started using the Digitone's MIDI LFO and Modwheel control to generate some movement adjusting the Rev2 filter from within the pattern. It does the job! Triggering the next pattern from another sequencer requires some careful timing, but I got it to work perfectly using Bitwig. It was never my intention to use the Digitone as MIDI sequencer :)
But now DSI has released the Prophet X, I am starting to lose my interest in the OT. Let's see at the end of the year how easy it will be to import one's own samples into the X.
I don't have a any modular gear, if you don't count the SQ1. I am waiting for the Neutron to become available later this year. The Neutron is very affordable and seems to offer a lot of goodness. Since the announcement of the Prophet X, the Neutron might be the only (semi) modular gear I will buy for a few years, I need to save up now..... In that case would you still recommend me getting the Cirklon CV kit and breakout box anyway?
Another thing about the Cirklon is that it also seems to be a good investment. Last year I have seen one being advertised second hand here in the Netherlands (including CV), for over 2000 Euros. The ad disappeared within a month ......
2nd hand Cirklons seem to sell for near or more than the new price, people get fed up of waiting for a new one so the used prices are pretty high.
The CV board can always be added at a later date if you get more CV gear, for the Neutron maybe the midi route would be ok depending on what CC support it has.
In one of your previous posts I noticed you talking about having a master sequencer that could control other sequencers. The Cirklon can do this sort of thing internally where tracks can control other tracks, for example you could have one track running slowly to transpose another track. It does some quite advanced things, have a look at AUX events in the manual.
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2nd hand Cirklons seem to sell for near or more than the new price, people get fed up of waiting for a new one so the used prices are pretty high.
The CV board can always be added at a later date if you get more CV gear, for the Neutron maybe the midi route would be ok depending on what CC support it has.
In one of your previous posts I noticed you talking about having a master sequencer that could control other sequencers. The Cirklon can do this sort of thing internally where tracks can control other tracks, for example you could have one track running slowly to transpose another track. It does some quite advanced things, have a look at AUX events in the manual.
Good point about the CV gear, I am not sure if the waiting list for the expansion and breakout box is long also, otherwise it might be prudent to order the lot.
I read about the AUX events being able to manage events on another track, so much looking forward to this. In the meantime I do love the ability to hangout on the couch, accompanied by purring cats, preparing a track on the Digitone.
So far my testing, driving the Digitone sequencer and sound engine from an external master (clock) works very well.
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I went with the Nexus Plus 2x8. I chose it over the MX-8 as I balanced live performance + studio considerations. 2 inputs is a bit meager but the straightforward interface won the day. Figure I can add another box later.
Wow, what a choice! I know that given the option of the Nexus vs the MX-8, it'd be the MX-8 without a second thought. 2in/8out is the simplest thing the MX-8 could do, but I guess if that's the most complex routing you want, the Nexus will suffice.
The MX-8 is sitting as the pinnacle of MIDI routers in my mind right now, to the point of my consider deleting all this talk of it until I obtain one myself.
Yeah, I kinda agonized over it actually as I've been burned both ways:
1) Do you buy what you need now without regard for future capacity? That's how I went from a Deepmind 12 to a Rev2 in the span of 2 weeks (when the guy showed me the Rev2, I kept asking him to turn off the FX & marvelled that the sound hardly changed, in stark contrasst to tthe DM12).
OR
2) Buy way more spec than you need, trusting that you'll use it all at a later date. This is how I have a 500-series case w/ summing mixer up for sale now, having never even installed a 500 module.
I went for the Nexus Plus primarily because there was absolutely no menu-diving & no need to waste any brainpower on how to program it. Live ease of use & portability was more important than studio, where my band will probably play most sequenced parts anyway for more human feel.
I will probably end up with both in the future though!
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Yeah, I kinda agonized over it actually as I've been burned both ways:
1) Do you buy what you need now without regard for future capacity? That's how I went from a Deepmind 12 to a Rev2 in the span of 2 weeks (when the guy showed me the Rev2, I kept asking him to turn off the FX & marvelled that the sound hardly changed, in stark contrasst to tthe DM12).
