Hi Nerds,

on the CV16 I would like to be able to link an LFO to another modulator lane (of the same CV16). With link I mean that the LFO in question should restart whenever the other modulator (namely an Envelope) goes through an attack by means of one of ^x0, ^x1 or ^x3 (x being an envelope 1-8). In the same context I'd like to add a configurable Delay to that LFO and possibly some Glide for the Amplitude (the Amplitude shall glide from 0 to the selected maximum).

The use case is to create some form of smooth vibrato.

I'm not sure the available parameter space for an LFO allows for such functionality but I thought I'd at least ask

Kind regards,
Michael

I see this screen in the manual but I don't see any description of how to get to it, nor can I figure it out.  Help? 

Hi there, I was wondering how Midi note offs are handled? It seems like they need to be explicitly set on the midi tracks, is that correct? how does it work in the case of chord FX? should I always set a note off on each track the chord is highlighted on? I'm having issues with one of my midi voices where its voice allocation gets stuck open, and I think its because I was not correctly sending note off events..

Im in a debate with myself right now whether to make a small compact system based around Nseq and ER-301 in 6u 70HP or bloat it out to 90hp with an Akemie's castle. 


I wanted to ask if anyone has any experience with these two together. I imagine with the CV16 you could do all kinds of stuff with it, but is it worth sacrificing compactness making a 15 inch case to 19 inch.

thanks for looking,

Hello all,

My understanding is that an FX will still be active on a track, within a sequence even if it has been deleted?

Im pretty sure I have activated some FX within a recent project but I am not sure which.... this is likely to be due to working too quickly and accidentally turning something on briefly as I skip through the various parameters (note to self to slow down). The project is large, many tracks, many sequences and it is likely I have deleted an FX parameter without setting it to zero before doing so. 

My question is, is there an easy way to see what FX may be active on a specific track so I am able to then recall an fx parameter and set it to zero?

I could go through every single FX parameter, enter a value of zero (or the equivalent) but this would take a looooong time.

Any advice welcome, thanks!

This track was done Saturday, with 6 empty patterns left. Enjoy if 178 BPM is your thing!

https://dspkills.bandcamp.com/track/thermilon-beta

And a video of it “in progress.”

I need a longer cable for my 16 trigger expander, I notice the cable is 14 to 14 pin!

Anyone know where I can buy one in the UK?

Thanks

Currently we scroll through all of the available chords to get to the next note (first all the chords for B, then we get to C).

Maybe they should be separate parameters to minimize scrolling.

Instead we could scroll note separately and chords separately, getting to the chord and note we want faster.

Hi Nerds,

I would like to be able to manipulate some table settings from out side a table via FX commands.
I'd like to dynamically set
- the "Allow Notes" of a table to a certain scale or chord
- the Speed of a table for
- the Range (lower and upper bound) of a table

Not sure Quantize should be made changeable from the outside as well.

This is the last of the 4 feature requests regarding tables and arpeggios. I'd be interested to learn if others would also like to see such features or even extend them.

Kind regards,
Michael

Hi Nerds,

chords in tables currently allow for easy setting of minor/major/diminished/7th chords setting in allowed notes for every possible root note.
I'd like to extend these by scales and the various other chords the NerdSEQ knows about.

I'm not sure how to handle 9th, 11th and 13th which effectively are 2nd, 4th and 6th only one octave up, i.e. whether to map them in the root octave or automatically extend the range to span more than 1 octave (see my other feature request to use the range setting for arpeggios).

What do others think?

Kind regards,
Michael