Track workflow questions

I’ve read through many of the other posts talking about various workflows, and I’m attempting to refine mine. I’m aiming for something where I can hit record and lay down tracks and variations ideally without stopping the transport. I’m ok with toggling record and tapping undo on a pedal.

What I’m wondering about is how opting to focus on tracks over patterns supports a more “improv” style. It’s clear to me that patterns are clunky. I don’t like the idea of multi-finger button combos while jamming (e.g. to enable patterns or copy parts on the go.)

But how are you achieving flow with only tracks? I assume that you have multiple tracks pointing at the same device/synth. Is this mostly a matter of adding additional notes to that synth and then periodically muting the additions? Do you start a new track and then mute the old, right as you play into that 2nd version? Then I assume you move to another sequence and possibly turn record back on?

Also, I’m wondering about omni-mode. Doesn’t the use of omni-mode limit you to recording into only 16 channels? E.g. if I set Omni-Mode to channel A, then my understanding is that only tracks 1-16A receive notes. Where-as if I turn it off, I can select any one of my 64 tracks and play (and record) directly into it. Do I have that right?

Fwiw, I’m using a Launchpad, a couple MF Twisters, and MTP as well.
And I get that midi FX can bring variation.

1 Like

‘in the beginning’ the pyramid did not have patterns…
I mention this, as I think this is why in many ways multiple tracks and patterns ‘overlap’ in functionality, so you can acheive similar results.

as you say,
tracks can point to same instrrument (output/channel) , so you can switch by muting/unmuting tracks
also lets remember track number does not equal midi channel for output, so you can layout as you wish… e.g. I often have tracks 1-8, mirrored on 9-16.

tracks do have the advantage that they are independent lengths and can have different midi fx etc…
where as patterns as limited to just the ‘step’ information.

sequences can play an important role here.
you dont have to use sequences as a linear programmed sequence.
you can play them (quantised) , so use as a ‘shortcut’ to mute/unmute groups of tracks or switch patterns.

external control - we have pyramidi, but this is a bit limited.
again, the fact that patterns were added later is evident here.

tracks can be muted/solo’d, selected via external controls, so makes sense to use tracks if you want this.
similarly, sequences can be externally controlled via cc … so that enables a kind of pattern select.

yeah OMNI targets one bank for recording - so if you are using this, you can only really use the other banks for pre-recording.
you could of course copy 'n paste a track from (e.g) bank A after recording to bank B, then re-use A.
this actually is pretty quick - I use it in the studio - I guess it could be used live if you ‘practice’ it.
(what nice is you can chose what to copy… just notes, or everything)

quite a while back, i asked Squarp for an option OMNI = Active Bank, to allow us target record to the currently selecting bank… but not happened.
perhaps send Squarp a feature request via the contact form, if you would like that, or have other ideas in this area.


note:
I’ve mentioned sequencers a few time, I know we are limited to 32 sequences, again thats something you can raise with Squarp if this is limiting.
(for me, for one piece its ok - but I know those that want to put an entire set in a project , this is quite limiting - but it is what it is :wink: )

1 Like

not sure if there’s soom to expand there, but ever since I figured out SEQ mode I find 32 to be limiting even for a single Song. So yeah, for me a pyramid pro with 128, 256 or even more sequences would be insta-buy… It’s easy to lose oversight with such long sequences but it’s perfect for live sets