When building a Max For Live sequencer, clocks are a problem…
My ‘Adlais’ sequencer has a counter based clock:
The Metro object automatically synchronizes to Ableton Live’s clock, but only in that it counts upwards at the rate input – in this case 4n – from when Live’s transport is engaged. The plugsync~ object resets the clock when Live’s transport is stopped and restarted.
Well, that’s fine, you might say… and it is up to a point.
It is ‘in sync’ with Live’s clock, but not with Live’s transport, and that is a problem. If I were to set the number of steps in my sequencer to 5, step 1’s position will shift along the transport by on step per 4 beats, so:
| Transport | 1 | 2 | 3 | 4 | 1 | 2 | 3 | 4 | 1 | 2 | 3 | 4 | 1 | 2 | 3 | 4 |
| Counter | 1 | 2 | 3 | 4 | 5 | 1 | 2 | 3 | 4 | 5 | 1 | 2 | 3 | 4 | 5 | 1 |
If I then switch back to 4 steps, this happens:
| Transport | 1 | 2 | 3 | 4 | 1 | 2 | 3 | 4 | 1 | 2 | 3 | 4 | 1 | 2 | 3 | 4 |
| Counter | 2 | 3 | 4 | 1 | 2 | 3 | 4 | 1 | 2 | 3 | 4 | 1 | 2 | 3 | 4 | 1 |
Which is what is happening with Adlais
And renders my upcoming percussion sequencer useless
So far I have found two solutions, one of which is elegant, the other is stupid….
Answers on a postcard please
Really, i would love to know your thoughts…