Not directly, but you can tell MODX to send the arpeggio MIDI data. Be sure only the Part with the arpeggio is active. You do not need extra MIDI data to filter. It would probably be best to work with only a single Part.

Press [UTILITY] button, then touch left-hand menus "Settings" -> "Quick Setup", then touch Quick Setup 2: "ARP REC on DAW"

This is a quick way to tell the current Performance to not send the keys you press to trigger the arp - but instead send full MIDI data of the arpeggio's output.

After doing this, you can record MIDI on your favorite DAW. This will allow for you to save as a MIDI file. Then you can load this MIDI file onto your MODX, modify it with the limited tools to do that on-board, and create a new User Arp based on this data. It's probably easier to edit within the DAW environment then load as a final step and assign this as a User Arp.

Thanks Jason. Yes, I thought that recording the midi data from arpeggios was a way to do it.

Regards

Note that certain arpeggios are not supported with user arps. So one caveat is that the preset arpeggio you are recording needs to be a "simple" arpeggio. And by "simple" I mean that it cannot have characteristics that are unsupported by user arpeggios.

For instance, there are some fixed arpeggios that will change what they output depending on the number of keys pressed. This is not something you can build using user arps.

Thank you for responding. Yes, I an aware that there can be many rules built into an arpeggio that determine how the input is interpreted. Like I notice that some guitar arpeggios access multiple levels of velocity that contain different articulations. Some bass arps play the the root of the chord, others play the the lower note played on the keyboard. I wanted to take some bass arpeggios and create variations that have different rhythms. But it's probably just as easy to create bass arps from scratch.

Thank you for the great info.

I started simple. I made a bass arp by recording a pattern. Then I converted it to an arp. It works fine. I also made a drum pattern and converted it to an arp. Good so far. I think I prefer recording a pattern, then converting to an arp, rather than recording an arp to DAW, importing the pattern to MODX, then converting to an arp. It's less steps.

I'm at an early stage of learning more about the MODX. I am just exploring the interaction of various features so I know what's possible. Amazing technology. Loving this forum.

Regards

For me, Arpeggios, as found in the MODX/MODX+/MONTAGE are extremely editable onboard the instrument using the provided real-time tools. It is the reason the musical phrase data is provided in this format. There is a huge difference between ‘editing’ a Factory Arpeggio and creating a ‘new’ Arpeggio.

And this is not just semantics… when you create a new Arpeggio (User Arp) you will ultimately have available the same extremely editable onboard features you have been given for the onboard system… which you can now apply to your original Phrase data.

The purpose of a phrase being an arpeggio phrase, in the first place, is to ‘edit’ it — to apply an arp is to edit it…

…even if it is as simple as changing the chord quality from Major to Minor or as complex as changing the timing and the feel of the phrase using the myriad of ARP PLAY FX, or by simply varying real-time input by inserting musical rests in the controlling trigger NOTE data; thereby causing it to create a very different result, instantly.

What experience teaches you: avoid chasing your tail
If you create your own Arpeggio Phrase data — you will do so by either playing or constructing the initial data in a MIDI Sequencer… then, presumably, you will convert it using your MODX/MODX+/MONTAGE’s “Put Track to Arpeggio” job. At this point, say you have exactly what you need… there maybe absolutely no need to place it in the Arpeggiator… just insert it on your track, done.

The only reason to place your brand new sequence data into the synth’s User Arp area is to take advantage of the EDITING FUNCTIONS of the built-in the Arpeggiator (which include, but are not limited to, chord intelligence). See what I'm driving at…? If you view Arpeggios as uneditable then why make your sequence an ARP - why not just insert the MIDI event data created as the source, as is?

So saying the factory “Arps cannot be edited” sounds so very strange to me. Blake, HaPe, Manuele, and Joel, have been digging into the Arpeggiators in the most recent (and the upcoming) Tech Talk Live. Be sure to check them out…

Arpeggio Edit — a Creative View Arp “Editing” Includes the following:
_ Generating real-time alternate Phrases. If you press a chord and simply hold it for 4-measures you may likely get the most basic (unedited) version of the stored Phrase… save for, perhaps, the chord quality/inversion you choose to use (which is itself, technically speaking, an ‘edit’). But what if you vary the duration of your trigger Notes — a different phrase can be generated.

By definition, an Arpeggio is data (some are chord intelligent, some are fixed note, and some are just control data) stored in a rather unique Read Only Memory block. It’s power released by the interaction with the Notes numbers and Velocity data entered by Key presses (internal) or via MIDI (external) data.

