It looks twice as big as that TR6S
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Hasnāt shipped yetā¦darn it, I have a few days off next weekā¦get on it, Squarp!
I Agee with that, I think he meant TR-8
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Remember you can also use more than one track per device. Just set two track to teh same channel. Bam, 16 tracks.
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Hehā¦ I do have a K-mix
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You donāt have to work this way if you dont want to, obviously. But really its a lot less complicated in practise than it may sound. FWIW tho you can rename each bank, so you always have a visual/text prompt in the corner of your screen telling you whatās what
The obvious question to me is : only 8 patterns per track ?
I might be overlooking something, but it seems an incredibly small number. Iād need, like, much more than that.
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Okay so I may have been a little out there in terms of size comparisonā¦ 
I was expecting something the size of an MPC 2000XL.
Itās similar in size to the Octatrack , a bit taller and deeper.
pretty much spot on for me, doesnāt take up too much room on the desk, but its UI is big enough to be āplayableā.
led pads - you have control over both colour palette and brightness.
whats quite nice, is the note colours are consistent ā¦ so you get to learn C is red (or whatever you define), then it goes slightly lighter/ping (iirc) for C#, diff colour for D etc.
nice when you are switch scales, so you still know where C is ā¦ even though scale/chord mode makes it less āimportantā
btw: watch this spaceā¦ my in-depth walkthru video, will be released very soon 
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Iāve got a question about random pattern play mode.
Is there a way to jump every x beat to a distance that is a random multiple of a given amount of bars ?
Trying to replicate random follow actions in Ableton Live with āLegatoā on clips.
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Judging by the manual, the pattern length can be up to 32 bars, so 256 bars per pattern. Seems like plenty to me but you could probably use an additional track (from the 16 available) if you needed more. Assuming youāre not already sequencing 16 devices!
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and you could also use the projectB!
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k, this seems to keep coming upā¦
Iāll try to make as simple as possible
every pattern can be up to 32 barsā¦ there is no ātrack limitā
every track can have 8 patterns.
a project has 16 tracks, and you can have 2 projects active at once.
thats a lot of combos.
also I should say its possible this could change in future firmware version , lets remember we are 1.0 , so feedback from users will possibly change things.
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I was lucky enough to be given the opportunity to be a beta tester for the Squarp Hapax.
(thanks again @squarpadmin for this opportunity)
Iāve watched it developments, and got a really nice feeling for the Hapax, and yes I love it !
In this video, I go through what it can do and how Ive been using it.
of course, even though its an hour long (!) , with such a complex beast, some things are covered briefly ā¦ If you would like to see more about certain features, leave a comment on the video.
Ive also got a specific eurorack/hapax video in the works - let me know in the video comments, if there is something particular you want to see.
similarly, if youād like a ācomparisonā of Hapax/Hermod/Pyramid ā¦ again pop it in the comments.
(Im thinking primarily, the difference in āapproachāā¦ not feature X is in pyramid etc)
Grab your favourite beverage and enjoy 
Mark aka TheTechnobear
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I do kind of want one now, damn it. Although, as someone else said earlier, it would replace a fair few bits of current gear - certainly the Pyramid, and probably enough others to make it a profitable move. Iāll just try to make the most of the stock situation as a cooling-off period.
What Iād really like is for Akai to add some algorhythmic features to the Force, thatād be a great help here.
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I would love to see ratios available for polyrhythms, not just percentages. For example, if I wanted a rhythm thatās 7:3āwhich I can do directly on @mzeroās Pulsar BuddyāI would have to calculate in my mind how to distribute percentages for each trackās elasticity to get the right rhythm. More work (least common denominators and shit to juggle multiple polyrhythmic tracks. Then, since 100 isnāt divisible by 7 or 3, it might not sound good enough. But if elasticity could be set as ratios (relative to a reference track, or some other method), then polyrhtyhms would be more natural because polyrhythmsā feel is ratio-based, not percentage based.
Using percentages for elasticity is cool for a certain kind of messing with rhythmic feel in a polyrhythmic way. The feature Iāve been waiting on from all these devices is ratio-based polyrhythms. I can do it in (my own) software, but Iād really like a hardware device that can do what I can currently do only in my own software performance sequencer.
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A behemoth of a walkthrough. Nice one Mark
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yeah, you can do polyrhythms on the hapax (*) , but the pyramid is more focused on them.
this was actually, kind of a problem for many users ā¦ it confused them or it wasnt really something they wanted to be a core elementā¦so both the hermod/hapax place much less emphasis on them - generally, I think most were more interested in polymeters, rather than polyrythms
(and its easy to confuse the two if youāre not into this area )
In this sense the hapax is going to be more āfamiliarā to most users.
currently, no plans to stop the pyramid, its seen as a different/complimentary product - and I think polyrhythms is one area where this might be a deciding factor.
this is actually the basis of a video I want to make, on how the Hapax/Pyramid/Hermod compare, because its not a simple evolution, there are some different ethos involved.
and we had this confusion with people thinking the Hermod was a mini-pyramid ā¦ and its not !
(*) hapax allows so much editing with zoom, triplet modeā¦ you can still do polyrhythmic stuff ā¦ and of course polymeter)
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Well, 8 long patterns is very different from many patterns, imho. Some of my projects are highly un-repetitive and this seems a deal breaker to me.
And I see people coming saying ābut you can add probabilities, conditionnal trigs, etcā to vary your patterns. I know that, but I donāt like it. Iām a control freak. Or letās say, a slightly traditional composer.