Reply to thread

Message: [QUOTE="Bombastus, post: 92270, member: 2178"] Kveik 1.3 exposes 1,041 host parameters, letting a DAW read and write controls that previously stayed mostly inside the plug-in. The number sounds excessive until you see what is actually exposed. Before 1.3, a Bitwig 6.1 user reported that moving Transpose in Kveik was not being seen when trying to record automation, and not every parameter appeared available to the host. Version 1.3 changes that relationship by reporting controls to the DAW in both directions, so a move inside Kveik can be recorded and DAW automation can move the corresponding Kveik control. The practical value of [B][URL='https://goldmidi.com/community/threads/bitlantis-has-expanded-kveik-1-3-with-per-track-arp-mode.77646/']Kveik’s bidirectional DAW parameter system[/URL][/B] is not the headline parameter count. It is being able to treat sequencer behavior as arrangement data instead of leaving every change trapped inside the plug-in window. [HEADING=2]Track controls now belong on the DAW timeline[/HEADING] Kveik reports track settings including on, mute, solo, note, swing, groove, humanize, scale, root, transpose, octave, and the test chord as host parameters. A track can therefore change character from the DAW timeline without requiring you to stop playback, open Kveik, and make the same move by hand. Transpose is an obvious use case. You can write a change for a section, edit its position later, and let the session recall it with the rest of the arrangement. Swing, groove, and humanize are more interesting because they let timing treatment change between sections while the underlying pattern stays untouched. Mute and solo exposure also give the host direct access to track-state changes. Used carefully, this can turn Kveik into a more arrangement-aware sequencer, since a DAW lane can decide when a part appears while Kveik continues handling the pattern itself. Bidirectional reporting matters here. Host automation is not merely a remote knob pointed at Kveik. Moving a control in the plug-in updates the host-side parameter and can be captured, while playback of the DAW automation drives the Kveik control back in the other direction. A similar separation between plug-in controls and the system recording those changes appears in [B][URL='https://patents.google.com/patent/EP2130314A2/en']a patented VST control architecture[/URL][/B], where plug-in parameter changes are reported back through the host and stored for later automation playback. Kveik’s implementation is its own, but the workflow benefit is familiar. The sequencer becomes something the project can actively control rather than a sealed box running beside it. [HEADING=2]Block parameters make pattern motion automatable[/HEADING] Version 1.3 goes deeper than track-level settings. Direction, rotation, and speed are exposed for individual blocks, with parameter names such as T1 A Direction identifying both the track and the block being controlled. This matters when one track contains several variations. You can automate the direction of block A without rewriting block B, rotate a particular pattern for one passage, or change a block’s speed while leaving the rest of the track alone. The automation stays attached to the exact block whose behavior you wanted to change. Kveik also exposes a T1 Block parameter. Changing it switches the active block loop and the visible tab, so block selection can follow the host instead of relying on a manual click at the right moment. Earlier Kveik builds already supported block or pattern switching through host automation, but 1.3 broadens the surrounding control surface considerably. Block selection now sits beside detailed block behavior and track settings, which means a DAW can coordinate several layers of sequencer state from one timeline. [HEADING=2]A thousand parameters still need a sensible workflow[/HEADING] Having 1,041 parameters does not mean you should automate hundreds of them. The useful move is to expose the controls that define an arrangement decision, record or draw those changes, and ignore the rest until a musical reason appears. Start with parameters you would otherwise change manually between sections. Transpose, mute, block selection, direction, rotation, and speed are easy candidates because each can alter a part without forcing you to rebuild the MIDI pattern underneath it. Recording a control move from inside Kveik is useful when the gesture is easier to perform than to draw. Drawing or editing the host lane is better when the change needs exact timing. Bidirectional control lets you choose either approach without creating two separate versions of the same setting. The per-track grouping helps once the parameter list gets large. Instead of treating the 1,041 entries as one giant menu of unrelated controls, you can think in terms of the track being arranged, then the block or behavior that needs to change. Keep permanent pattern design inside Kveik and put song-level movement in the DAW when you want it visible on the arrangement timeline. A rotated fill, a half-time block, a temporary transpose, or a section-specific groove change then becomes part of the session structure rather than a manual performance you have to remember every time the project plays. [/QUOTE]

Name