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I found the chipster.

What I mean is.... They know going from a Cm to a Fm chord sounds good. They don't have to test it again every time they compose a song. So in a way, they assimilated a lesson about music. Cm -> Fm = Good! Next time they'll be on a Cm chord they might want to throw in the Fm in there. But oh what's this shit now.. why doesn't it sound good anymore? Then they notice these two chords are good together when they're in key and otherwise sounds like a baby goat dying in a car crash. Another lesson learned.

No matter what you do. If you compose music, you are picking bits of theory. You understand them in your own way, and maybe sometimes you understand only the usage of something before you get to understand the underlying mechanics of it, but you're still progressing along the same path.

There's already a pulse with modifiable duty cycle in the synth engine.

You can also do PWM effects with the EXP setting on a SQR wave in the wave generator.

A lot of the effects in the video you linked have nothing to do with PWM though, a lot of them are sync effects (which you can also do in klystrack with the sync setting)

Aaaaand there's the bit crusher if you really want to get that awful 4bit NES bass sound so many people are fond of.

Working on it! Something is in the works.... VAT COODIT BE?

First: The default wav pitch should be in line with the synth's oscillators. It's tuned to an A, which fits with the synth's C. They are technically not on the same pitch, but the default settings are transposed to compensate. Just remember that A = same pitch as the synth.

Second: Forget it. Pokey is useless outside of atonal sounds and effects. Been using Klystrack for a couple years now and I composed many, many songs but I have never ever used the Pokey oscillator because it's just pointless. Plus there's no texture coming out of Pokey that you can't recreate with the synty+wav and a little creativity, and at least that way you're in control of the pitch.

Third: In normal mode, all keys on the keyboard input a value in the sequence editor. "0" inputs pattern 00. "1" inputs pattern 01. "A" inputs pattern 10 and so on and so forth. It's a bit quicker to edit sequences this way, but for any song of decent length and complexity, you'll run out of inputtable patterns (0-9 + A-Z = 36 possible pattern numbers) before you're anywhere near the end of the song. I've switched to AHX edit a long time ago and never looked back.

Fourth: http://n00bstar.blogspot.ca/2013/03/kly … ction.html

Fifth: Options often break between versions. Komet bomb takes a lot of mushrooms and he can't always be trusted around code. Sometimes nobody notices for a few versions, especially for weird rarely-used options like the multiplexer. The multiplexer might have been broken for 20 versions for all anybody knows. I never switch to a new version (because there's no backwards compatibility for the song files.. so you can't load a 1276 song if you're using the 1275 build) until I am satisfied that all the options I need are functional, and that there are no new options/bugs that will make me want to choke a cute bunny.

Sixth: Welcome to Klystrack, here's your membership card and complimentary tank top. Meetings are every other sunday at the community center (bring food). Updates are once a year, when Komet realizes he's been ignoring us for almost twelve months and feels bad about it, usually around Christmas. Our theory is that he is visited by The Ghosts Of Code Past, Present and Future and he gets Disney'd into doing good deeds. Either that or aliens. Who cares...updates!

Both systems have their merit really but I think that colours per position is much better than colours per pattern because of the way it works. Since Klystrack offers a lot of simultaneous patterns to play, there is very little need for juggling. In almost every klystrack song I've seen, people tend to keep things tidy and in their place. Drums are all on the same channel.. same for bass.. lead.. etc. Very rarely do you see people start juggling instruments across channels to fit it in between other notes because there's no more room for patterns.

So accordingly, there's less of a need to identify that "all bass patterns are red" since all bass patterns are probably all going to be on the same channel anyways. When you track you develop certain habits like always using channel 02 for bass, or whatever. People already know where the bass patterns are "vertically" in the sequencer.

I think most people would rather be able to section off intro, verse, solo, outro etc in the sequencer instead.

Also, a per-position system can do what a per-pattern system does but not the other way around. If someone wants to make all bass patterns red, he can still do it.

Yeah I don't think they are really random colours, just a 'default' setup. Pattern 00 is always white, pattern 01 always red etc etc. So when you either load an older song without colour data, or start a new song, it uses this default setup of colours for the patterns. It should definitely be all white by default.

Keyboard shortcuts should be quite enough in the fullscreen sequencer. The thing is, if we have to do it one pattern at a time, it's always going to take forever. There should be a way to assign specific colour to a block of selected patterns.