Sequentix Cirklon

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Bobby
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Post by Bobby » Wed Sep 18, 2019 4:16 am

dubonaire wrote:
Bobby wrote:
dubonaire wrote:
Bobby wrote:
slumberjack wrote:i don't have to label any tracks. 1-16 are memorized in my spongebrain and 16-32 i sometimes have to check with a click on the button. it's a charm!
me too: not an issue for me at all. only very small/ occasional problem i have is wanting to a second row of buttons so i can mute/unmute more on the fly.... haven't looked but i guess this might be possible with an external controller tho. (if not ill get a second Cirk at some point. Love the thing)
All you have to do is press or turn the BAR encoder to step through the banks. It's really quick. I think getting a second Cirklon is overkill for just that.
yep i know, key words are "on the fly" tho. Cant really mute across the two pages on the fly.
Oh c'mon man it's a few milliseconds and you only have ten fingers. I would need something special to be convinced that you can't set your tracks up to do your mutes one page at a time. All hardware has limitations and every artist up til now has got around those limitations. If that's what you need to do a mixer with submix groupings is way faster and cleaner.

jeez. fuck this place. im out.

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Post by dubonaire » Wed Sep 18, 2019 4:28 am

Bobby wrote:
dubonaire wrote:
Bobby wrote:
dubonaire wrote:
Bobby wrote:
slumberjack wrote:i don't have to label any tracks. 1-16 are memorized in my spongebrain and 16-32 i sometimes have to check with a click on the button. it's a charm!
me too: not an issue for me at all. only very small/ occasional problem i have is wanting to a second row of buttons so i can mute/unmute more on the fly.... haven't looked but i guess this might be possible with an external controller tho. (if not ill get a second Cirk at some point. Love the thing)
All you have to do is press or turn the BAR encoder to step through the banks. It's really quick. I think getting a second Cirklon is overkill for just that.
yep i know, key words are "on the fly" tho. Cant really mute across the two pages on the fly.
Oh c'mon man it's a few milliseconds and you only have ten fingers. I would need something special to be convinced that you can't set your tracks up to do your mutes one page at a time. All hardware has limitations and every artist up til now has got around those limitations. If that's what you need to do a mixer with submix groupings is way faster and cleaner.

jeez. fuck this place. im out.
That's up to you, but suggesting you need a second $1600 sequencer just to be able to mute across more than 16 track is kind of hilarious. Good luck with that.

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Post by slumberjack » Wed Sep 18, 2019 5:55 am

please dudes chill the f*ck out - we're all here to share the love.

my work around for quick mute on the second (or third sometimes) page is pretty simple:

if i'm im 'jam mode' and don't need to get into the patterns anymore i just leave the active track around 15-18 so all i have to do is move the bar knob up and down while i mute/unmute with the left hand.

when it's more in the composing process or the active track is somewhere else its just a click on #16 with the righthand-thump while scrolling with the other (frankie) four fingers.

but sure i'd like a button combo for switching pages - also in pattern mode.
like: shift + step number = page (in track[bars]/scene[trackpages]/song[sceneselect]/ - and then there should be maybe a 1, 2, 3, 4 option if there are more then 16 bars/track pages (unlikely)/scenes

BUT arent the A + B knobs assignable? wouldn't it be possible to assign the to 'crossfade between track pages?
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Post by slumberjack » Wed Sep 18, 2019 5:57 am

btw: i'd like to get second cirklon too - for live shows.
but hey now the queue is to long and there are other nice option on the market.
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Post by dubonaire » Wed Sep 18, 2019 6:29 am

slumberjack wrote:please dudes chill the f*ck out - we're all here to share the love.

my work around for quick mute on the second (or third sometimes) page is pretty simple:

if i'm im 'jam mode' and don't need to get into the patterns anymore i just leave the active track around 15-18 so all i have to do is move the bar knob up and down while i mute/unmute with the left hand.

when it's more in the composing process or the active track is somewhere else its just a click on #16 with the righthand-thump while scrolling with the other (frankie) four fingers.

but sure i'd like a button combo for switching pages - also in pattern mode.
like: shift + step number = page (in track[bars]/scene[trackpages]/song[sceneselect]/ - and then there should be maybe a 1, 2, 3, 4 option if there are more then 16 bars/track pages (unlikely)/scenes

BUT arent the A + B knobs assignable? wouldn't it be possible to assign the to 'crossfade between track pages?
I honestly don't think I'm being prickly. Of all the feature requests that have been posted on the Sequentix forum the need to have instant access to mutes of 32 channels at once isn't prominent because it's not a necessity. You don't need a button combo for switching pages, one button press does that.