OR
2) Buy way more spec than you need, trusting that you'll use it all at a later date. This is how I have a 500-series case w/ summing mixer up for sale now, having never even installed a 500 module.
I went for the Nexus Plus primarily because there was absolutely no menu-diving & no need to waste any brainpower on how to program it. Live ease of use & portability was more important than studio, where my band will probably play most sequenced parts anyway for more human feel.
I will probably end up with both in the future though!
I've come close many many times to buying a Nexus but then think to put that money towards something a that is more of a workhorse. It was finally taken off the cards when I got the custom switch. The Nexus would have been a merger/splitter for my two Arturia sequencers but that would have wasted the processing functions. I think I spent maybe three years hunting for an MSB2+, either being pipped at the post on eBay or having local sellers on gum tree insisting pick-up only.
So yeah, I'm happy to wait for an MX-8 to show up at the right time.
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Only a little about sequencers but a great interview with Dave Smith by AudioNowCast:
https://youtu.be/j-yqvFxIc7k (https://youtu.be/j-yqvFxIc7k)
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Only a little about sequencers but a great interview with Dave Smith by AudioNowCast:
https://youtu.be/j-yqvFxIc7k (https://youtu.be/j-yqvFxIc7k)
DSI could do a great Sequential-branded sequencer. They've got the software experience, the experience with assignable CV, and the awesome Prophet 5/6-style pushbuttons.
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One that hasn't been mentioned here yet is the Arturia Beatstep Pro. The BSP comes in at about 1/4 of the cost of most of these things. It's really small and plastic, but it has two CV and one trigger-based track, and supports multiple projects, and it has a CV implementation that's earned it a place as the de facto external eurorack sequencer. It's kind of geared toward performance.
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One that hasn't been mentioned here yet is the Arturia Beatstep Pro. The BSP comes in at about 1/4 of the cost of most of these things. It's really small and plastic, but it has two CV and one trigger-based track, and supports multiple projects, and it has a CV implementation that's earned it a place as the de facto external eurorack sequencer. It's kind of geared toward performance.
My experience with the Beatstep was so bad that I never considered getting a Pro. Perhaps a pity, but I am ready for the Cirklon.
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Only a little about sequencers but a great interview with Dave Smith by AudioNowCast:
https://youtu.be/j-yqvFxIc7k (https://youtu.be/j-yqvFxIc7k)
DSI could do a great Sequential-branded sequencer. They've got the software experience, the experience with assignable CV, and the awesome Prophet 5/6-style pushbuttons.
And a history...
https://www.modularsynthesis.com/SCI/700/m700.htm
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One that hasn't been mentioned here yet is the Arturia Beatstep Pro. The BSP comes in at about 1/4 of the cost of most of these things. It's really small and plastic, but it has two CV and one trigger-based track, and supports multiple projects, and it has a CV implementation that's earned it a place as the de facto external eurorack sequencer. It's kind of geared toward performance.
My experience with the Beatstep was so bad that I never considered getting a Pro. Perhaps a pity, but I am ready for the Cirklon.
The Beatstep and Beatstep Pro aren't even in the same universe. However, the Beatstep Pro and Cirklon are also not in the same universe.
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One that hasn't been mentioned here yet is the Arturia Beatstep Pro. The BSP comes in at about 1/4 of the cost of most of these things. It's really small and plastic, but it has two CV and one trigger-based track, and supports multiple projects, and it has a CV implementation that's earned it a place as the de facto external eurorack sequencer. It's kind of geared toward performance.
I mentioned it, didn't I? It and my Keystep are my go-to sequencers! So simple yet so usable and versatile. I'm going to give my Pyramid another swing, it's changed so much since I got it, I need to basically pretend I've only just received and start from scratch. The BSP and Keystep combo is just so much more switch-on and go, I've put the Pyramid to the side for a good while now (Squarp are on the verge of firmware vers. 3, I'm still on 1.x)
My experience with the Beatstep was so bad that I never considered getting a Pro. Perhaps a pity, but I am ready for the Cirklon.
