cool, i'll stick with this then

THIS looks amazing!!

oO

if you have a C in the bass
an Em triad would give you a CMaj7
a G triad would give you a CMaj9
a Bm triad would give you CMaj9(#11)
a D triad would give you a Cmaj13(#11)

if you have a C in the bass
an Edim triad would give you a C7
a Gm triad would give you a C9
a Bb triad would give you C9sus
a Dm triad would give you a C13sus

It's a way of thinking about chords from my jazz guitar bs training.  When you can't play all the notes - you look for the upper extensions (which are triads anyway).  The 5th definitely isn't important though.  Keeping the triad shape still sounds good in chip music for some reason.  If you go with weird voicings that voice lead badly (not smooth) ...that can make stuff sound kinda funny to the ear.

I did a lot of stuff like this on this Pulsewave ROM flier arrangement of "It Might as Well Be Spring"

https://www.youtube.com/watch?v=VJTVsERb0Bo

Holy shit, I didn't realise that was what the first digit did... Mind=blown. Thanks! This will be very useful

just arpmaster it http://aanaaanaaanaaana.net/page.php?di … =arpmaster

C4A for dom 7ths in root position

shit, just starting to realise how far you can actually go with this H command oO

ever used it as H00 so far, to be honest...

Uh sure.  So basically, the second digit in the H command tells it which line to jump to, and the first digit tells it how many times to do that, with 0 being infinite.

So in something like this (ignore the q commands, they are for midi fuckery)

The arpeggiator goes from line 0 through 3, 3 times and then 6-A, one time, and then C-E, on to infinity.

Some things to remember with this is that the value in the TSP column doesn't play until it goes "Through" it.  So only on the time that it goes on through the "Gate"

Also, nothing says you have to keep the two columns in the same "Gate" structure.  You could have one for modulation, and one for the transpose.

(Also if you wanna try this table for yourself that first groove leads to a grove of 6/6)

But yeah, gated hops are ALSO a great way to add life to long notes, because you can bring in different types of modulation in through the sustain.

Great tip!

yes, same than panda chan, can you develop what you mean, sounds really interresting ?

yep, the fifth can always be played by the bass...

Care to elaborate please...? I get what you mean, but I'm not exactly sure how you implement this

Yeah.  Just use the transpose.  You can alter the speed of the arpegiation, and you can even set up hop gates so the chord "evolves" over the length of it.

The best way to do this is to omit the fifth of the chord. In the case of a dominant seventh, it's not necessary to have a complete chord to obtain the intended aural effect. Here's a dominant seventh using a single C command, and then the full chord in a table for reference:

C4A (major third + minor seventh)

Table
00 (root)
04 (M3)
07 (P5)
0A (m7)

Hi,

in the manual they give example of C command for major/minor and power chords
can you actually use it for, let's say A7 ? (2 C commands in a table ?)

or transpose+H00 in table is my only friend ?

using a table on a note with A command does not shortcut all settings of an eventual table already linked to the instrument ?

sorry if it's a dumb question, you're getting used to now...