I’d love the AK/A4 to have Key Track as a mod source but i know that’s not going to happen – so i’m wondering if i’m missing any tricks to work around it. The filters have their own key track but can’t be used for anything else. The LFOs can track the Osc (Y mode) so that’s sort-of key track… is there a trick here maybe? e.g. i want the Noise to be off at C1 and open up to full noise at C4. Any ideas appreciated!
careful scaling of voltage out from a CV pitch chan (linked to source track seq) may get you some way there and use the output back in the exp in (if AF2)
experiment wisely
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Interesting! Will give it a go cheers
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Just got round to attempting this but didn’t get very far - it’s not possible with AK as there’s no Exp CV Inputs. Cheers for the sugg though 
I’m missing key track too, especially for Vol, higher notes being too loud.
With a midi processor it’s easy to map notes to CCs, hence CC1 Modwheel or CC2 Breathcontrol, use these Mods as key track. Maybe recordable, if you use midi loopback. Didn’t try, should work, at least for 3 tracks.
I may map Vol CC only to record it on all tracks.
I also thought about mapping Notes to Velocity, so that you can record Velocity Mod. But you loose velocity on your playing.
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For such stuff I’d use a fine tuned lfo to target only specific notes in the sequence.
Ofc needs to be re-tuned when notes are changed.
For live playing, I’d use the mod stick or perf macro.
Interesting idea. Gotta play around with it tomorrow^^
I’ve wanted this before, never came up with a means for it, but the conversation above made it finally click!
LFO 1: value 4ish, multiplier Y1 (tuning fork/key track rate), HALF mode, sawtooth, negative depth to your desired parameter (for positive key tracking)
This is more or less a static LFO, with the rate/multiplier cranked so low.
THEN: envelope 2 in any mode where attack just sets the length of a max-value hold, not a real attack. Zero decay/sustain/release. Add some (max?) positive depth toward LFO 1 multiplier. Dial in the attack length just right, and you have key tracking on the LFO1 destination!
The way this works is the envelope gives a burst of movement to an otherwise nearly static LFO. The rate of the LFO (which tracks with the key) controls what level the LFO ends up at when the envelope burst is over.
thanks/no thanks for making me stay awake a bit longer because I had to try this…
Many possibilities with other LFO/envelope modes and such.
With a triangle LFO you could have a parameter that’s low in the mid-range, but peaks up when you go to bass or treble notes.
With TRIG mode LFO you could make a parameter track cyclically with the keyboard (e.g. some parameter hits a minimum and a maximum as you play a scale). Never seen that done before, could give like a prepared piano kind of vibe (where some notes are automatically “broken”)
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Yes very interesting, I tried but I was stuck with Hold / SPH. I was thinking about another lfo but if it works with ENV2, it’s even better!
Could you elaborate?
Some of the envelope shapes aren’t an ADSR, they’re like a HDSR (hold-decay-sustain-release). I forget which mode numbers; they’re the ones displayed with a box-shaped start (at least on a4mkii)
It doesn’t ramp up in an attack phase; it starts at max, and the attack knob controls how long it holds at max value before decaying.
Zero sustain/decay means this is effectively like a gate signal instead of an ADSR.
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Oh you could also make the LFO literally static by setting the rate to 0, and routing the envelope to LFO rate instead. That would work slightly better than the multiplier method I mentioned above (it won’t drift on a long held note). (perhaps the envelope goes to both value and multiplier)
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Yes! it seems to work, but I still don’t understand how does it offset the beginning of the lfo…
Why Half?
03:03 AM! 
Half mode to make the lfo static
The env offsets the lfo, because env shapes 8-9 immediately rises to full level and stays there for the attack phase.
Attack parameter is offset.
Or maybe I need more coffee first^^
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It doesn’t offset the beginning. With this setup, you get a very fast LFO movement right at the start of the note. It starts from the beginning of the sawtooth cycle, then ramps up some amount, then stops moving.
The envelope makes the LFO move for a (very short) fixed amount of time. So the faster the LFO (higher note), the higher the final phase of the LFO. I’d draw a picture but don’t have a chance to right now…
On ONE mode, the sawtooth LFO will ramp up, then reset to 0 at the end. With HALF, it ramps up halfway, then stays there. Means that if you set the envelope or LFO speed too high, the key tracking result just hits a cap, instead of resetting to 0 at some note.
If you tune everything right, it doesn’t matter, because you should set the envelope so that it stops the LFO in the middle of the waveform. HALF just makes it a little nicer if things aren’t quite tuned right.
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that’s a nuts workaround! got it working here (sort of) cheers angus 
put it to use in this track: https://www.youtube.com/watch?v=_JTDJ5AgO9Q
With the idea I posed above:
With TRIG mode LFO you could make a parameter track cyclically with the keyboard (e.g. some parameter hits a minimum and a maximum as you play a scale). Never seen that done before, could give like a prepared piano kind of vibe (where some notes are automatically “broken”)
Listen closely to the lead that goes through the whole track. I love the dynamics/expression of it, all without velocity automation, note length automation, p-locking, or performance macros (except one macro that cuts reverb/delay send).
more info on that and the pixel portrait on my new blog thing here: https://anguslocke.wordpress.com/2020/04/27/man-makes-a-picture-of-himself-every-2-days-for-2-days/
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I read, watched and listened to it all and enjoyed the lot, cheers for the post!
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back for another attempt at @anguslocke’s clever workaround today (i never really got it to work reliably last time) - working surprisingly well with certain params this time round using it to pan notes across the keyboard (lower notes panned left, higher notes panned right)
sounds like this (excuse the sausage fingers playing):
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Some good workaround! Playing the whole day today with some FM-like sound. Inspiring stuff
ok idk why I just thought of this, but maybe another method on mkii (haven’t tested):
CV track output sourcing note CV from the track you want to modulate. Plug that back into one of the CV inputs.
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