The Beatstep and Beatstep Pro aren't even in the same universe. However, the Beatstep Pro and Cirklon are also not in the same universe.
My word are the Beatstep and BSP are two different world. Beatstep seemed not thought through properly. It's lack of a MIDI in on DIN plugs for example (what were they thinking?!?).
Cirklon and BSP are also two very different machines, which is why when I get a Cirklon (I'll get one eventually), I'll probably still keep the BSP. It's just such a great little tool to get three instruments up and running in an instant.
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I had my eye on this for a while. Made by a nice young chap in Toronto here.
https://youtu.be/fddT6y4eno0
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I had my eye on this for a while. Made by a nice young chap in Toronto here.
https://youtu.be/fddT6y4eno0
Oh the Carbon, my word that's a tasty looking sequencer. I like the look of pretty much everything Kilpatrick Audio make, just need to get a piece to see if it's as tasty as I think it looks.
I'd not looked at the Carbon of awhile, I think maybe not since I got the Pyramid, but it's a bit of a Pyramid killer for around the same price. I want to love my Pyramid, but for some reason it doesn't gel as well the other looping sequencers I own.
Considering I'm working on a modular, and even though I have a few CV sequencers, I'd like a sequencer in the modular, so the Kilpatrick Pattern Generator may get a look-in.
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Late to this thread, but I like my Polyend SEQ very much, the user interface is spectacular.
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Late to this thread, but I like my Polyend SEQ very much, the user interface is spectacular.
Wondering on how long delivery time is from order time.
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Noisebug and Foxtone Music both have the SEQ in stock at the moment, Noisebug's $100 cheaper.
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Koma's Komplex......
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I've made my hardware sequencer selection. My choices eventually converged to two scenarios:
(1) Squarp Hermod - 26HP and about $470 USD
(2) Ornament and Crime and Varigate 4+ - Also 26HP and about $440 USD
I went with Ornament and Crime/Varigate 4+.
Ornament and Crime's software is open-source, and I've been able to pretty much bend the thing to my will. So if I ever have a crazy idea (like modulation sources based on cellular automata*), I can make it happen right away.
Varigate 4+, on the other hand, is a more traditional modular sequencer. But it has some extra features, like four tracks, clock division and multiplication, glide, and various types of quantization. It's not as straightforward as was my Moskwa, but it's nicely-balanced.
The basic philosophical underpinning of my decision is that I want composition to be process-based rather than an end-to-end act of intent. Hermod would have supported the opposite philosophy quite nicely but, in the end, it isn't what I want to do.
________________
* As in
https://www.youtube.com/watch?v=myTENbq0_g4
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I’m still on the Cirklon waiting list, but a while ago I got the Pyramid. Tired of waiting and I just got nauseous using Ableton.
After some issues on the Pyramid with the Subsequent37 OB6 Rev2 being tried as control keyboard, I got an arturia keystep for easier note input. I went in circles (or echos) trying to use the others!
I find the Pyramid a little more work than I’d like a sequencer to be, and I’ve gone off diving into fancy CC modulations with it for now. I’ll get back to that if I really need it, but what I have done using the touchpad to “draw” a modulation was a very pleasant surprise. I mostly spend time playing the keyboards directly, then just record in “live”mode using the keystep; basic rhythms put down in step mode.
As I said, it can be a little tricky, but it gets easier. I think I’ll still get the Cirklon when it’s my turn, based purely on the fact that it looks so damn easy to use in all the reviews, but the Pyramid is still a keeper.
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I have to agree that the Pyramid is a little too much work and menu diving. I'd like to maybe swap over to the Hermod, but we'll see. Right now I'm using the Beatstep Pro still as my master sequencer (tempo wise) and running an SQ-1 and a Fat Controller off it. Cirklon is a dream of mine, maybe to one day happen, the biggest hurdle on that one being the wait time after parting with so much money.
