yeah i totally agree with you. i don’t know much about usb audio out and all… but there could also be an option to kind of ignore their ecosystem of devices and just do usb audio out for a DAW and then it could be whatever however many channels and its an easy life because the computer can handle it?
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i’d be fine with that
missed opportunity tho to not reuse some tech & programming that allows tx to easily send 12ch in/out via usb or closely integrate in creative ways with tp7
you’d understand the comparison to monome more than most and it’s a similar dev situation behind te field…i expect almost everything they make to work well with other devices in their product line
if their trilogy modules didn’t work with grid or you couldn’t connect arc to norns it would feel like wasted potential
i know link ups between field line will grow but odd that more wasn’t incorporated from the start
yes! you are totally right- it seemed like a slam dunk to release the tp-7 with multitrack from the op-1f from the very beginning. i would guess that could have been the idea all along but just they never got around to fixing the whole vision. i know the tp-7 had terrible production issues (still does??), and that derailed a lot of their timeline for fixing up the firmware.
i know a ton of stuff internally at TE gets developed because someone has a personal interest in it. this sometimes means that things don’t always progress in the most logical manner, or with an overarching view of things.
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Agree with @instantjuggler - the ability to multitrack via usb into a DAW would make this so much more usable live - being limited to the onboard mixing makes it hard to dial for larger systems. Apparently it’s not meant to be a live tool? Says someone on this forum? But it’s great live - just need to be able to separate the tracks.
I’ve started to route instruments out mono and panned hard L or R, on the main output and the second audio send. So 4 separate mono instruments. It’s not as comprehensive as a usb solution like on op1f now, but it’s still useful to multitrack jams.
I purchased an OP-Xy a year ago. I find the machine incredible—a very successful design and a device I can’t put down.
After one year of use and in comparison with other machines I own and regularly use, there are three points I’d like to mention for possible optimizations:
1. Note menu: I really like the workflow, but when it comes to programming, note management isn’t as easy as it could be. I wish there were a “Note” menu to manually adjust tuning, duration, and velocity for individual steps in the parameters. I think this feature is essential: not being able to extend a note beyond 16 steps manually is a frustrating limitation. Live recording is a workaround, but it doesn’t seem too complicated to allow manual changes. Please, this is really important for composition.
2. One extra modulator: Adding the ducking feature is fantastic—very effective and well done. But dedicating the modulator slot for this is a pity. If it were possible to add an extra slot, even if only for ducking, that would be amazing.
3. Multitrack out: I imagine many people are asking for this. Having separate outputs would be extremely useful—it would be a real game changer. This also relates to the FX: they are excellent quality, but with only two sends and no track separation, they’re not always fully usable. It’s a shame because the device could reach another level with this feature. I imagine there are technical constraints, but we still hope.
Happy New Year and best wishes to everyone!
Musically yours.
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I just want MIDI control over patterns in arrange mode.
I want to be able to fluidly move between diffeent pattern configurations in a live setting…
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I’ve been using TE products for over ten years, and I’ve bought almost everything, lured by the marketing genius of the company: OPZ, OP1, OP1F, Pocket Operators, EP133 KO…
I’ve kept an OP1Field and an OPZ (the best TE product), and a year ago, I splurged on an OPXY because I was looking for a sequencer/sampler to pair with the OP1Field.
I really like this machine, but every time I use it, I get angry at TE (and also at myself…):
I’ve been using sequencers since 1987, and I can’t understand how it’s possible, nearly 40 years later, that a company produces one of the most expensive machines on the market without offering copy/paste of notes (events from one pattern to another) and with only 9 patterns per track.
I spent 20 years in development and also worked in embedded systems, and I know this isn’t a technical decision: it’s a deliberate choice I just don’t understand.
And please, don’t tell me that it might come in an update… these features should be part of the basic package (a package worth 2300 euros, I still want to remind you of that).
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If you long press a trig it is copied and then you can paste it onto other steps.
Hi,
Yes, I already use it. It’s convenient within the same pattern, but you can only copy one note at a time.
If you want to copy and paste between two patterns, it quickly becomes quite tedious. Imagine my first pattern is 4 bars long and there are, say, 8 notes per bar: I would have to copy the first note, go to the second pattern, paste the note, then go back to pattern 1 and copy the next note… and do that 32 times in a row in this simple example.
Maybe there are people who enjoy doing this (at TE 
— I can send them some work…
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I found a temporary workaround that consists of recording the patterns as MIDI on my OP-Z, which then acts as a buffer, and then doing the reverse operation to paste the notes into the OP-XY.
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If you have to copy notes from bars isn’t it easier to copy the pattern and edit the new one?
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Haha!
