The bass part you're referencing is 4 repeated sixteenth notes (same note) with an emphasis on the downbeat. You have some options.

Maybe there's a built-in arp that does this. MA_TranceBassB1 is almost right - but the emphasis is on the "a" (as in "one-e-and-a") of the pattern instead of the downbeat. It took quite a while of searching through hundreds of ARPs to find that one and hundreds+hundreds more until I've made it through ones that make sense based on categories.

So that's one option - do your best at finding an ARP that matches. Or hope someone landed on that kind of ARP to lend you a hand.

Another option is to create your own ARP. ARPs are the only thing which can start and stop notes and I take it you want the ARP to handle at least doing the 16th notes (emphasis or not) so you do not have to play an articulated 16th note pattern on a single note. ARPs can also carry with them velocity, so there is no need to use motion sequence here. All you need is 4 notes (16th notes). Edit the velocity of the 1st to be louder than the next 3 - save that as a MID (you can use Cubase that came with Montage or your favorite editor which spits out MIDI) - load the MIDI file on Montage through the recorder and convert the MID to a user ARP. That's pretty much it.

The last option, as you mentioned, is to create a motion sequence. Still, you would want an ARP to play the 16th note pattern. Again, it took a long time to find something but "MA_Wavtable16th" can be used - it doesn't emphasize quite like you want - but you can use motion sequence for that. You can sync so the ARP will either change the filter or change the velocity (or both) on the downbeat to get what you want. There are many options of how to do that. By the way, I found the ARP by searching for "16" in the ARPs and then went one by one until I found this one.

Even using search phrases and categories - there's not a great way to search for ARP content. This is another item which may be served by an offline tool. Something perhaps you can limit the note range (this is single note) - limit the note duration (this is all 16th note) - maybe limit the gate time (this is longer than legato - so I'd filter out the quick "blippy" ARPs with a gate time search field).

I think the fastest route is to make a custom user ARP - it's only 4 notes and fairly straight forward. Could have had a handful of user ARPs in the time I searched for something that matched from the preset ARPs.

FYI - I'm using a Montage 7 coming from a 61-note setup. The extra notes do help. Although the Montage 7 is going to weigh (just barely) more than the Roland FA08. Of course - combined weight you're down - but your heaviest single keyboard is going to be just a tad bit heavier with the Montage 7 (and fewer notes).

Thanks Jason, Always a world of knowledge, I'll look up Arpeggio 101 and see how to create my own arps and go from there.

Cheers
Scott

No problem. After the ARP process - you may want to circle-back and experiment with using ARP ("MA_Wavtable16th") plus a motion sequence as a way to modify the level or filter on the downbeat. That I can tell, there's no parameter that would change the velocity using control destinations. You can change the level - but this will take any velocity and just make it louder (not change the velocity - so whatever velocity the ARP is set at will be what the PART will map its matching sample to) - so you will not, with motion control, change/intercept velocity. I would therefore target filters any maybe level in combination to simulate a different attack on the downbeat.

That's not to say that ARPs and motion sequence cannot be used together to do velocity tricks - but you have to rely on the ARP to supply the velocity because it's not part of the toolbag within motion control (not an available destination).

... another tip for unraveling motion sequences:

Start off by using superknob automation instead of using lanes. Superknob automation is like using a "conventional" motion sequence where you use a lane - except that the destination is fixed to control the superknob position already for you. Therefore, there is no "Mod/Control" to assign a destination of superknob. Your controls available to you are the screens to setup what are called "pulses" (pulse A and Pulse B). In "conventional" motion sequences - you also have the same "pulse" portion of the sequence - then you also have a second half of the "curve" portion. The reason why starting out with superknob automation is beneficial is because you can learn how the "pulse" part works in a more visual manner because the superknob will respond and you can visually see what is going on in a clear manner. Superknob all the way counter clockwise and the value is 0. Superknob at "12 o'clock" and the value is 64. Superknob all the way clockwise and the value is 127. You can even bring up a screen which tells you the current superknob position to further help understand what your pulse sequence is doing.

You can then start to use the pulse type "Hold" to force a specific value on superknob. You'll start to see how all the values relate because you'll notice how setting different hold values end up causing the superknob to move to certain positions. You'll see how directly above the "A" in your pulses - how there's a number that defaults to 64 - and how this number scales each cycle. You'll see how "amplitude" is also a way to scale cycles - affecting each cycle the same way (a global scale). You'll see what amplitude value causes a 1:1 (one to one) ratio of values out to superknob.

For the bass inflections - you could even stop there and use superknob to provide the emphasis - but I would use it more as a learning tool and move on to using lanes next. Understand that the value that superknob is set to visually is, when using lanes, a position along the "curve". For curves an input value (meaning the pulse output -- meaning what you would see under superknob control as the superknob position) of zero (0) places you on the far-left of the curve. Therefore, whatever value is at the far-left of the curve is the value sent out to your destination (destination as volume, cutoff, resonance, or whatever you pick as the destination(s)). If the pulse output is 64 (or what would cause the superknob to go to the 12'clock position) then this will place you in the middle "x" position along the curve. The curve, again, being the screen that has the final destinations listed. And a value of 127 as a pulse output will place you at the far right of the destination curve. So pulses setup positions along the curve (left to right) and then the curve shape (height of the curve at each position) determines the value sent to the destination. The curve is not time based. It's just a lookup table. Pulses are time based. For a pulse (the other screen - the one which matches what you edit for superknob automation) ... for a pulse the far left is time zero and as you go right - you go forward in time. How this relates to the beat is determined by other values that you can set. Using superknob automation is a good way also to learn what values align the pulse outputs to the beat - and how the cycles/speed/etc relate to the concept of time.