Interesting. I was imagining something like a single button to do this for me. Right now I just sacrifice a group for it (press group 16, turn encoder 16, then go back to group 1 or whatever again to get back business). Well, that’s the theory anyway still need to get it working correctly haha.
I’ve only had the Octa for a couple weeks so still haven’t found my footing. Coming from Digitakt which doesn’t have this concept of parts, I’m having trouble getting used to it. So far I’m also using banks like songs, but using all four parts split amongst the 16 patterns in a somewhat logical way - definitely requires sending the request on each pattern change (well, depending on the flow). So for example pattern 1 and 2 are the same, only 2 has more conditional trigs and longer decays on most sounds to build more excitement. This is accomplished with parts that are almost identical. It’s a huge PITA to make sure the levels and other values that shouldn’t change between part 1 and part 2 are the same, but worth it because going from pattern 1 to pattern 2 sounds great (this continues for all patterns, where pattern 3 and 4 are the apex or peak time moments). The other approach I’ve thought of is to use parameter locks between patterns to build variation, but then I lose relative manual control in a live situation not to mention programming is much, much more tedious and we’re back to the same problem as keeping sounds between parts the same, only multiplied by the count of patterns and triggers!
That sounds very handy, and also a little confusing at the same time since I was not aware that “CC61 only returns values for tracks that have trigged since the part change”. I’m trying to think this through please correct me if I’m wrong: if I have pattern 1 on part 1 and pattern 2 on part 2, when I go from pattern 1 to 2 and then request params, I’ll only receive CCs for tracks that aren’t muted? Which would then mean I’d be in an unsynced state…
Curious to hear more about this!