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Message: [QUOTE="Bombastus, post: 92266, member: 2178"] Kveik 1.3 lets each track switch from SEQ to ARP, so active steps can pull notes directly from a changing chord source. Instead of drawing a fixed melody and moving it later, you can let the pattern decide which part of the current chord should sound. The useful part is not simply having an arpeggiator. Kveik adds a dedicated Arp lane beside its other step controls, putting chord-tone choice on individual steps rather than behind one global up, down, or random setting. A four-hit phrase can use four different harmonic behaviors without changing its rhythm. This makes [B][URL='https://goldmidi.com/community/threads/bitlantis-has-expanded-kveik-1-3-with-per-track-arp-mode.77646/']Kveik’s per-track ARP mode[/URL][/B] more flexible than a basic repeating arp. You can keep the pattern intact while changing how each event reads the harmony, then use the Pitch lane to move selected notes away from the first chord-tone result. [HEADING=2]The Arp lane turns harmony into step data[/HEADING] Each active step can choose from the chord supplied to the ARP track. Kveik provides ordered chord-tone choices from the low end upward, plus a top-note choice, random selection, and a whole-chord option. Those are different musical jobs, not cosmetic variations of one pattern. Assigning lower chord tones to strong beats can keep a bass or low synth anchored while higher choices handle movement between them. A top-note step does the opposite, repeatedly taking the upper edge of the current chord rather than walking through every available note. When the harmony changes, the step still follows the role you assigned instead of holding one fixed MIDI pitch. Random selection loosens the pitch sequence without randomizing the rhythm. The trigger still happens where you placed it, but the chosen chord member can vary, which helps when a fixed note order starts sounding memorized. You can add pitch variation without rebuilding gate, probability, shift, or roll data. Whole-chord mode changes the texture more sharply because the step can fire the chord together instead of selecting one member. The distinction between stepping through chord tones and sounding several notes at one pattern point also appears in [B][URL='https://patents.google.com/patent/US20220375443A1/en']patented arpeggiator designs[/URL][/B], where a pattern event can trigger all stored chord notes concurrently. In Kveik, one ARP track can move between broken-chord motion and chord stabs inside the same sequence. Kveik also includes 30 arp patterns split across five groups. Presets can get you moving quickly, but the lane matters more for deliberate phrasing because individual steps can carry different note-selection behavior instead of inheriting one blanket direction. [HEADING=2]The Pitch lane reshapes the selected chord tone[/HEADING] The Arp lane decides which part of the chord a step asks for, while the Pitch lane can shift the resulting note. Keeping those jobs separate gives you more control than baking chord choice and transposition into one arp mode. One step can follow a low chord tone normally while the next takes another member and pushes it into a different register. This separation is useful when the rhythm already works. You do not need to redraw the pattern just to make one event jump, fall, or sit closer to another note. Edit the pitch treatment and leave its timing, probability, gate, and roll behavior alone. Pitch-lane randomization can work relatively or within a minimum and maximum range while staying within the track’s scale. An octave-only randomizer is not available at present, so broad pitch randomization and strict octave shuffling are different operations. Knowing the distinction matters when you want movement without throwing notes farther than intended. Fine editing applies across the lanes too. Ctrl on Windows or Cmd on macOS with the mouse wheel changes a bar value by one, while right-clicking lets you enter an exact value. Small edits do not depend on dragging until the number happens to land correctly. [HEADING=2]The current lane design still has useful limits[/HEADING] ARP behavior remains tied to Kveik’s step-lane structure. Independent loop lengths for Arp, Pitch, Gate, Probability, Shift, Roll, and Velocity are not currently available, despite a user request for lane-level polymeter. Your Arp lane cannot run a seven-step cycle against a longer Pitch lane inside the same pattern. This limit matters before you build complexity around it. Use track or block structure for larger cycle differences, and use the Arp lane for changing what each existing step takes from the harmony. Independent lane loops are simply not part of the current design. The cleaner workflow is to decide the rhythm first, assign chord-tone roles second, and add Pitch-lane movement only where the phrase needs it. A bass pattern might reserve the lowest chord tone for main accents, use a higher member on pickups, place a random choice on a low-probability step, and fire the whole chord on a transition. Every edit changes the harmonic reading while the underlying step placement stays put. [/QUOTE]

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