According to this I can fit a lot of 16th-scale notes into one bar by enlarging its track scale. This could be useful for super long sequences without having to divide them into separate patterns. However, i don’t even know how to create 16th notes on tracks with higher scales.
I suppose there is a “zoom” feature that i haven’t found yet in my digging? that would be useful for flamming notes as well
There’s no zoom feature on OP-XY. It’s TE approach of having track scale but not being able to nudge/edit individual notes. If scale >1 you have to record melodies/patterns live if you want to have notes between steps.
Also keep in mind you still can only record a maximum of 120 notes per pattern, regardless of track scale settings.
nawwwww that just invalidates a lot of musical possibilities no? i wouldn’t call that an approach, just a flaw
I think the OP-XY sequencer is primarily a kind of tape used on OP-1 field though there are same possibilities to sequence notes on it even if in a much more limited way than what we could expect.
i disagree with that, i think it’s an amazing midi sequencer with great capabilities rivalling the Squarp Pyramid sequencer in a much smaller shell and more minimal approach. What I’m hoping is that TE doesn’t try to make it too innetween the op1f and that. It can definitely be a much more powerful device than the op1f given that the tape-style compositional workflow is a subset of the functionality offered by a really deep midi sequencer workflow. you can play and record things on the keyboard just the same as the tape, and on top of that you can sequence manually and edit notes and parameter locks in depth, and change the sequence on the fly with the brain for doing live performance. i think it’s best to completely separate the two genres of TE workstation device. And definitely the 1F is not even close to the XY.
I wouldn’t put OP-1 field and OP-XY into race in general as they are fundamentally different machines and it’s a matter of taste.
However I think that the sequencer of OP-XY is more limited than it should be despite some of those really cool features it already has. If I want to compare it to OP-1 field I would say that the sequencer on OP-XY is more limited relative to its potential than the tape on OP-1 field relative to its potential.
I did a quick experiment to understand track scaling once and for all since I found the concept rather confusing. It works exactly as the OP displayed from the manual. The amount of time taken by one step is changed according t the scaling. With scaling of 1, each step takes the space of a 16th note and in 4/4 time (all 16 steps) we get 16 notes to a bar. Change the scaling to 2, and we still have the same 16 steps, but each step is an eighth note. Scale 4 gives us 16 notes, but quarter notes. Scale 8 gives us half notes, still 16 steps. So that is how we get more measures - there would be 8 eighth notes in a measure, so now the 16 steps represent two measures. For quarter notes, we are now looking at 4 measures with the same 16 steps. Multiply these all by the 4 measures allowed in a pattern and that is how you get more than 4 measures.
What I still need to explore is what if you have, say, scale 8 (half notes), can you still insert shorter duration notes or do they all have to comply to the scale? I will experiment and post.
You can input notes in shorter distances than what the scale defines for trigs but in this case you have to live record your takes. A trig will then hold multiple notes some of them being shifted and notes still can be quantized properly (except scale of 3 and 6 which seem buggy in this regard) but you can’t nudge those shifted notes manually on trigs.
i agree here- they maximized the tape whereas it seems the sequencer is underdeveloped.
here’s an example - you can’t edit individual notes in a polyphonic step (especially the duration of them), you have to erase and replace them. that’s weird!!!
Thanks for that info. I will experiment with it tomorrow. I can see where scales 3 and 6 could get weird. In a sense, they represent dotted notes.
I suspect that since the limit is 120 notes per pattern, they probably use either a linked list or a table. They could present that data as sequencers used to do with event list editing so you see each midi event represented by a line of data on the display containing the timestamp, velocity, note value, etc. I suppose a piano roll could be presented, but it would be rather difficult to have to scroll around in all 4 directions to see the whole thing.
I will have a function to start the live record from selected bar instead of from beginning every time 
Hope also the limit with 120 notes will be increase a lot