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Post by Bath House » Wed Sep 18, 2019 8:31 am

slumberjack wrote:btw: i'd like to get second cirklon too - for live shows.
but hey now the queue is to long and there are other nice option on the market.
I keep wanting a second BOB so I can leave everything patched up in the room but disconnect the main cirklon unit to take out live with a euro case and some boutiques. I’d rather spend the hundreds on just about anything else though.
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Post by slumberjack » Wed Sep 18, 2019 6:20 pm

Bath House wrote:
slumberjack wrote:btw: i'd like to get second cirklon too - for live shows.
but hey now the queue is to long and there are other nice option on the market.
I keep wanting a second BOB so I can leave everything patched up in the room but disconnect the main cirklon unit to take out live with a euro case and some boutiques. I’d rather spend the hundreds on just about anything else though.
The issue here is that i - hate - to take the machine out of it's configuration, spend half an hour to unplug it (all midi ports are used) and then again re-plug everything in again for a a gig where i get 100-200$ max...I'm selfemployed so time matters. I'd rather get a second sequencer paired with my live boxes for a few $ and i'm done...
> WTB ADDAC502 <

www.stefanrudin.bandcamp.com / www.soundcloud.com/stefan_rudin / www.youtube.com/user/slumberknut



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Post by slumberjack » Wed Sep 18, 2019 6:23 pm

dubonaire wrote:
slumberjack wrote:please dudes chill the f*ck out - we're all here to share the love.

my work around for quick mute on the second (or third sometimes) page is pretty simple:

if i'm im 'jam mode' and don't need to get into the patterns anymore i just leave the active track around 15-18 so all i have to do is move the bar knob up and down while i mute/unmute with the left hand.

when it's more in the composing process or the active track is somewhere else its just a click on #16 with the righthand-thump while scrolling with the other (frankie) four fingers.

but sure i'd like a button combo for switching pages - also in pattern mode.
like: shift + step number = page (in track[bars]/scene[trackpages]/song[sceneselect]/ - and then there should be maybe a 1, 2, 3, 4 option if there are more then 16 bars/track pages (unlikely)/scenes

BUT arent the A + B knobs assignable? wouldn't it be possible to assign the to 'crossfade between track pages?
I honestly don't think I'm being prickly. Of all the feature requests that have been posted on the Sequentix forum the need to have instant access to mutes of 32 channels at once isn't prominent because it's not a necessity. You don't need a button combo for switching pages, one button press does that.
Pm'd
> WTB ADDAC502 <

www.stefanrudin.bandcamp.com / www.soundcloud.com/stefan_rudin / www.youtube.com/user/slumberknut



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Post by Sinamsis » Wed Sep 18, 2019 8:01 pm

slumberjack wrote:
Bath House wrote:
slumberjack wrote:btw: i'd like to get second cirklon too - for live shows.
but hey now the queue is to long and there are other nice option on the market.
I keep wanting a second BOB so I can leave everything patched up in the room but disconnect the main cirklon unit to take out live with a euro case and some boutiques. I’d rather spend the hundreds on just about anything else though.
The issue here is that i - hate - to take the machine out of it's configuration, spend half an hour to unplug it (all midi ports are used) and then again re-plug everything in again for a a gig where i get 100-200$ max...I'm selfemployed so time matters. I'd rather get a second sequencer paired with my live boxes for a few $ and i'm done...
I have all my cables labelled (or at least I did til I just rearranged). It makes unplugging and replugging in a very quick affair. I have all my studio, which is fairly large, connected to my Cirklon. I would never take all my equipment out. Aside from the fact that I don't really play out, if I were going to I would just multisample any synths I wanted and use the Cirklon with a few pieces of gear and a sampler or Ableton.