That’s true: you can copy patterns, but it’s a trap—and also one of the biggest design mistakes TE made.
When you copy/paste a pattern (not notes), it doesn’t overwrite the existing content; instead, it shifts all the other patterns down by one slot.
Let’s imagine a simple case: a track with just a bass line and four patterns:
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P1 intro
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P2 verse 1
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P3 chorus
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P4 verse 2
Let’s say I like P4 (verse 2) and I want to copy it into P2 (verse 1).
If I try to do that, P2 won’t be overwritten. Instead, a new P3 is created containing the verse, and in the end I get:
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P1 intro
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P2 verse 1
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P3 verse 2
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P4 chorus
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P5 verse 2
A new pattern appears, and everything turns into a complete mess.
If I do the same thing with 8 tracks, it’s obviously even worse, and I don’t know anyone who is mentally capable of keeping track of what’s in each pattern… any arrangement that’s even slightly complex becomes impossible.
I’ve abandoned several projects that I could have finished on the Deluge (which has a similar flaw, though it’s a bit more manageable).
So this is a design that makes even moderately complex arrangements extremely exhausting.
All of this would be avoided if we could copy/paste notes.
You want to copy original P4 into original P2. Then you can copy-paste P4 and then delete original P2. Do you think it’s closer to your desire?
If you copy/paste a pattern, it gets added to the bottom of the stack, and that’s exactly the mess I described.
(Are you using the op xy?)
Ahh I see. I thought you had problem with duplication. But anyway why is it a mess? The scenes are the main entry point on OP-XY. You can define a scene for one version of verse another one for a different version of it one for chorus etc.
Yes, I do use OP-XY.
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Interesting discussion about patterns here, I have similar wish list for improvements to arrangement though doubt they can be implemented at this stage.
I guess TEs answer to your problem Rudolph would be to say: use the scenes to arrange your structure, the order of patterns doesn’t really matter in that case as you can just choose which pattern is allocated to which scene, and reorder the scenes.
I’m not a fan of the current scene/song mode implementation though and would love it if they advanced it a little. Pattern chaining is fine for a single drum machine, but op xy is like 8x drum machines and trying to pattern chain an entire song which has 8 different instruments is, for me really cumbersome. My drum patterns have a higher ‘resolution’ of patterns than my melodic parts. I sequence my song linearly across scenes, starting from 1, but if I want to edit the arrangement, I can’t cut or insert scenes into this sequence. I can only do that on the song grid. But I end up having to chain 30+ scenes per song and it gets really hard to keep track of which scene does what. I have whole scenes just for bringing in and out hihats for example.
It would be Incredible if we could have different groups/lanes for chaining. one for drum tracks and one for melodic tracks. And also some way to measure bars and get a precise sense of how long our arrangement is, and what musical event is going to occur when.
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Yes to all those 
Ok my personal royal 
wishlist adressing some of the weekest XY issues, while taking into consideration CPU consuption.
New Sampler Engines (one instance & monophonic is fine)
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Octatrack real-time time-stretch:
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Granular
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Speak
Synth Engines
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101/303 Lead synth
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DrumSynth
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SID
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Ring Mod synth (like Roland SH4d (it has awesome tamber!
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Complex OSC**:**
Simplified by: One knob being a selection of “patching configurations.” The highest registers = a “link” configuration to patch a second Complex OSC engine on another track.
Note: ComplexOSC are mono engines. You can think of it like the Fors Dyad. It’s awesome what can be done with two linked/modulated oscillators on separate tracks. and this ‘‘modular edgy’’sound is very much missing from the XY
Additionally
OSC Page (2nd Page)
Any combination (applicable to the engine) or option of:
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Bit/frequency scaling/decimating,
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Waveshaper
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Ring Mod,
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FM (self-modulation)
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PM (self-modulation)
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Amp simulation/drive
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Rotary speaker.
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Filter (2nd Page):
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Additional filters with drive/saturation.
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LPG (Low Pass Gate).
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Frequency shifter
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Wavefolder.
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Ring Mod.
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Envelope (2nd Page):
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Snappy AD with curvature settings.
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Loopable AHD (into audio rate).
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Set of adjustable pre-modulated envelopes.
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LFO (2nd Page):
- Second “fast” LFO with audio-rate capacity.
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EQ (2nd Page):
Lo-Fi FX options (1.5 sec).
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Spring Reverb.
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Delay: Capable of self-oscillation effect on extremely short delay times.
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Frequency shifter
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Transient designer
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Amp simulation/drive
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Rotary speaker, .
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Clipper (2nd Page):
- Send amount for each track.
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wait, what? there is no “shift sequence” in op-xy!? 