Simplification: When data is input to the Arpeggio block and it interacts with a stored musical phrase, you can immediately “shape” the result by how you interact with the input mechanisms. The real power of the arpeggio is its ability to be musically adjusted — edited, if you will — in real-time.

Once an arpeggio is transferred/recorded from the Arpeggio Block to a sequencer Track it, technically speaking, is no longer an “Arpeggio”. It is now MIDI “Event Data”, the same as if you had manually played the phrases on the keyboard, in real-time, yourself. Once the data is captured as event data you have different tools to manipulate it.

The reason to state this is important when discussing the “Arp Play FX” versus the sequencer “Play FX” found in the Pattern Sequencer. The former is applied on real-time data — as it auto-corrects the timing and placement of events through its grid, offsetting the original stored status of the Arp Phrase before it is permanently documented to a MIDI Track. This is indeed a form of non-destructively editing the results. You can “write” an Arp phrase as event data by recording the Arp to a Track, you “rewrite” the Pattern Play FX utilizing the “Normalize Play FX” job. Pattern Play FX work only on recorded Track event data.
As you know MIDI events can be edited using your favorite DAW or re-playing the phrase.

Fixed Note Arp Phrases are typically used exactly as stored because most often they are designed to playback ‘frozen’ as is… not changed or varied much from the original stored data. Shame, because the Swing Quantize functions can be applied to just specific drum components or to the entire drum groove. A perfect example of Fixed Note Arp Phrases are those in the Drum/Percussion category… but you can use the capability for more than just drum Arps - Arp Phrases can be used as one-shots. They do not have to repeat over and over and can be used (triggered) to play a particularly complex countermelody phrase or run. And if you never explore the real-time swing functions you really have not discovered the “Arps”.

Learning to Take Advantage of the Flexible Arpeggio Phrase
Arp Play FX can make an ARP Phrase ‘swing’ (Velocity and Gate Time duration manipulation of the swing beat (off-beat) data) - do not underestimate the power of changing these Quantize functions using the onboard tools. It can dramatically cause a phrase to come to life and become completely different from what is “stored” in the original unedited Phrase. From cold, stiff, and lifeless, to slick, tight, and in the pocket. This is all done with real-time adjustments. Combine this with creative chord timing and voicings and you can dramatically reshape the results.

Unless you are actively taking advantage of these alternative interactions with the Arpeggiator Input, then what you are doing is attempting to write a completely different result. To me that is a separate function, one that I can appreciate, but one that is a completely different thing… once I compose/construct a phrase that I want, it begs the most important question: Why would I then turn it into an Arpeggio?

You then must ask yourself: “Did I go in a circle?”
You must create the data with a normal MIDI sequencer, then you must convert the data to an Arpeggio… er, to presumably take advantage of the kind *editing* the Arpeggiator function brings to the table. As long as you enter that creative circle with your eyes open.

Perhaps it is important to state: If you can create the data you want, exactly as you want it, you’re done… there may be no further need to convert it as an Arpeggio, you can simply cut and paste into place. Mileage on this point can vary greatly. Think and use the Arpeggiator as an editing tool… that’s it raison d’etre… to be a real-time editing tool.

I recommend taking an interesting Arp Phrase and seeing how much you can vary the results before concluding “you can’t edit” !

Hi Bad Mister. Thank you for responding.

Yes, I know it's really cool to change an arp from.. 16th note subdivision to a triplet subdivision by using the quantize feature. That way if one likes the sounds used in an arp and the basic pattern, you can make a 16th note subdivision arp work perfectly with a Part that has triplet feel. Really cool.

Thanks for reminding me about varying the start time if an arp. I have done with audio loops, where I play the keys on the down beat of 1, then lift my fingers off the keys and retrigger the loop (or arp) on a different down beat (2, 3, or 4) or... any 8th note upbeat or even any16th note upbeat to create an unlimited number of rhythmic variations. I forgot to try that on the MODX. It works great, except that on the MODX as opposed to an audio loop you can also play with changing the harmony and the velocity. Much more multi dimensional than an audio loop.

Varying arps in the ways described above are a great way to experiment with accompaniment parts (Bass lines, synth comping parts, rhythm guitar parts, etc). I guess you can even do it with melodies. Like create a melody arp from a pattern and then create variations rhythmically and harmonically on the fly. After experimenting with arps for Parts, you can cull some the best ideas and commit them as accompaniment Parts in midi tracks. Wonderful tools.