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I have to agree that the Pyramid is a little too much work and menu diving. I'd like to maybe swap over to the Hermod, but we'll see. Right now I'm using the Beatstep Pro still as my master sequencer (tempo wise) and running an SQ-1 and a Fat Controller off it. Cirklon is a dream of mine, maybe to one day happen, the biggest hurdle on that one being the wait time after parting with so much money.
They don’t charge you until it’s about ready to ship.
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That’s right. They haven’t asked for a cent. If you decide not to buy they just go to the next person on the list.
For myself with the Pyramid it’s been a matter of trying to keep it simple, with a sequencer built for funky EDM kids.
I get the impression that the Cirklon is biased towards good old fashioned sequencing (with some very convenient editing functions), while the Pyramid leans towards “performing”, and so sacrifices simplicity for greater pattern and modulation control in live performances? Either way, Pyramid definitely has everything I need and is a god sent blessing after using these new age DAW’s (get a DAW, call yourself a “Producer” ::) )
When my Cirklon arrives I’ll transfer the files and see if there’s anything I’m missing from the Pyramid. Which ever one goes, I doubt I’ll make a loss. Might even make a profit.
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That’s right. They haven’t asked for a cent. If you decide not to buy they just go to the next person on the list.
For myself with the Pyramid it’s been a matter of trying to keep it simple, with a sequencer built for funky EDM kids.
I get the impression that the Cirklon is biased towards good old fashioned sequencing (with some very convenient editing functions), while the Pyramid leans towards “performing”, and so sacrifices simplicity for greater pattern and modulation control in live performances? Either way, Pyramid definitely has everything I need and is a god sent blessing after using these new age DAW’s (get a DAW, call yourself a “Producer” ::) )
When my Cirklon arrives I’ll transfer the files and see if there’s anything I’m missing from the Pyramid. Which ever one goes, I doubt I’ll make a loss. Might even make a profit.
When did you get on the wait list? It was running 18 months last time I checked which puts me end of 2019. I ordered a One 24 month 0% so it will depend how much of a dent I made in that free debt when I get the Cirklon call if I go through with purchase.
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Cheers for the heads-up everyone. Looks like I put my name on that list, then start the fund!
Anyone got an Engine?
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9 months wait so far. I hope lots of people renege on their orders so it comes sooner.
I looked at the Engine. Everything about it looks great.
But, where it falls short in my comparison to the Cirklon is that Engine has 8 tracks with a max 4 note poly. That’s not bad, but I’d like to take full advantage of my 16 voice Rev2.
It’s a max of 16notes per track on the Cirklon, and apparently infinity on the pyramid.
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9 months wait so far. I hope lots of people renege on their orders so it comes sooner.
I looked at the Engine. Everything about it looks great.
But, where it falls short in my comparison to the Cirklon is that Engine has 8 tracks with a max 4 note poly. That’s not bad, but I’d like to take full advantage of my 16 voice Rev2.
It’s a max of 16notes per track on the Cirklon, and apparently infinity on the pyramid.
If the Pyramid were a desktop pc, yeah infinite notes, but it's not and is limited by how much else is going on. I've not hit the limit, but I'm not running any 128 voice polyphony instruments from it to even start to push it's events-per-step limit.
Oh yeah, I got an SQ-1 finally. Good little box for running CV from.
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9 months wait so far. I hope lots of people renege on their orders so it comes sooner.
I looked at the Engine. Everything about it looks great.
But, where it falls short in my comparison to the Cirklon is that Engine has 8 tracks with a max 4 note poly. That’s not bad, but I’d like to take full advantage of my 16 voice Rev2.
It’s a max of 16notes per track on the Cirklon, and apparently infinity on the pyramid.
If the Pyramid were a desktop pc, yeah infinite notes, but it's not and is limited by how much else is going on. I've not hit the limit, but I'm not running any 128 voice polyphony instruments from it to even start to push it's events-per-step limit.
Oh yeah, I got an SQ-1 finally. Good little box for running CV from.
And the SQ-1 is just a little more affordable than the Cirklon! :D I’ve thought of grabbing one to feed into some Eurorack modules.
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9 months wait so far. I hope lots of people renege on their orders so it comes sooner.
