spfx problem - not stopping

[XORadmin]

Sorry, I wasn't criticising the NerdSeq, I was just comparing workflow. 

Anyhow, I went back to the module and cancelled out the envelope as you explained and everything worked again - thanks, we live and learn. Anyhow, I'm already back with a new problem, which I guess is related to the last one. I clearly haven't grasped the workflow of the NerdSeq yet, but producing problems is always a good way to learn. 

So, in my new file - this time called "problem" rather than bug. As you'll notice, I've made two patterns 00 and 06. If I play pattern 00 you'll hear a long running C. Then on pattern 06 I added a table with TP values to see what happens. Now, if I go back to 00, the table in 06 affects the pattern 00. 

Why is this, doesn't a table only affect/controls the pattern its assigned too? And secondly, if I stop everything (shift+stop), and then start 00 again, the table (in 06) isn't having an affect on 00. 

So, once a table is created, is it active (affecting) on all patterns created on that track? And if so, does that mean that you need to put a command to stop it from effecting/influencing any patterns afterwards? 

Thanks for you help, much appreciated.

Yes a table belongs to a track and keeps running until you stop it or the sequencer.
Table stop is ** on the table column (or stop in FX).
Or you got a one shot table.

[joesh]

Okay, so in a table you need to implement it, and stop it. Unless you want it to affect the/all patterns implemented after its been started.

Okay, that's on the test list for tonight after work.

Thanks again.

[XORadmin]

Okay, so in a table you need to implement it, and stop it. Unless you want it to affect the/all patterns implemented after its been started.

Okay, that's on the test list for tonight after work.

Thanks again.

Yes think about this like a table can be used beyond regular pattern lenghts and patterns if wanted. They are many uses for tables.

[mgd]

Okay, I think I'm starting to understand. Although I'm a newbie, I do come from a music programming background (SuperCollider*), and it seems confusing that an envelope is already there without you assigning it - although I do understand (now), after re-reading more closely the manual:

"Note that this is not an envelope generator within the Automators, but it rather uses the output of the integrated envelopes of the NerdSEQ to route into the Automators." page 74.

I'm going to go back to the module and see what you've explained.

BTW, I will try (later) to reproduce the original problem that i started this thread with - the SPFX random bit.

* = in Supercollider, there's no envelope until you make/create one and assign it.

That reminds me of my start with NerdSEQ. It took me a long time and lots of "this doesn't work! why is nobody complaining?" until I finally got my head around how envelopes work

Now that I think I have understood them, I find them extremely useful and very easy to use.

The following is specifically targetted towards the Envelopes of the More CV 16 Expander but I think the basic concept applies to the Envelopes of the Main Module as well:
My mental breakthrough was, when I realized that the envelopes as configured are not objects but parameter sets/settings that are used to create/instantiate an envelope whenever it is "used". Namely you can use the "same" envelope on different and overlapping (timewise) notes as they are independent.

I now use them to apply different volume and/or snappiness to notes.

Kind regards,
Michael

[joesh]

Hey Michael thanks for the info, that's interesting (and useful). I think understanding different workflows is always difficult to start with, and, when finally the penny drops, it all falls into place. In my case Supercollider was like that, using a Synthstrom Deluge similar, and naturally DAWs such as Reaper. 

I'm really excited about getting into the workings of the NerdSeq which I'm hoping - from what I'm discovering - could actually replace the workload for quite a few modules (including even the Deluge). The fact that you have so many CV/Trigger/Mod outputs making LFOs, Envelopes, etc, means it can be whatever you need it to be, and, still be a sequencer too!

Anyhow, if you have any other tips, please drop me a line either here on the thread, or via my username which is surely linked to an email.

[mgd]

Most of what I learned about the CV 16 Envelopes I have learned while working on my Wendy Carlos inspired version of Bach's Brandenburg Concerto#3 (see also https://forum.xor.eu/showthread.php?tid=1280).

The current versions have a rather wonky tuning because the method to do vibrato was just bad. The project files have been updated to a better sounding version, but no audio or video been redone. I'm mostly held back by the fact that apparently I can't update the sound track in a video already published on youtube. [if someone knows how to do that I'd be very interested to learn how]

I'm currently working on some generic patch idea/pattern to use a More CV 16 Expander as a source for quantized and unquantized random note and modulation values. The basic concept is inspired by and hopefully will be a mix of ochd and RND STEP. Not yet sure how the quantized (or unquantized) notes will fit in there and how to select or modify a scale.

[joesh]

Wow, love the video, very impressive. As for the Ochd it's one of those modules that ends up in every patch (somewhere).