"Thanks for reaching out, and making us aware of this.
I tried to reproduce this, and I get sort of the same issue. My T-1 sends to the lowest numbered MIDI Channel, regardless of which one was added last. Anyhow, I also can’t send to 2 channels at once with one CC track.
As you say, it would be a great feature, so I have noted it to our developers for the next T-1 update.
Until then, you will have to use several CC tracks for several channels.
Let me know if you have any further questions.
Kind Regards"
I have a quick question for users of the T-1 with CV…can you assign all 6 CV outputs to gates (or any other way to just use all 6 CV outputs to drive drums in Eurorack than normally expect triggers).
Trying to decide if I should get rid of my and Acid Rains Constellation Constellation – Acid Rain Technology and get this as would free up some space in my rack and also be fun with Nord Drum over midi etc
Got it thanks (all outputs can be gates, configured like the OXI by the looks, but you have to plug it in to something to configure (on the OXI you can swich with just the unit) , a bit of a pain not being ale to switch on the unit between patch’s if you are using it mainly for Eurorack, but not the end of the world)
There are already many functions embedded in the user interface (and other are likely to be added in future) so it’s understandable that the developers opted for a configuration app. A porting for iOS/Android would be a step toward portability.
Confirm the manual is on the heavy side, the bad news is that putting in -all- the missing details and practical examples would have easily doubled its weight.
I’m thinking about getting a t-1 to use with my modular.
I’ve had various Euclidean sequencers before(including constellation) and the one thing I don’t like about the algorithm is that it tends to produce a somewhat busy output, which is a natural consequence of the algorithm itself trying to spread events evenly across a number of steps.
This becomes a problem when the whole workflow is based on the algorithm. It’s very easy to end up with carnival cacophony but tricky to sequence phrases with silence between them. I know that t-1 has manual step editing features but I wonder if the general experience is one of having to fight against the busyness/uniformity, or if spreading out phrases with silence and perhaps the occasional sparse note between them is a relatively effortless task.
I know for example that Pamela’s pro workout has the ability to pad an Euclidean pattern with n steps of silence at the end. I haven’t used it myself but that’s a pretty clever solution that avoids having to go in and edit steps manually.
Pretty easy, though I guess it depends on your personal workflow. Here’s a few ways I would do that:
Turn off steps individually, which is super easy and fast. It’s worth noting you can extend each pattern up to 64 steps, over 4 pages, so that can help with busyness – you could just go into one of the pages and switch off a bunch of steps.
Use the cycles feature (which enables you to introduce variations on the current pattern) to use fewer steps (or no steps) on some of the cycles. I think this would probably be the easiest way to do the kind of thing you’re talking about doing with Pam’s
Use different divisions on different tracks, which can really help to spread stuff out (by default it’s 1/16ths but you can set it to others including triplets)
Use probability to lessen the chances of some steps firing (you could also combine this with cycles, so some cycles have 100% probability, some less, etc)
Or, outside the T-1, you could use logic circuits in your modular to thin things down. For example, taking 2 sets of triggers out of the T-1 and running them through an AND to get a nice, sparse kind of semi-random pattern. Or through an XOR if you want beats to trigger only anytime they’re not competing with each other.
Elektron also included some logic functions like this in the Euclidean sequencer mode they added to the Analog Rytm, and it’s an effective way to sculpt the outputs into something that is more tailored to your needs in a particular song.
The T-1 has a specific Probability function for making tracks less dense/busy. It’s accessed pressing Ctrl+Velocity and it works in a peculiar subtle way that is often difficult to describe with words, most people agree it’s different from Elektron implementation. It’s worth watching some of the good YT videos on the subject.
This is how I typically do it. The problem is that generating the actual mask-signal can be quite a complicated affair using up multiple modules by itself. Part of the reason I’m looking at T-1(and other options) is to offload(and also streamline) some of those tasks .
I like probability but what I want is clusters of events with longer periods of silence or just the occasional event in-between, rather than just randomly thinning out events. Seems like the cycles feature can accomplish this though.
I think I should mention here an in-depth reflection by @RadekPilich on the interaction between Random and Probability, this should give an idea on how complex the T-1 can be (if one wants to):
The visualization of RANDOM in the manual is just plain wrong / gives a wrong impression of how RANDOM works.
RANDOM is primarily the frequency of how often do the individual steps of a random sequence change.
When lowered to zero, the random sequence doesn’t change anymore, but it is still random in a sense, that it’s not a flat static value, it’s a sequence of random values, although it’s progression is frozen in time and the values don’t change.
The RANDOM value determines, how many of these values change during each playthrough of the random sequence.
0 = no step of the random sequence changes. 100 = every step of the random sequence changes.
What RATE does is “time stretching” the RANDOM sequence in time.
Both RANDOM and RATE determine the shape of the random sequence which in turns determines, which pulses and repeats get muted when PROBABILITY gets dialed in. PROBABILITY value itself only determines, how many pulses or pulses & repeats are muted, however which pulses and repeats are those exactly is determined by the shape of the random sequence.
Use of Cycles has already been mentioned, but there’s also the brilliant “temp” button + feature. With temp one might mute tracks, or remove steps, or reduce pulses… then release and it’s right back to where things were at before.
If that suits how you work, it provides an immediate and non-destructive way to introduce silence, space, contrast.
Another thing I haven’t seen mentioned is using a less pulses over a longer duration and applying repeats to fill it in.
So an example would be having a 32 step pattern with a slower clock division, something like 5 pulses, 2 repeats, and timing set to be pretty tight, so that it feels like a cohesive pattern.
Then you can start modulating things like the pulse numbers, the number of repeats, the timing, and the “offset”/goove/velocity to keep it evolving.
Essentially the same trick as using delay for ghost notes, but now you can modulate everything without the pitches going wonky.
And Temp + Pattern + knob applies changes to all the tracks, useful for creating buildup and space. Also Length can be used for weird loop/stutter effects.
I’m starting to lean towards selling mine.
For me to use it the way I want I would need to buy one or two additional modules of expensive gear such as a Vermona perfourmer or syntakt.
I’ve also found I don’t enjoy programming melodic parts on it that much, I have to face that I am a keyboard player and that’s the part that I actual enjoy about making synth music.
I do enjoy using the T-1 to program drum patterns but most of the devices I would pair it with are Elektron boxes that already come with a great sequencer attached.
I am with Bartizanier. I love the T1 for drums and sample triggering…use my SP 404 MK2…but melodic not at all. I mean it’s nice to create some random melodic stuff but I just also love my keyboard. If they would just allow playing into the main sequencer along with the random, euclidean stuff, this would be perfect for me.
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