I think tracks 1 and 2 are sent to the drum compressor and the rest to the instrument one. I know you can put drums on other tracks, but you need to make sure you disable the brain on these too then.
It’s not entirely obvious from the manual about this default routing (or maybe I missed it). I know in the Andertons video Will mentioned about the device knowing when a drum track is set by the engine used, but somewhere else (maybe the Gear4Music video) I know it was said about tracks 1 + 2 being routed differently.
I think there’s a bit of a misconception about the master settings. It’s my understanding that there’s only one compressor and that the percussion and instrument levels only control the gain of each group that both go into the same compressor.
After the compressor, there’s a limiter so pushing the master level pushes this limiter.
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Well did this for fun today… Stream 2025 Jamuary 1 - DnB Toss by NearTao | Listen online for free on SoundCloud
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Track out?
Hi,
Have someone find out how to copy scene, like the full scene like in eg Ableton Push?
I know you can copy track scene, and that is ok.
I would like to copy a scene while in the building flow.
Lets say, start the jam with a field recording sound… keep that as scene 1.
Then copy that entire scene to scene 2 (which would keep all the mutes and would indentical to the scene 1. In the beginning until continued)
.
Then ad to that scene bass…
make a copy for scene 3.
Start to built drums like the kick…
Copy to scene 4
Add hihats
Copy to scene 5…
Now once im ready with the full part i could then just change scenes, and they would make sense.
The problem now is that when you create a new scene, it uses as the basis, not the scene you just heard or was modifying, but rather a scene that was somehow the original…
So the logic is not good in my opinion.
How do people feel about that? Have you had similar issues, or have you found out some works around?
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Agreed. It seems a strange way of designing it alright.
What myself and others seem to have done is to ensure to leave pattern 1 on all tracks empty. Then when creating a new scene it’s blank, rather than full of whatever was in each pattern 1 for all tracks.
I agree that the current setup with this breaks the flow. The way the EP-133 had the commit scene was very intuitive, the XY a little less so imho.
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I dig this little jam:
https://youtube.com/shorts/Oy3GwSHL0Gw?si=UIGECxjd3og6Wg0c
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That’s a great workaround. Thanks for the tip.
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Another quick tip too is to set this up in a project called #template or #base first, then duplicate this when starting a new project. Saves trying to remember to to this the whole time. Also the # at the start of the name ensures that this template project will always be at the top of the project list.
Ensure to create the new second blank pattern on both the instrument and aux tracks too.
Edit - I don’t take any credit for this idea, I saw it on someone’s YouTube video about the XY. I actually tried going back to see who’s video this was, but i can’t find it now. If I see it I’ll ensure to link it here. There were lots of good tips in it.
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Sounds a good idea. Thanks.
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Great idea. I just did this, and also changed the default tracks, added some blank sampler tracks and so on.
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I definitely agree with you on this. I find 9 patterns limiting, and using scenes doesn’t help—it just makes it feel more repetitive. To an extent, I feel like the OP-Z offered a bit more freedom in this area.
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Yea for sure. I’m not trying to knock the opxy and I think it’s a great piece of kit, but it’s an unfortunate limitation (for me), even when I use all the punch in fx tracks.
Sure, I could get around this limitation by cramming things into other track patterns, but I feel like it ends up becoming this disorganized thing that doesn’t gel with my brain. I’m also certain that with more complex tracks that I’d still run out of tracks with one op-xy. I guess I’m more used to the m8 where I’m basically given limitless pattern variation.
I really wanted to convince myself to keep this but I think it’s going to have to go.
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This sounds like the right move. The entire sequencer is built around using step components to add variations to patterns, and it sounds like that’s definitely not for you.
Since they are different devices, M8 is much much powerful in therms of sequencing and effects.
As EZBOT said in his video about the XY, you are more likely to be able to finish songs you are proud of on an M8 than on an XY.
I think the biggest problem with OP-XY (although it has other good things, for example, it is superfun to use it), is all the limitations it has.
I hope TE will improve this in the future…
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@AtumRex You have both? I’m considering adding an m8 to my op-xy.
Have a M8 Model:02, bought an OP-XY a couple of weeks ago. I returned the XY, and now I like the M8 even more 
Jokes aside, although they are devices that get along well with each other, I think a better complement to the XY is a good synth, like the DN2.
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For sure the 9 pattern limit seems very arbitrary. If the XY can store all this data very efficiently (as it’s MIDI data really unlike the OP-1), I’m not sure why we couldn’t have more patterns per track. Maybe there’s a technical reason though.
I know TE love a good arbitrary limit on certain things too as “limitations inpire creativity” or something like that. 
There’s no harm in making your thoughts known to TE too. Send them a quick email or raise a ticket to ensure they know you’d like the pattern limit raised. The more people that contact them about the device and report bugs and limitations, the more likely these things will get fixed and updated.
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It’s not only midi data on the OP-XY and I don’t think it’s an arbitrary limit. Every pattern on every track can hold a different sampler preset. 8 x 9 x 6.7 MB and you’re pretty close to the 500 MB RAM that’s stated on the TE website.
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I would love to hear these songs where y’all run out of patterns!
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