As an aside, several people have commented that the Cirklon is not ideal for live use. Why is that? I tend to do a lot of stuff on the fly and the Cirklon seems pretty decent for live use, even when I'm using it at a fraction of it's potential. I really don't have the extensive experience that others may have with samplers or playing out, so perhaps there are some missing features that I don't understand. But there's a song mode, it seems pretty easy to move between patterns manually, it's pretty easy to mute and unmute parts. What am I missing?

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Post by CF3 » Wed Sep 18, 2019 9:17 pm

Sinamsis wrote:As an aside, several people have commented that the Cirklon is not ideal for live use. Why is that? I tend to do a lot of stuff on the fly and the Cirklon seems pretty decent for live use, even when I'm using it at a fraction of it's potential. I really don't have the extensive experience that others may have with samplers or playing out, so perhaps there are some missing features that I don't understand. But there's a song mode, it seems pretty easy to move between patterns manually, it's pretty easy to mute and unmute parts. What am I missing?
Yeah IMO, Cirklon is incredible for live use. Especially the SCENE triggering page where you can jump thru Scenes on the fly (sorta in an Ableton-esque manner) while still having access to the Track mutes, Fills and A/B knobs (for masking duties), etc. Also, the way you can assign CC# to Instrument Defs makes it ideal for using controllers. My only problem with using a Cirklon in a live environment is that it’s essentially irreplaceable.

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Post by slumberjack » Thu Sep 19, 2019 12:30 am

Labeling and stuff isn't the only thing...my piece is rackmounted, in have to switch the backside for desktop use, then i have to put it back in after the gig and so on.
Kinda lazy I am.

Imho it's perfect for live...
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Post by dubonaire » Thu Sep 19, 2019 4:35 am

CF3 wrote:
Sinamsis wrote:As an aside, several people have commented that the Cirklon is not ideal for live use. Why is that? I tend to do a lot of stuff on the fly and the Cirklon seems pretty decent for live use, even when I'm using it at a fraction of it's potential. I really don't have the extensive experience that others may have with samplers or playing out, so perhaps there are some missing features that I don't understand. But there's a song mode, it seems pretty easy to move between patterns manually, it's pretty easy to mute and unmute parts. What am I missing?
Yeah IMO, Cirklon is incredible for live use. Especially the SCENE triggering page where you can jump thru Scenes on the fly (sorta in an Ableton-esque manner) while still having access to the Track mutes, Fills and A/B knobs (for masking duties), etc. Also, the way you can assign CC# to Instrument Defs makes it ideal for using controllers. My only problem with using a Cirklon in a live environment is that it’s essentially irreplaceable.
I think part of it is fear of getting lost. When you play live you feel the pressure and when things go wrong it's not like you can just hit stop and work out what's going wrong. If you are in a band and one instrument fails the band can continue, but when something goes wrong as a one person act it's crushing. And electronic music performance is all about continuous sound. So any kind of interuption is death. There is a degree of opacity to the Cirklon. If you look at the recent Roland gear, or even Pioneer, despite the critics they get this part really well. I know for a fact some of the biggest live electronic music acts have two copies of recorded sets running under their live set.

Even with DJing, lifting the needle off the wrong record is shocking, and just about every DJ has done it at least once. Even though it's obvious, the silence after four hours of 100 dB is so shocking it takes seconds to recover. And those seconds feel like hours. (Especially if DJing while smashed, when it is most likely to happen.)

It's not perfectly suited for live use, but it can be used live. You could easily mess up though.

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Post by Panason » Thu Sep 19, 2019 5:56 am

. I know for a fact some of the biggest live electronic music acts have two copies of recorded sets running under their live set.
Most of the famous names just fake their live stuff. Especailly when you see them pretending to be doing very precise adjustments on knobs and then jerking their hand off as if the knob is hot...:lol:
I've been thinking about the meaning of "live" in the context of electronic dance genres quite a lot since the 90s when i was doing live techno and its a difficult one. One-person acts with just one pair of hands must by necessity have most things pre-sequenced unless its minimal techno where you can improvise over a steady beat with minimal compositional structure... which bores me rapidly as i don't munch on those pills anymore.

For other genres where you need structure, you'd have to spend a lot of time practicing for each track if you're going to trigger scene changes live at the right moments.. i just dont see any of those guys and girls spending that much time to do that when they can just play back the whole thing from the DAW and tweak some knobs on top and get paid.

