![]() We’re winding up with button combos for certain “new” operations. The settings menus for configuring MIDI behavior and the analog inputs and outputs are getting pretty confusing. The physical interface is showing some signs of strain as the product evolves. The physical interface also suits Ableton-ish pattern and scene launching reasonably well. The physical interface is optimized for editing various parameter layers of eight step sequences (which can be much longer, presented in pages of eight steps/stages). Vector is something of a work-in-progress, with additional features and functionality arriving iteratively through firmware updates. The result is something between Numerology and the Cirklon. It’s an adaptation/scaling-down of Numerology for the Eurorack format, and one of the strongest Eurorack sequencers currently available. ![]() Sure, there are a bunch of us around with the Vector. This created more “experimental” chord progressions, but the quantized output is weighted so the previous chord effects which random notes are played, which will feedback in determining the next chord. I previously wrote a script that took a stream of random notes in a 16 note buffer and wrote an algorithm to identify chord intervals ( posted over here with video if anyones curious). I’ll post the script when I get through some cleanup-algorithm is fairly simple, so maybe someone would like to adapt it. (Heres a potato quality video that demonstrates the idea with my daughter helping me out as always…). I’m currently working a Crow/Druid script that procedurally generates 4 chord loops that are heavily based on this chord map. I actually bought the Crow because I couldn’t find a Eurorack module that would help me easily sequence chords and quantize the scales at the same time. Not sure how much interest there is but I’ve been generally exploring and getting a deeper understanding of music theory through programming. This thread is also helping me articulate what exactly I’m trying to do with a sequencer - so I appreciate the patience. Looks like you can jam for bar after bar and really think about the harmonic progression you’re building, not the notes you’re subtracting or randomly generating. This also seems do-able in some of the aforementioned sequencers, but the thing that is so intriguing about he NDLR is it looks like it gives a lot of control over more than just 4 bars. But there is always the case where I want to reach in and move that one note a step sharper. ![]() I can see how something like the Keystep Pro or the filters on the Squarp Pyramid could help dial in a sound. But I’ve wanted more control than any random music generator has been able to give me. There are certain genres of music where they really shine. Mutate it to be harmonically related based on probability,įor the sake of discussion - and not an indictment on these helpful suggestions - I’ve never found filters or randomizers very useful when applied to rhythm, melody, or harmony.
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