I looked at the Engine. Everything about it looks great.
But, where it falls short in my comparison to the Cirklon is that Engine has 8 tracks with a max 4 note poly. That’s not bad, but I’d like to take full advantage of my 16 voice Rev2.
It’s a max of 16notes per track on the Cirklon, and apparently infinity on the pyramid.
If the Pyramid were a desktop pc, yeah infinite notes, but it's not and is limited by how much else is going on. I've not hit the limit, but I'm not running any 128 voice polyphony instruments from it to even start to push it's events-per-step limit.
Oh yeah, I got an SQ-1 finally. Good little box for running CV from.
And the SQ-1 is just a little more affordable than the Cirklon! :D I’ve thought of grabbing one to feed into some Eurorack modules.
That's what I'm doing with mine. You can use it as a fixed voltage source also when it's stationary, each step can be triggered individually and the value set will be output via the CV outs. It's great for what it is, only complaint is the knobs are ambiguous.
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I followed this thread quietly the last weeks... and now this appeared in my Twitter account today:
https://sonicstate.com/news/2018/10/10/novations-next-generation-sl-keyboard-controllers
Thought that could be a thing for you... looks pretty amazing to me.
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I followed this thread quietly the last weeks... and now this appeared in my Twitter account today:
https://sonicstate.com/news/2018/10/10/novations-next-generation-sl-keyboard-controllers
Thought that could be a thing for you... looks pretty amazing to me.
Oh sick! I'd thought they'd retired the SL line and was rather disappointed in what was left behind from what were the best quality and feature laden controller range for the price.
The sequencer is a bonus, brings it inline with some of the other manufacture's offerings (Akai and Korg have recently had controllers with basic sequencers onboard). Wasn't expecting it to record CC's. 2xCV pitch/gate/mod outputs is a boon. I think that there will be a ReMote 25 on gumtree really soon. Maybe an SL Zero too.
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I followed this thread quietly the last weeks... and now this appeared in my Twitter account today:
https://sonicstate.com/news/2018/10/10/novations-next-generation-sl-keyboard-controllers
Thought that could be a thing for you... looks pretty amazing to me.
Oh sick! I'd thought they'd retired the SL line and was rather disappointed in what was left behind from what were the best quality and feature laden controller range for the price.
The sequencer is a bonus, brings it inline with some of the other manufacture's offerings (Akai and Korg have recently had controllers with basic sequencers onboard). Wasn't expecting it to record CC's. 2xCV pitch/gate/mod outputs is a boon. I think that there will be a ReMote 25 on gumtree really soon. Maybe an SL Zero too.
I do hope that we'll see more onboard sequencer built into midi controllers in the future. I'd like to see them on some of the SP line of Kurzweil's stuff as well as opposed to exclusively on the Forte and PC3 lines.
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I posted before the demo vid had finished playing. The Circuit styling of the sequencer workflow makes it a must buy now! Lucky the BSP has a drum sequencer on it, or it might have gone on the classifieds pages too, though my Circuit is now definitely going there.
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Well i said I wouldn't buy anything till next year after investing in the P12. But.... a couple years ago I watch the small company Polyend develop a sequencer that was right up my ally.... Something that wouldn't take me a year to figure out and not strain my eyes on a computer either. So after they made some firmware improvements and got it into distribution, the time seemed right. Need new tires for the car and bills to pay, so selling a few items I'm not using to help offset the cost.
Trust me folks, I'm not a sequencer expert, but this sequencer is really neat. I cannot wait to post some stuff. Been playing around with it hooked to Vermona MK2 and also to P12. I'm grateful the videos posted on Youtube thus far exist, but they are few. So it took some blind faith in the intrinsic design to sway me. There's a lot of breadth on this to be explored and shared.
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Nice one, it's good to have lots of buttons :)
I have been thinking of getting a polyend/dreadbox for a while, one day.
Just got hold of an op-z here, the sequencer on it is pretty neat but also strangely limited to 16 step patterns.
It has step/trig parameters for everything and also what they call "components" which are like functions you can add to a step, rather like the Genoqs sequencers but not quite so advanced.