What I'm currently trying is creating the core structure on the DAW timeline with the ability to deviate from it at certain parts of the "song" using pattern chains on the Rytm or SP16, with the DAW returning to the structure within a set time frame so as to keep me from wandering too far and running out of time before i have played all that I have... Muting constantly running loops in and out isn't enough to do what I'aiming for, which is structure and rhythmic progression.

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Post by dubonaire » Thu Sep 19, 2019 6:05 am

Panason wrote:
. I know for a fact some of the biggest live electronic music acts have two copies of recorded sets running under their live set.
Most of the famous names just fake their live stuff. Especailly when you see them pretending to be doing very precise adjustments on knobs and then jerking their hand off as if the knob is hot...:lol:
I'm not talking about faking the live stuff. A lot don't. But a lot have a continuity backup.

The hot hands is a different, albeit painful, thing. Mainly a pseudo DJ thing.

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Post by slumberjack » Thu Sep 19, 2019 7:50 am

magic two handed craftmanship all tweaked live-act:

experimental

[video][/video]

club set

http://soundcloud.com/dadaglobal/live_schlieren2018


when i play i try to have a few tracks available to play if i need to.


back on topic:

an issue with playing live with the cirklon for me that i easily get lost in all these possibilites so i could understand if some is limiting him/herself to a few other boxes where you're bound to a few certain things.
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Post by CF3 » Thu Sep 19, 2019 9:29 am

Of course you could get “lost” on the Cirklon live. But maybe you shouldn’t be using it for a live set then, if you don’t have the chops. Same could be said about most gear. Practice makes perfect. The functionality is there on the Cirklon to play live. In fact, I’ve seen Daniel Bell (DBX) do a live set with a Cirklon. People have been using stuff like Yamaha RS7000’s to play live for years, and that machine is not necessarily intuitive. Half of the excitement of a live set is the sense of imminent collapse. Its a juggling act.
Also the “Stop safe” feature is very helpful for train wreck prevention.

Edit:

For people actually attempting to use a Cirklon live there’s also Instrument assignment per SCENE (one of the many features not in the manual)

Colin says
"Actually you can assign an instrument to a track in a scene to over-ride the song level assignment.
With the caveat that this can lead to troubles if you are not careful about stored track values that may affect the instruments differently, or may be hidden if they are not present in both instrument's track values pages.
To assign a scene-level instrument, go to the instrument select list as usual. The SONG button will normally flash to show that you're assigning the instrument at the song level.
Press SCENE at this point. It will start to flash, and a new instrument selection will apply for that scene only, with the label [SCENE] appearing below the instrument name.
The scene must also be saved to ensure the assignment is made permanent."

When you have brought up the instrument select list on the track page, normally the SONG key will flash, to show you're making a song-level instrument assignment.
If you press the SCENE key, it will flash instead, and the new instrument selection will be at the scene level.
A [SCENE] label will appear just below the instrument name to show this.
Remember to save the scene to store it permanently.
If you select the same instrument for a scene as is set for the song, the scene level setting is removed.

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Post by CF3 » Thu Sep 19, 2019 10:15 am

In other Cirklon news:

Excited for the version of the CVIO board that supports a wider range of CV, i.e. negative values. New beta OS has support for it now. Gonna have to order a new board soon. I just made a new thinner (10hp) panel for my old Euro BOB and hacked my Make Noise skiff to have the db25 come out the side.

Image

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Post by dubonaire » Thu Sep 19, 2019 4:02 pm

CF3 wrote:Of course you could get “lost” on the Cirklon live. But maybe you shouldn’t be using it for a live set then, if you don’t have the chops. Same could be said about most gear. Practice makes perfect. The functionality is there on the Cirklon to play live. In fact, I’ve seen Daniel Bell (DBX) do a live set with a Cirklon. People have been using stuff like Yamaha RS7000’s to play live for years, and that machine is not necessarily intuitive. Half of the excitement of a live set is the sense of imminent collapse. Its a juggling act.
Also the “Stop safe” feature is very helpful for train wreck prevention.
To be clear I wasn't saying it can't be used live. I was only positing why some wouldn't like it. Yeah I've seen quite a few live Cirklon sets. :)

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Post by Sinamsis » Thu Sep 19, 2019 8:13 pm

Panason wrote:
I've been thinking about the meaning of "live" in the context of electronic dance genres quite a lot since the 90s when i was doing live techno and its a difficult one. One-person acts with just one pair of hands must by necessity have most things pre-sequenced unless its minimal techno where you can improvise over a steady beat with minimal compositional structure... which bores me rapidly as i don't munch on those pills anymore.

