Or just use the Envelope Follower as intended for this type of effect.

Unfortunately I don't have the time to do everything immediately. Excuse me, everything lasts a certain time.

ON THE THEME...

To the 3rd point of my original post: TOGGLE MS ON/OFF

I tried it with pressing "MS on/off"during liveplay and with a slow MS lane (800%) on cutoff.

Extremly timing sensitive! Perhaps something for those millisecond-professionals.
With me this produces Chaos, noises ...

Until now I did this by changing scenes. Costs a scene and also requires some timing - mainly not while holding a key, Otherwise it causes a slight "switch on noise". But the switching point I can set much more "generously" ... even one or two notes erlier, if I want. And it slides in at the right time very softly. This way it shall be!

I guess only single entertainer have such problems 😉

@Antony
For Envelope Follower I will need something to follow 😉
If I had found such an arp, I never would have mentioned it here. Btw. 10.000 arps is also not easy to search through.
To create a ducking arp (controller arp) myself ... I don't know yet. I only cared for normal arps. But ... reading Bad Mister's papers I stoped shortly after "Mary has a little lamb". With all due respect ... I have some difficulties there.

On YT I found a quick and nice demonstration ... no theory, no praising, no detours ... simple instruction. And so I did my first user arp. But didn't care yet for controller arps.

Motion Sequencer. I didn't try this way yet. Because I also made the experience, that the range is not sufficient to cause a hammer-effect. Nevertheless a question to MS: one can trigger it ... on. But I don't know how to toggle between on and off. If there is an extra button for this it would have been a fine idea to give it 2 fuctions. Is this possible?

Along with the global on/off for motion sequence you can also "stop" any Part's motion sequence by switching to a different motion sequence number. Each lane gets up to 8 "Sequence Select" slots. Each of these 8 sequences for a single lane can have a different "Cycle" number but all other parameters (Sync, Unit Multiply, Key On Reset, Loop, Velocity Limit) are shared by all 8 sequences per Lane. With the scene buttons, just like you can pick which arpeggio number to switch to - you can also pick which sequence number to switch to. This is global so all Parts will change to the assigned sequence number.

Therefore if you start using this for say Part 2 so you have sequence 1 as your normal one and sequence 2 as "disabled" (you can create this by setting the cylce to 1 and set the "hold" pulse or curve to output 0 all the time). Then you want to switch to sequence 2 Part 1 which is also running a sequence in this made up example will switch to sequence 2 too. If you want the sequence to stay the same for Part 1 then setup sequence 2 for Part 1 to be identical to sequence 1.

Note that Lanes 1-4 are things you do not switch between. They are running all the time as virtual knobs. Your usage of each Lane is in the Control Assignments.

By the way - I understand that the keyboard is doing things you don't like and/or don't understand. The problem I have is identifying, with a reasonable amount of clarity, what exactly you are wishing to do (ignoring anything about how the keyboard operates).

If this is all about a "pumping" sound then that's fine. Your description of turning motion sequence on and off or what you expect there vs. what you get when you try is not very clear.

Even a video provided would lack clarity unless accompanied by some description of why the results deviate from the expectation and a clear statement of the expected end result. You do not need to understand how the keyboard functions or the limitations in order to articulate what you expect. So many times we see video demonstrations of problems and one that is familiar with the keyboard will see no issue because everything makes sense why the response is a certain way. The struggle is always in capturing what the expectation is.

There's no hurry. Whatever questions or clarifications you can send can be done at your leisure.

Yes, it will still be running with loop turned on. That's why "stop" is in quotes. However, using this technique you can create a similar effect as the "Mute 4/4" (and other time signatures) arpeggios works. For arpeggios, Mute #/# stops the output of the arpeggio while the arpeggio continues to run. If you use a second sequence number and set hold to 0 for the output of all slots (or just have "cycle" set to one and set this single slot to 0 hold) then motion sequence will reset to 0 (and stay there) while the 2nd sequence is selected.

I offer this as a way to "stop" the sequence and leveraging control of the scene buttons.

Speaking of mute 4/4 arpeggio - you could sync MS using arpeggios then changing various arpeggio settings can help align where and when the motion sequence triggers. You can pick Mute 1/8 to allow for more frequent triggers of MS. There are lots more settings and dependencies here - so this is not quite the path to take for quick understanding. And arpeggios have their own set of complexities in lining up your trigger note so there's as much of a chance to help as to hurt.

Solved the problems!!! Answered the questions myself 😉

Perhaps one day someone will come here, who has the same claims and same bad experiences. Then I have some tips.

I continued my experiments with the compressor. First because other suggestions are too complicated, second because "compressor ducking" is a most common feature. It shall function, if available (!). And there where some open points... I newly found (settings) or mentioned above (different Basedrums).

Back to the roots. There where two problems:

1.) "snapping noise" of the compressor when full power ducked (I wonder why noone hears that; but anyway)

2.) 0-level not wanted or in other words "I want an offset", so that the sound doesn't disappear totally. Means: full range ducking between offset and maximum. Why? Because I want to play a melody, and one cannot hear some notes in the ducking phase.

1. a) There are some compressor "Presets" beside the known parameters. I experimented with them, and for me the "60s Drum Kit" made it smoother (snapping noise).
b) INDEED the choice of the (sidechain-)basedrum (in my case) makes a HUGE difference!!! One can browse through them live and hear what happens. Some produce hard effect with snapping, others softer transitions.
With both settings I now have a full range ducking without "snapping noise".

2.) An offset is still not possible. So, as I assumed at the beginning, I had to workaround it by adding a parallel sound, which is allways hearable. Very easy! I'm having some element-slots free. So I copied elements, adjusted the "level" to my prefered offset and set the "Elem Connect" to "thru" (no sidechain).

Thank you all again for your hints and tips! I hope I could also help with this article.