Neat little thing though.
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A little bit of the Polyend. I used the Nord Lead 4 as you can set four separate midi channels going in. Please be patient to get past the annoying "drums"
https://www.youtube.com/watch?v=XVwNiYLwn8Q
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Yeah! It's a fun sequencer, I still like mine. It's more fun to use than the Push 2.
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I'm interested in the SEQ, too. But as far as I know, if you want to play Chords on a Synth with it, you have to use several tracks? Is that right? I really would like this hardware interface for a sequencer, which has polyphonic tracks...
I'm just asking, because I read "8 polyphonic tracks" in a description from a local retailer and wanted to clarify finally, if the tracks are mono- or polyphonic.
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Jok3r,
The SEQ if you are recording live and polyphonically into to it will require a track for every finger that is pressed at once. I rarely play better than 4 note chords, so, for example, 4 tracks are used. Each button of the 32 steps can only hold one note value. One of the perks in this sequencer versus the Arturia Keystep which I also have, is that I can output individual tracks to separate midi channels. What I had in mind when I got it was to use it mainly on the Vermona Perfourmer to take advantage of it's four layers. I do have a Doepher Darktime sequencer, but that is limited to two out channels.
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I’m really trying to find the ARP version of the Korg SQ1. It looks like you can only get it when you get an Odyssey FS but I want to just get it on its own to sequence two Odyssey modules. Can’t seem to find anyone selling them second hand either. Ugh.
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I’m really trying to find the ARP version of the Korg SQ1. It looks like you can only get it when you get an Odyssey FS but I want to just get it on its own to sequence two Odyssey modules. Can’t seem to find anyone selling them second hand either. Ugh.
Isn't the only difference the colour scheme? I know having a unique look is nice, but in the end if they do the same thing you may have to settle for the regular black and Korg stylings. I'll keep an eye out on for you down here.
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Jok3r,
The SEQ if you are recording live and polyphonically into to it will require a track for every finger that is pressed at once. I rarely play better than 4 note chords, so, for example, 4 tracks are used. Each button of the 32 steps can only hold one note value.
That's exactly what I thought. Thanks for finally confirming me. I really was confused, because of some unclear statements I read somewhere...
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I’m really trying to find the ARP version of the Korg SQ1. It looks like you can only get it when you get an Odyssey FS but I want to just get it on its own to sequence two Odyssey modules. Can’t seem to find anyone selling them second hand either. Ugh.
Isn't the only difference the colour scheme? I know having a unique look is nice, but in the end if they do the same thing you may have to settle for the regular black and Korg stylings. I'll keep an eye out on for you down here.
Yeah it’s totally ridiculous to obsess over the look of something but I can’t help it lol. Thanks!
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I’m really trying to find the ARP version of the Korg SQ1. It looks like you can only get it when you get an Odyssey FS but I want to just get it on its own to sequence two Odyssey modules. Can’t seem to find anyone selling them second hand either. Ugh.
Isn't the only difference the colour scheme? I know having a unique look is nice, but in the end if they do the same thing you may have to settle for the regular black and Korg stylings. I'll keep an eye out on for you down here.
Yeah it’s totally ridiculous to obsess over the look of something but I can’t help it lol. Thanks!
Don't worry mate, I'm thinking of buying a second Beatstep Pro in black, because I've never really dug the "iSequencer" look of it (and it's keyboard sibling too! ;) )
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I’m really trying to find the ARP version of the Korg SQ1. It looks like you can only get it when you get an Odyssey FS but I want to just get it on its own to sequence two Odyssey modules. Can’t seem to find anyone selling them second hand either. Ugh.
Isn't the only difference the colour scheme? I know having a unique look is nice, but in the end if they do the same thing you may have to settle for the regular black and Korg stylings. I'll keep an eye out on for you down here.
Yeah it’s totally ridiculous to obsess over the look of something but I can’t help it lol. Thanks!
I get it, too. I spent a lot of extra money to get a red Little Phatty. But those ARP-styled SQ-1s have to be really hard to find. Maybe you can get a regular one with an eye toward replacing it later?