For other genres where you need structure, you'd have to spend a lot of time practicing for each track if you're going to trigger scene changes live at the right moments.. i just dont see any of those guys and girls spending that much time to do that when they can just play back the whole thing from the DAW and tweak some knobs on top and get paid.

What I'm currently trying is creating the core structure on the DAW timeline with the ability to deviate from it at certain parts of the "song" using pattern chains on the Rytm or SP16, with the DAW returning to the structure within a set time frame so as to keep me from wandering too far and running out of time before i have played all that I have... Muting constantly running loops in and out isn't enough to do what I'aiming for, which is structure and rhythmic progression.

This in general has been my ongoing struggle. I started shooting videos a few years ago to figure it out, basically create some basic structure and then try to perform something. Ha, I can honestly say I've made marginal progress. But I think playing out electronic music is very challenging to do in any authentic and sincere fashion. I come from a background of guitar, and I used to play out a lot when I was younger. Being alone is a much different, daunting and terrifying proposition. I have yet to find someone who I might be able to work with, which might soften the blow of failure haha. I think as CF3 alluded to before, one of the keys is knowing your instrument like the back of your hand. I haven't gotten there with the Cirklon yet, but I am making progress. It's a bit of a cop out, but I really feel like the lack of an remotely up to date manual is a HUGE barrier for me, as there's functionality in there that I am completely unaware of. I am a manual reader. I hate videos as a reference, it's very inefficient. Anyways, so playing live to me means knowing your material and your equipment on a very intimate level. I would expect to have complete control of progression of the music, including advancing the piece manually, muting and unmuting, and not relying completely on automation for movement (turning knobs). I've always found it very unnatural to me to engage a crowd this way, but it clearly can be done. This of course is for more structured pieces. The more abstract/avant garde pieces I guess have the benefit of not having a set structure, but also the challenge of creating some sort of coherent movement. The piece posted above, honestly, did very little for me. I'm not trying to be judgmental, but trying to put myself in the performers positions, I suspect I would feel rather pretentious. It's not a judgement on the piece itself, or the performer. It mostly went over my head I guess, but I personally would be very uncomfortable performing that. Anyways, someone who I really admire is Cenk of Elektron fame (I think I just heard Panason's head explode). He knows his equipment so well, creates constant movement in his pieces, they're coherent and he puts out a banging set for a long time. And his hands are always moving. It's inspirational to me. I think there is something to be said about the sequencer and sound generating source being combined into one machine. BUT, having explored this option (which ultimately lead me to the Cirklon) I find that it's cumbersome have a ton of boxes you need to keep track of. I do think that for me, having one main sequencer to control everything, and then a few sound generating devices would probably be my preference. Of course this is coming from someone who spent most of his time with DAWs and MPCs. I've obviously spent a lot of time considering this, and hope to one day play out. I don't know that I've come to a full solution, but I feel like the Cirklon would be part of it. Personally I don't even use half the features of the Cirklon. I really like the basic amenities of the sequencer (individual track lengths, individual clock divisions, note repeat, probability, live recording of polyphonic MIDI, large number of physical IO) and then use the inter track events to transpose sequences as one might with analog sequencers. I use these features to death and it has been worth the cost of admission for me. If Elektron had updated their sequencer sooner, I might not have gone this route (this I still think you can't do retrigs over MIDI which boggles my mind and is one of the basic features I need). I don't even know what else I'm missing from the Cirklon, though I have played briefly with the polyrhythms and Reich patterns, which I love. Anyways, I'm trying to figure this out, but I really think I would reach for the Cirklon for live use. It is a very expensive and difficult to replace piece of hardware. But honestly, any equipment I would take with me would be pretty fucking pricey to be quite frank. Eurorack isn't exactly budget friendly to be quite frank. Anyways, here's some recent Cirklon stuff:


IG 1

IG 2

IG3

IG4

IG5

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Post by Panason » Fri Sep 20, 2019 5:50 am

Good to read!

