Track::Pattern relationship

Guys, I’m a newbie here. Just wrapping my head around the paradigm.

How would you all describe the relationship between Tracks 1-4 and the available patterns. I assumed that a Pattern was a shell for the info on Tracks 1-4, but it doesn’t really work that way, yes? They are independent.

How do you think about them?

For me, tracks are the outputs, patterns are phrases or groups of steps, perhaps a verse or a chorus, a motif, an idea, a locked loop, a part of the whole that is all the patterns on the track.

I guess what I am trying to say is that you can kinda think about it however you like, it’s really open ended :slight_smile:

Right, but the difference for me is that each track or output can play it’s own pattern independently. So track 1 can be outputting it’s own Pattern 1 and Track 2 can at the same time be playing it’s own Pattern 2. Does that make sense?

Sure, I should have said this happens for each track :slight_smile:

I think you got it already by the sounds of things :slight_smile:

Thanks for your help!

I think I’ve just realised what you mean, in the Elektron stuff a pattern is a collection of tracks, when you switch a pattern, the data changes for every track, whereas a pattern on the ER-101 is a collection of notes for a track.

And yes, they are very different approaches for sure!

Quite a conceptual leap if you’ve never seen it done the other way before.

So what you are looking for is the Snapshots - those are like the Elektron Patterms :wink:

I’m pretty adept with the Monome universe, and this is even a different approach than any of those sequencers! But it’s cool, I’m liking it.

1 Like

This from Brian on the Muffs thread:

Sorry, at the moment it is only possible to operate on one track at a time. Each track has its own play and edit cursors. Its not really well defined how to control all the edit cursors at the same time in order to allow you to select parts across all four tracks. The sequences that you create might line up in your mind but there is nothing in the implementation that says that pattern 10 in track 1 lines up with any other pattern in the other tracks.

Another way to put it is that the tracks are not explicitly arranged on a common grid, they are just bidirectional lists of patterns.

Yeah, it’s very free!!

You’re going to like the 102 if you like this kind of thinking :smiley:

True story:

Years ago, my taiko teacher handed us sheet music for a new song he composed. It was written in traditional Western notation (meter, bars and measures). There were various parts for the different types of drums. We dug right in and started practicing it together. It sounded great and funky! However, the teacher kept stopping us because something wasn’t right. Somebody then realized that a bunch of measures (containing a recurring motif) in the shime-daiko part was too short by an eighth note. This was causing the shime-daiko to phase with the rest of the ensemble, confusing the teacher but sounding great to everyone (teacher included). We decided to keep it but we realized that there was no easy way to notate it. There were lots of proposals such as altering meters every measure but they all made everything way too complicated for what it was. So in the end we just left it as is and had the the shime-daiko player improvise a “return to the grid” at a particular place. Worked out beautifully. Once everyone had the piece memorized, the virtual walls from notation fell away and the whole thing became a non-issue.

(https://en.wikipedia.org/wiki/Shime-daiko)

3 Likes

I see what you did there… :upside_down_face:

Thanks, Brian. Amazing devices you’ve created.

I hope that didn’t come across as preachy. The experience really stuck with me because at the time I was shocked by how much a notation system subverts the outcome. Much to my drum teacher’s chagrin, I’ve been pretty anti-grid ever since. Haha.

2 Likes

Not at all. Like I mentioned above this is some of the same thinking that attracted me to the Monome modules, especially the Teletype. I think of it like jazz. You learn these tools, and in some ways a language, and then it leads you to musical moments and discoveries that you would have never devised on your own.

Now, those results aren’t always necessarily pleasing or interesting to others! But it’s the mere process that holds special attraction to me.

1 Like