Was thinking about the best way to accomplish “parameter locks” a la Elektron in the phrase editor, and getting a little frustrated at first as my initial thought was that there should be some way to assign control over any of the envelope segments or parameters of the modulation set in the phrase editor.
Took a little while before I realized that it would work much better if I duplicated samples, created diff modulation sets, and treated each set as as potential parameter locked step. Same would apply for fx; was getting kinda annoyed that it seemed impossible to have to program individual hits to have fx on them thru the phrase editor, but if you approach it by having a dry sample slot, and a duplicate that’s sending to a wet fx, tada per step fx.
Probably seems very basic and obvious to most of you, but it took me a while to re-adjust my conceptual approach to suit Redux’s architecture, so maybe this might be of use to somebody.
For modulation, the Exx (envelope offset) command might be handy? Put it in an effect column next to the note, or in the master effects column to affect all notes.
What it does is to (immediately) set the position of any modulation device that has a development over time. So, a Fader is easy to understand: EFF will set to the end, E00 to the start (the default offset). Or you can put a Stepper device into the filter section and control it’s active step.
In a way, the Exx command is a bit too powerful, because for the affected sample, it will control the offset of all devices in all modulation domains. It would be nice if we could target, say, the pitch domain and not all the rest. But I digress…
Effects, on the other hand, can be made to respond to a(ny) note by means of the key/velocity-tracking devices. And who says that a note needs to have a sound? Just add a new sample, but leave it blank. When a tracking-device is listening for this particular sample, it basically becomes a “gateway” to any parameter - the only real downside is the resolution, as we have only 120 possible notes, and 128 different levels of velocity.
This “dummy-sample-controlling-effects” approach is really flexible - Redux doesn’t care if the notes arrive from some playing phrase or you are playing them in realtime, from a keyboard.