Yeah the avant garde stuff is irrelevant to what I was talking about, which is keeping people dancing....

As fas as I've seen, Cenk does minimal techno using Elektron's favoured workflow, which is to have one pattern looping for a long time and tweaking FX , filters and re-triggers, etc. This is why Elektron's sequencers continue to not have one -finger pattern selection, because Cenk and those who do similar abstract stuff don't need to change patterns very often.
I do think that for me, having one main sequencer to control everything, and then a few sound generating devices would probably be my preference
Absolutely, which is why I wanted a Cirklon. Sequencing drums on a drum machine and bass and keys and samples on something else is for me a serious obstacle. My most productive time was when all I had was Reason on a laptop, because everything was sequenced on the same sequencer...but I was just doing disco remixes :roll:

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Post by chiasticon » Fri Sep 20, 2019 6:45 am

Panason wrote:This is why Elektron's sequencers continue to not have one -finger pattern selection, because Cenk and those who do similar abstract stuff don't need to change patterns very often.
I've seen you complain about this before... FYI: of all of their currently available products, only the Octatrack mk2 lacks the ability to do one handed pattern selection (yes, even the model:samples has it). you can change banks with one hand too. the Analog Four and RYTM mk1 units also allow this by the way. but again, not Octatrack mk1.

but... does one handed pattern selection = one finger pattern selection...? I mean, it does take two button presses. but you can probably re-use the same finger for it.

if you want this from the Cirklon, by the way, you'll be disappointed.
Last edited by chiasticon on Fri Sep 20, 2019 6:52 am, edited 2 times in total.

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Post by slumberjack » Fri Sep 20, 2019 6:47 am

tbh you can do everything live with it. from pre-structured sets to ableton style scene variation to patter based hit and load or kamikaze mode (developing everything on the fly).

my post above we're mainly about kamikaze mode and that's a way to get lost pretty fast in my experience. it's in my views perfect sequencer to play kamikaze mode on stage but it's a like a wild horse you've to learn to ride.

if i would invest time in playing club shows with it i'd go for like 4 parts structured into scenes with enought stuff not to complicated build to interact fast with new melodies, bass, pecussion and samples.

i've done kamikaze a few times:

one got recorded here

but truly figured out that for me working with different gear works better (currently it's a monomachine, 84 hp euro + darktime) & su700 - which i'm looking to replace with something newer) for that. i'm sure y'all gonna chop my head of now but this setup is more immediate than working with the cirklon.

that said if there would be any time to setup the cirklon like with a second set of tracks, pattern/scene structure AND practice on that i'd rethink my current stuff i take with to shows but since i'm constantly running out of time i gotta work with what ready to play. i mean this saturday i'm playing again and as another prove of murphys law i got to work tomorrow to finish stuff from my dayjob...so one more time my preparation schedule is f'ed up and i'm happy to just grab the things around and put em in the pelicase.
> WTB ADDAC502 <

www.stefanrudin.bandcamp.com / www.soundcloud.com/stefan_rudin / www.youtube.com/user/slumberknut



Carefully crafted dj set meandering between deep house, minimal and electro.

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dubonaire
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Post by dubonaire » Fri Sep 20, 2019 7:14 am

slumberjack wrote:tbh you can do everything live with it. from pre-structured sets to ableton style scene variation to patter based hit and load or kamikaze mode (developing everything on the fly).

my post above we're mainly about kamikaze mode and that's a way to get lost pretty fast in my experience. it's in my views perfect sequencer to play kamikaze mode on stage but it's a like a wild horse you've to learn to ride.

if i would invest time in playing club shows with it i'd go for like 4 parts structured into scenes with enought stuff not to complicated build to interact fast with new melodies, bass, pecussion and samples.

i've done kamikaze a few times:

one got recorded here

but truly figured out that for me working with different gear works better (currently it's a monomachine, 84 hp euro + darktime) & su700 - which i'm looking to replace with something newer) for that. i'm sure y'all gonna chop my head of now but this setup is more immediate than working with the cirklon.