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I’m really trying to find the ARP version of the Korg SQ1. It looks like you can only get it when you get an Odyssey FS but I want to just get it on its own to sequence two Odyssey modules. Can’t seem to find anyone selling them second hand either. Ugh.
Isn't the only difference the colour scheme? I know having a unique look is nice, but in the end if they do the same thing you may have to settle for the regular black and Korg stylings. I'll keep an eye out on for you down here.
Yeah it’s totally ridiculous to obsess over the look of something but I can’t help it lol. Thanks!
I get it, too. I spent a lot of extra money to get a red Little Phatty. But those ARP-styled SQ-1s have to be really hard to find. Maybe you can get a regular one with an eye toward replacing it later?
Wonder if I should just get the Odyssey full size with the sq1. Play the Odyssey for a few recordings and then sell it and use the money to get two modules.
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I’m really trying to find the ARP version of the Korg SQ1. It looks like you can only get it when you get an Odyssey FS but I want to just get it on its own to sequence two Odyssey modules. Can’t seem to find anyone selling them second hand either. Ugh.
Isn't the only difference the colour scheme? I know having a unique look is nice, but in the end if they do the same thing you may have to settle for the regular black and Korg stylings. I'll keep an eye out on for you down here.
Yeah it’s totally ridiculous to obsess over the look of something but I can’t help it lol. Thanks!
I get it, too. I spent a lot of extra money to get a red Little Phatty. But those ARP-styled SQ-1s have to be really hard to find. Maybe you can get a regular one with an eye toward replacing it later?
Wonder if I should just get the Odyssey full size with the sq1. Play the Odyssey for a few recordings and then sell it and use the money to get two modules.
There's a plan!
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Last December I purchased the Manikin Schrittmacher as I ran out of patience and time waiting for the Cirklon. I have been on the waiting list since December 2017, so it will happen, just me having a buffer overflow of a 64 bit patience counter ;) and really wanting to start building a live setup.
My objective for this year is to create a live set, with a few tracks that span an hour and a half (or more). Programming the sequences using the Schrittmacher and the Digitone (its sequencer playing the inner voices and a few external synths) with some "live" playing the Rev2 from my side.
I now have a few months elapsed time "gigging" in my studio and it is slowly starting to happen. I only have a few hours a week to practice, but that is enough to get a good feel for combining both sequencers with external synths (no computer!).
I will keep you all posted with regards to my adventures, mainly for composing and playing live.
Moving away from the "serial" and pattern based workflow, composing in Bitwig, to a "looped" workflow, composing and playing the Schrittmacher, has been a very interesting experience. Much more difficult to change my mind-set than I expected. But great fun though.
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Beginning of a new track, continuing to experiment with the Schrittmacher and the Digitone sequencers.
https://soundcloud.com/user-252754541/live003
Recorded in one take, directly into Bitwig. I realised one handy trick is to start the Schrittmacher, putting Bitwig in slave mode so it starts recording as soon as I hit play and starting the Digitone on an empty pattern (silence). This allows a restive start and I have the time to switch lanes / patterns on/off at leisure.
Schrittmacher is the master clock and sequencing layer A of the Rev2, patch is mine, relatively simple unison brass patch. No external effects. Digitone is clocked and started from the Schrittmacher, but note and CC receive is switched off for this project. Digitone plays three internal tracks, factory presets slightly tweaked.
I can feel my workflow starting to become stable. Most difficult part is limiting myself to which synths I will take on the road and which sequencer is driving what. Obviously while performing there is no time for much tweaking and corrections. I will have to keep it simple and keep the focus on playing, controlling the sequencers and modulating parameters.
The Schrittmacher does have some serious limitations, such as no clock on MIDI out B ....... But the circular, looped nature of the lanes affecting each other is amazing. For sequencing the Rev2 I use 4 lanes for the different patterns, only playing 8 notes. I use an add track to modulate the note values by octaves up and down, running at a different speed. I use a length track to modulate length of the notes.
