Analogue-sequencer

"Colin f" <colin@c...> wrote:

> This can be done at the moment, but using a roundabout method not
for the
> faint hearted.
>  
> Transposition from an attached keyboard will be implemented as part
of the
> remote control features, hopefully in the next release. Oddly
enough,
> no-one's really pestered me for this before.

Although there is something very clear and uncomplicated in the P3's
structure to not have a midi keyboard's pitch reference in play (with
a master keyboard transposing the P3, one is constantly reading pitch
sets in the sequencer that are playing different pitches than
displayed, due to an offsetting pitch transposition from the keyboard
reference), I often use devices like the P3 (or the Schaltwerk) as a
pattern creator amidst a larger system.

For one project a few years ago, I used the Shaltwerk to create
tremelos, using 4 Waldorf Pulses each trilling between a pair of
pitches that outlined a chord.  After storing several different chords
in the sequencer memory, the sequencer was clocked from the
Synclavier, which was the master sequencer and clock source for that
particular piece of music.  The tremolos were then patched throught a
Waldorf Wave's external inputs, where the keyboard, when played, faded
the tremelo texture in and out while also providing the reference
pitch for the event.  This way, I could use the texture at will with
the orchestra, allowing the player to match key center and harmonic
ocntent on the fly...  While doing that, all performance data could be
recorded and played back from the Synclavier's sequencer, which was
simply recording the activity on the master keyboard....

I would love to see a switchable feature, allowing the midi keyboard
to 

1). be ignored (as it is now), 

2). the master reference, with OFFSET (when enabling the Schaltwerk to
transpose from the keyboard, it simply added the pitch to the
sequence, so when you created patterns that you liked first, and then
attached the keyboard to transpose, the result was always one or two
octaves higher than the desired result).  In the P3, perhaps simply
making middle c the position of zero transpose would solve that. 
Being able to select exactly which pitch is zero transpose is really
handy, though.  I guess that what I am saying is that the environment
for creating patterns may be different from performing - I may be
sitting with Reason writing patterns, then, when producing the stuff,
I will have the P3 controlling a modular synth, and when I finally
hook up a master midi pitch reference, it would be nice to play a C
and tell the P3 that this is the zero transpose reference....

Gary