that said if there would be any time to setup the cirklon like with a second set of tracks, pattern/scene structure AND practice on that i'd rethink my current stuff i take with to shows but since i'm constantly running out of time i gotta work with what ready to play. i mean this saturday i'm playing again and as another prove of murphys law i got to work tomorrow to finish stuff from my dayjob...so one more time my preparation schedule is f'ed up and i'm happy to just grab the things around and put em in the pelicase.
No I'm with you on this and I think most of us are circling around a zone of agreement. Given the variability in approaches to performing live it goes without saying performers will be more or less satisified with the Cirklon. Without doubt Cirklon's timing is tight. Its midi and CV capacity is second to none. Its performance constraints are easily addressed. Most of us agree it's an amazing sequencer, and arguably as Sequentix asserts its best in class.

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slumberjack
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Post by slumberjack » Fri Sep 20, 2019 12:11 pm

[quote="dubonaire"][quote="slumberjack"]tbh you can do everything live with it. from pre-structured sets to ableton style scene variation to patter based hit and load or kamikaze mode (developing everything on the fly).

my post above we're mainly about kamikaze mode and that's a way to get lost pretty fast in my experience. it's in my views perfect sequencer to play kamikaze mode on stage but it's a like a wild horse you've to learn to ride.

if i would invest time in playing club shows with it i'd go for like 4 parts structured into scenes with enought stuff not to complicated build to interact fast with new melodies, bass, pecussion and samples.

i've done kamikaze a few times:

[url=http://soundcloud.com/agent_folder/live ... h-08122016]one got recorded here[/url]

but truly figured out that for me working with different gear works better (currently it's a monomachine, 84 hp euro + darktime) & su700 - which i'm looking to replace with something newer) for that. i'm sure y'all gonna chop my head of now but this setup is more immediate than working with the cirklon.

that said if there would be any time to setup the cirklon like with a second set of tracks, pattern/scene structure AND practice on that i'd rethink my current stuff i take with to shows but since i'm constantly running out of time i gotta work with what ready to play. i mean this saturday i'm playing again and as another prove of murphys law i got to work tomorrow to finish stuff from my dayjob...so one more time my preparation schedule is f'ed up and i'm happy to just grab the things around and put em in the pelicase.[/quote]

No I'm with you on this and I think most of us are circling around a zone of agreement. Given the variability in approaches to performing live it goes without saying performers will be more or less satisified with the Cirklon. Without doubt Cirklon's timing is tight. Its midi and CV capacity is second to none. Its performance constraints are easily addressed. Most of us agree it's an amazing sequencer, and arguably as Sequentix asserts its best in class.[/quote]

Nobody has to be with me, I'm just sharing my limted experience of using this gear since 6 years with roughly 3 live shows a year. Since I do sometimes take my stuff to gigs I may see myself entitled to open my mouth as well as all of those who do their guessing games...but probably I just stfu because it's not what everybody think is true or because I'm not trolling every other thread and try to add at least something more than 'waiting list is now two years', 'ck 2 is netter ck 1'. If you find some irony you can keep it... :love:
> WTB ADDAC502 <

www.stefanrudin.bandcamp.com / www.soundcloud.com/stefan_rudin / www.youtube.com/user/slumberknut



Carefully crafted dj set meandering between deep house, minimal and electro.

thisoldhouse
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Posts: 234
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Post by thisoldhouse » Fri Sep 20, 2019 1:08 pm

chiasticon wrote:
shreddoggie wrote:re: Below - the midi channel / port / instrument data is all right there provided you actually take a moment to set it up - not doing so would be verging on idiotic in my opinion. Its quite well designed in this regard.
of course! this was one of the primary reasons I wanted one. I've got 20+ instruments configured...
dubonaire wrote:Why is that? Don't you name your tracks? I don't have any problem with having to remember which track is which.
yes, but when you're just staring at the thing and you want to mute/unmute some tracks, you still don't know which is which. you have to individually make each track the active track in order to see what it is.

that's why you see stuff like this (Simian Mobile Disco):
Image
Not the same as showing track names (though could be used for same purpose) but you can see the name of each pattern currently playing on each track of one bank if you just press and release ROW encoder when in TRACK mode. you can press BAR to view other banks patterns.

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