I am still experimenting with the Schrittmachers encoder in global mode. I have one encoder controlling the Rev2's master volume (CC 7), this works well.
Great fun!
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Jok3r,
The SEQ if you are recording live and polyphonically into to it will require a track for every finger that is pressed at once. I rarely play better than 4 note chords, so, for example, 4 tracks are used. Each button of the 32 steps can only hold one note value. One of the perks in this sequencer versus the Arturia Keystep which I also have, is that I can output individual tracks to separate midi channels. What I had in mind when I got it was to use it mainly on the Vermona Perfourmer to take advantage of it's four layers. I do have a Doepher Darktime sequencer, but that is limited to two out channels.
I should clarify that each button (or step) on the Polyend can indeed hold a chord which you input via the rotary note knob. You just cannot "record" your own chord into a single step. For that purpose it is done as I said above.
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Fourth attempt at creating a live playable track: https://soundcloud.com/user-252754541/live004
This time just the Rev2 and the Digitone, sequencing by Schrittmacher (clock) and driving the Rev2, Digitone slaved to the clock and sequencing itself. Most patches are mine, I used one stock Digitone patch for rhythmic bell like effects.
I am getting close to "proper" track building using this sequencer combination. What was missing so far was a link between the Digitone and the Schrittmacher following whenever a root note (chord) change happened.
I figured this one out by dedicating one of the MIDI tracks of the Digitone sending, when a chord/root note changes, transposing the Schrittmacher on the fly. There is a facility for this called Key, just had to figure it out.
I am not happy enough yet with this track (using my 75% rule), but getting very close. Final transition and ending are not to my liking yet. I still have S4 left on the Schrittmacher and several lanes on the other sessions. But taking into account I want to be able to play this live, the order of the different parts and sequencing should be logical (for example Digitone tracks and Schrittmacher sequence sessions should match).
I am particularly pleased with the transition around 3:20 - 3:40 and the Klaus Schulze like Rev2 patch. Getting a smooth transition from one Schrittmacher session to the other is challenging. I just need to practice, just matter of time :)
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Fifth attempt at writing and playing live (no "computers" involved), this is a very dark track. Heavy synth patches, deep basses, expressing my frustrations from work today ;) Feels really good.
https://soundcloud.com/user-252754541/live005
Schrittmacher + Digitone sequencing.
Start with Rev2 in multimode, sequenced by the Schrittmacher, layer A first followed after a few beats by layer two.
Digitone joins in with a simple pattern and after a while a really nice solid bass (took some fiddling on the Digitone).
Transition to Blofeld which is also sequenced by the Schrittmacher. Blofeld is playing one of Don Solaris' patched (OBrass). Eventually Evolver joins in with an alternative bass patch, I love the sound of those oscillators. Evolver is sequenced and audio patched through the Digitone (some drive added).
Written and recorded this evening. Seems I have a workflow of about 5 hours now from nothing to an acceptable track. Much better than on the computer (16 to 20 hours).
Play it loud and enjoy!
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A happy Squarp Pyramid user here. After feeling too confined by my previous sequencer, the Elektron Digitone! I only wish it could do a few of the timebased tricks of the Toraiz Squid. It has its limitations of course....
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Well a new kid in town is the Aurturia Keystep Pro. Finally! a sequencer with real-time recording. Sold my Alesis micron that I had only been retaining for that purpose and picked one of these up. By the way, not to get off topic, but the Microns really held their value. Actually they are sell for more now than when they were new. Maybe some cult-classic thing-I don't know. It had a lot of features packed in, but was a serious menu-diving nightmare.
Keystep Pro= Great connectivity/midi/cv, fairly straightforward, has AT (though that is not recorded in the sequencer pattern). I would have liked if they had made a slightly larger unit to accommodate larger keys though. Not sure how folks actually prefer mini keys.
Now I officially have enough toys that its becoming a distraction :-\ Might sell the Korg EMX drum machine as I think I found a way to sequence the Simmons electric drums controller to this Keystep. I really don't want to resort to buying a drum machine- being a drummer by training ;)