By the way, thanks for your answer.
I dabbled with the recent beta to adjust the delay of the drum machine. And eventually managed to get the delay around 8ms with the current public firmware. I returned the ACME-Snd as it only complicated what was an otherwise straight forward set up.
I need to watch this to see if Cirklon would be worth adding given that I already have a Hapax and other stuff.
Yep, that’s expected behavior. Simply set your P3 to local off (p.98 in the manual)
Fun fact: Once you have local off, you don’t need to turn down the volume anymore 
Edit: tested this, for me ChatGPT5 gave me the correct solution with the first prompt I tried: “I have my Pro 3 set up as input to my Cirklon, now when I turn the volume pot on my Pro 3 that also changes the volume on the synth that is mapped to the current track on the cirklon. How can I avoid this?”. It may have gotten the specifics wrong (no clue, never touched a Pro3), but it correctly pointed out to disable local control, either entirely, or if, possible, for CC or even for volume only.
That seemed to do the trick. Thank you. I’ll update the thread if for any reason the results change.
Not sure if any of you are online or have used inter-track aux events, but did you ever run into a snag when trying to get two parts to play off each other?
I have the tendency to move on once I get stuck, and I’ve watched the Aux event informational video too many times to spot a difference in where I’m falling short.
And that’s just one part of the manual that I struggle to grasp. 
Have you seen this ? https://www.youtube.com/watch?v=jTDLtT4D6JQ
You’ll find some threads about inter-track events on the Sequentix Forum, maybe that will help. You’ll need to register there to use the search, but as a Cirklon user it makes sense to have access to wealth of information in the forum.
If you post a question there and are prepared to wait, you will get a good response eventually, but chances are you have moved on to other things entirely when it drops. So “look there, but ask here” is probably your best bet
I know this does not help much, but you’re not alone
This is the end result of what I’m after, yes. Though this is the first time I’ve seen this video.
Yeah, it’s not the most attended forum, but the folk there are good people who all mean well and help when they can. Thanks for the reassurance.
Peace!
This winter I intend to break out of the eight-bar loop and work towards more flushed out songs and compositions. And while it may be some time before I’m able to achieve my original goal with music, which would be to perform live, I want to move beyond jamming and into fully flushed out tracks that I can record, recall, and adapt. A few questions I have (but hey, if you want to add on top of these, go right ahead):
What are some of the workflow tips or habits that helped you create more flushed out compositions?
What are some of the shortcuts or functions you’ve learned that you feel like you couldn’t live without?
I imagine if you use instrument definitions, you also tend to rely on program send / receive functions; have these always held up for you? Do you approach naming your patterns in a way that helps enables recalling previous sessions?
I’ll spend some time searching the existing topic threads, but I imagine it wouldn’t hurt for others to see everyone’s replies. 
Start with a concrete vision. Genre, sound palette, structure, it could be any number of things. Imitate the structures of your favorite musicians. Work quickly. When you have an idea down, find a way to iterate on it while you’re still feeling the vibe. Don’t worry about fine details, worry about the broad strokes here.
Get a scene or 4/8 bar pattern down, then copy it and iterate by tweaking a few steps, broken something in/out, etc. Do this again but take out a bunch of things then do it het again and bring things back and change or add one. Now you have a very simple song structure to work with.
Thanks for the reply, mate.
I have a very simple system.: my songs in Cirklon are numbered 1…n. Song 1 uses Preset #1 in all synths and effects, song 2 uses presets #2 etc. That’s it and that’s all. And I’m not proud on the number of years it took me to come up with that. The moment I decide an idea for a song is simply not going to cut it, I’ll delete the song and start a new one in that slot. The moment I get a new device, I clear program locations 1-32.
When I sell a device, instead of deleting the instrument I simply preface it’s instrument name with a ‘z’, so when I recall a song with that instrument in it, I still remember what synth I used to create the sound. That makes it simpler for me to decide where to get a replacement sound from, should I ever revisit that song. The ‘z’ neatly tucks away all those instruments to the bottom of the list.
Recently I started prefacing the instruments for my 303-ish synths with ‘303’, because that makes it so much simpler to test which one sounds best on a particular pattern.
This was also a super helpful reply.
Can you elaborate on the song and pattern names using an actual example with multiple instruments?
I admittedly got a bit lost there, but the overall idea resonates with me a lot.
Do any of you name your patterns after patches? Are there any tips for sending / receiving programs to ensure they always map?
I did, yeah. Just instrument name and patch numbers usually. So the main pattern for an instrument would be named “Peak D034.” Otherwise I’d never remember what patch I used if I came back to the song after a week or two.
Hopefully Pattern is the right verbiage. I sold my Cirklon earlier this year and my memory of specifics is hazy.
You did what? Did you give up music entirely? /jk 
Ha! Nah, I just realized I didn’t use half the Cirklon’s capabilities and that I’d rather have a Hapax and money in my pocket.
One of the things you could’ve done would have been to store the patch / bank select info as Track Values. That way whenever you dial up the song or scene, Cirklon takes care of the remembering part. I’d never know which patch out of my JV-2080 or Proteus 2000 I need without that. Some synths (e.g. the Proteus) tell you the MSB/LSB and patch number so you just type it in. For others (e.g. the JV), I have a chart showing all the correct values for the selected patch and bank.
I’m old and can’t remember shit. I may have said this before.
Actually, the other member here clarified this for me. Or at least I think so. I was saving just the patch number and not the synth name in the pattern.
It took me a while to realize patterns aren’t married to an instrument; I have a gang of them but have no idea what they mean. And because I don’t always delete the ones that don’t end up in the final track (they’re more like iterations), they just end up taking up space.
As I think through this, situation I run into, is that I may have a different pattern for a different part of the song using the same patch.
Do any of you have a system for different patterns using the same patch?
Off the top, that might look like:
Pt 1 -3rd Wave - Patch B102-98
Pt 2-3rd Wave - Patch B102-98
I was also thinking having a 1:1 of this named in Ableton for my clips. But wanted to nail down the Cirklon system before getting married to an approach.
I should probably take to writing this out instead of internalizing it.