Good idea! I was mostly messing around to try out the OS, and went between different sequencer modes, so it's not too surprising to see something act up, without saving the patch frequently.
Though my experience was with the "rest", not "reset". On "rest", a step should be skipped, ie not triggered. But it seems the arpeggiator overrides that, and triggers the "rest" steps too. With no actual pitch information available for that step, I suppose the last played note just triggers the voice, either with the pitch that voice is at, or the pitch that the step was last set to. I haven't really been on the Rev2 since then, so I haven't figured out which it is.
Oh... sry, misread "rest" as "reset"... +1 It would be very cool if a Rest in Key Step mode would cause the voice gate to not be triggered (whether the gate is generated via regular key press or arp)... the Rest would suppress the gate/trigger event when its detected on that step with a rest. This is actually something that would be great to implement across all Seq instruments with Key Step / Seq Trigger modes... (Pro 3, Rev 2) It's a behavior that is very useful for creating interesting rhythms.
FYI: the approach I generally take currently is to modulate the Cutoff way down when I want to skip a step... It's definitely not as holistic a solution, and has some downsides, but it does achieve a skipped step type of sound. In that video I recorded a couple weeks back, that's how I got the gallop rhythm... dropping cutoff to be inaudible on step 6 and 14. (https://forum.sequential.com/index.php/topic,5526.0.html)
Yeah, I think it worked that way on the P'08, the rest steps were rests, when triggered. Though it had no arp, but when triggering by keys or external arp, the note didn't play, as intended. I'm pretty sure, as I had nothing weird triggered on those "rest" steps then, and oh yes, this can indeed produce some very interesting rhythms and syncopations, as well as melodies and timbral modulations...
As it's not currently like that on the Rev2, that's a way to do it like you mention, routing a sequencer either to Cutoff or VCA. With a negative amount in the mod matrix. This is more lively than the "rests", as it's not just ON/OFF, but can be any value from 0-125. Sacrificing one sequencer lane for using the arp is ok with me, as it "evens out", though a fix would be great of course... even more possibilities. If wanting a more "random" result, or not able to sacrifice a sequencer lane, a synced random LFO also works, to add (well, subtract in this case actually, because of "negative" mod amount) rhythm and dynamics, or accents. But less predictable.
That video of yours was interesting! I'm not a great pedagogue, and should probably make some illustrations for this, but anyhow I'll give it a shot... (this is without using the arp, if you use the arp you just exchange a sequencer for the arp with whatever notes you play)... you went with 4ths and 5ths (in a sense the same, just the respective inverted counterparts of eachother), which is smart. I thought I'd elaborate a bit on this, that if you start on, let's say a D, and go 2x above and below, using 5ths AND/OR 4ths, you get the same result of notes (at inverted octaves though)... the pentatonic scale. Which is, arguably, THE most generic, or most readily understood and recognized scale to the human mind.
Using 5ths, you get E - A - D - G - C
Using 4ths, you get C - G - D - A - E
Same notes, the pentatonic scale, just inverted order. Pull these together into the same octave and you get an A minor 7/11 (in this case, or whatever *** minor 7/11 chord you choose, with the key you strike)... ie the pentatonic scale. The D turns out to be the middle note in the chord as well as the 4th/5th thingy above.
So that's A - C - D - E - G, assuming you want the A as root when you press an A key, on the P'08/Rev2 sequencer values 0 - 6 - 10 - 14 - 20 (and 24 - 30 - 34 - 38 - 44 ... and 48 - 54 - ... and so on, etc...)
Now, if you constrict one sequencer to this set collection of notes/values only, then use another sequencer to transpose further... by a 4th and/or 5th up AND down, you get:
on 4th up/5th down - D - F - G - A - C
D minor pentatonic scale, or 7/11
only difference of notes being F instead of E
on 4th down/5th up - E - G - A - B - D
E minor pentatonic
only difference a B instead of C.
(Any sequencer could of course be offset by octaves here and there as well.)
By this we get the notes A - B - C - D - E - F - G
A minor/C major scale. With the least easy-to-grasp notes harmonically, B and F, generally occuring the least overall. These notes also form half a diminished chord, ie 6 semitones apart. (Which can also be used harmonically to modulate to different keys...)
OR one could use 3 sequencers each constrained to using only root, and first order 4ths and 5ths up and down (and any octaves of these), to control pitch, to get the same result of notes. At the cost of another sequencer though, so I use the above approach instead, just 2 sequencers at different lenghts (though using 3 could make the pattern less repetitive, you probably won't catch anything repeating anyhow, just using 2...). I'd say go easy though, use lots of root notes on each sequencer, and fewer of the other notes, to keep it comprehensive by the root note occuring dominantly, or most often. Otherwise one can slip towards cacophony, or seemingly random notes. One could instead use an arpeggiator in "random" mode, if random is what you want...
The fun part is with using rests, and/or VCA/Cutoff/Pan (etc) modulations to bring in accents, and setting each of the sequencers controlling the pitch to different lengths (different reset steps), creating what I'd call a "pseudo-generative" melody (and/or rhythm). Though it's anything but random...
Also using the matrix to "reuse" those same sequencers for controlling other stuff, makes it even more interesting...
Doing this intelligently on TWO layers with 4 sequencers each, makes it at least TWICE as interesting, and possibilities multiply even more... And routing stuff to offset just 1 of the 2 osc, modulating the osc mix, etc etc etc, can create some remarkable results. Synced LFO's at a rhytmic interval, routed to an osc pitch as well...
And if you use lots of rests, and notes sparsely, you can even trigger the different voices at various rhytmic intervals/syncopations with an external arp (preferably quite a bit apart, like a whole bar + an 1/8 or 1/16th, or resp triplet interval), then set them to free-run (no reset mode) and it gets even more interesting... I'm hoping to get into all this again and actually make something with it, soon enough, now that both layers sequencers work.
I didn't expect the post to be this long when I started out, and perhaps it should be moved to that other thread that you just linked to. As the larger part of this post may belong there, I suppose. If I knew the drift off-track would take this long I would've posted there. Oh well.
https://www.youtube.com/watch?v=ne6tB2KiZuk
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