I 100% say this without any pretension nor RTFM vibes. The manual is REALLY really good. You can kinda sit with your Play in front of you, read through it and try what you’re learning. It’s fun and really well written both in details and in the learning experience.
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you know… I have a real deep appreciation for the sensitivity with which you offered that suggestion. & you could prolly tell already, but… I’ll say it anyway… I’m of those rascals who had that uncanny aversion to manuals. though I’ve found that some read far better & are therefore much more helpful than others. anyway… your words here are helpful, encouraging & supportive. & inspiring!! &, once again, I appreciate it, sir.
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True, but it’s saved along with the project. So your custom settings can vary across projects.
Ah, I think I was unclear, with automation across steps I meant actual movement, not parameter per step and my main point was that patterns always sound the same. With an LFO that is not beatlocked or has a longer wavelength, effects will constantly shift and each repeated pattern will sound unique.
It might sound nitpicky, but considering that loopyness is one of the biggest dangers to electronic musics musicality…
The ease of using polyrhythm is one of the plays great strengths on the trigger side. It’s a bummer that loopyness is built into the effects side, since the missing connectivity (for using external effects or even internally rerouting midi CC to effects) basically leaves no other options.
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Oh yes I totally get what you are asking for. The message you quoted was me responding to @fallprecauxions 
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I like the Polyend Play+ a lot. A lot a lot. My goodness I wish it had more features, and there are existing issues I have with it, but if you embrace what it’s good at, a lot of those features fade away.
I recently acquired a Maschine+, a far more capable device for most things, but I miss generative fills and the speed in which I can get around a device like the Play.
I wish everyone the best experiences possible on their music making journey, and I’m sorry if you haven’t found your dream device yet. But please understand there’s only so much hardware, ram, cpu, software, engineering salaries, marketing budgets… etc etc. The sooner you embrace the limitations set before you, the more freedom you’ll have to explore the incredibly capable sound-making machine you have in your lap.
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Just want to push up the idea of a song mode again if it resolves this issue WhichTBH is the biggest downside of otherwise a brilliant song arrange) …
Im guessing the speed of pattern and pattern chains copy/paste is related to the fact that its working from the root pattern directory 
A song mode is a virtual overlay relining on pattern recall rather than the entire pattern data… so process time should not be relevant
Also in this mode all the cool stuff like , pattern repeats, mute status, variations? Could be called allowing complete arrangements from singel patterns…
As so I would sugest that song mode be 127 x 4 
… so one could plan a whole live set or work on multiple songs in one song overlay 
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is that capable of something along the lines of “motion sequencing” in the korg volcas?
keep in mind that all the motion sequencing is bound to steps, so you won’t get smooth filter changes, for example. especially for slower bpms.
related thread: Midi cc fill with types such as exponential, linear, sine, etc to help generate modulation
You have a very small selection of parameters for programming effects. You can’t even reproduce most of the delays in the performance section because you can’t drill down to the relevant settings.-
To me it seems that Play is just re-packaged Tracker with less features meant for those who are fixiated on grid based sequencers and piano-roll… Which is not exactly best option unless the device is polyphonic.
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Fewer features? The Tracker definitely has more sound design options, but the Play is way more powerful on the sequencing and generative sides and you’re not restricted to 2 p-locks per step.
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To answer the question of the OP, its job is to allow you to Play. Trust me, I used to rant hard on the limitations. I finally realized I wasn’t making anything. There is no such thing as a perfect device. If there were, we’d all have it. Today, when I fire up the Play, I have fun. I enjoy the sounds. Limitations are self defined subjective barriers to fun.
I hope you do find what makes you happy. In time, you’ll find it. I believe you probably have it.
All the best.
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It sounds like you want a Deluge.
I have the Tracker (Mini), and the Play+, and the Deluge, and I find the Polyend devices fun to mess around on, and great for generative experimentation, but they’re no competition for the Deluge in terms of comprehensive features.
@gram What’s your favorite thing that the Deluge offers that the Play+ lacks (aside from breadth of features)? When you’re with the Play+, that thing where you’re like “if only it did X like the Deluge right now…”
Polyphonic tracks. Built-in battery. Proper sampling.
I’m not really a big fan of the way a track on the Play is not associated with a single instrument or MIDI channel. I know that helps when you have a small and finite number of tracks, so I get it; Elektrons do it too. But it can make it really hard to keep track of things for me. So I keep things simple on the Play and dedicate the tracks anyway and accept the limitations of that.
I’m not knocking the Play; I have a Play+ and a Tracker Mini. But to me they are fun devices to get creative and have fun with where whatever I create is likely not going to get saved or taken very far, while the Deluge is a compositional instrument that I can use to start something on that I will later take to the DAW. If I had to get rid of everything I own the Polyends would be among the first to go; the last two standing would be the Deluge and Akai Force, and it would be a really tough call between those two.
I think the Play is well-named; it’s for play for me. And it’s great for that. Different tools for different jobs.
@TheKrazyWabbit Of course you are right. To me, playing is harder when the immediacy is taken out of placing steps. I was truly baffled to find that this many people don’t mind it at all since I thought that’s what most people use sequencers for in the first place.
But I hear you. Less complaining, more music making. If I may pick your brain: Would you say there are any downsides to replacing the play with and oxi one paired plus smartphone as sampler?
@gram I’m a bit intimidated by the deluges reported reliance on the users brain storage capacity and the vacation that I’d have to sacrifice to get it. The deluge that is. But I might, I might…
@hey.erc For me it’s placing two kicks and two snares by pressing 4 buttons… Also, did I mention I don’t like pick and place? 
Thanks for the quick response. I get around the battery issue with one of these power banks from Anker.
Your points are fair and I do think they named it right. I do tend to mostly have fun with the Play+, although I have performed with it a few times (and I miss performing). Me and a friend had our gear connected on a midi hub and mostly improvised with great success.
For me, the Play+ is my main and I’m very happy with it.
I’m trying to get more compositional with the Play+ and that’s where I’m slowing down. I have a 3 minute or so track with various sections that I can stretch out with Perform mode, but going back in and tweaking 40ish patterns is daunting to the point where I won’t do it. Perhaps that’s for the best tho, because the track is alright for my needs.
The Play has really taken a role that I think video games used to have in my life, but more productive because in just a few moments of play I’ll have some amount of creative expression to appreciate, rather than random stats in a game I won’t care about in a year. I think it’s a really great device. Limited, but limits are good.
The best products, however, wear their limits as a badge of honor. Play does feel like it’s often trying to punch above its weight.
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Yes, the Deluge has a bigger learning curve for all the many features, but it’s actually really simple to bang out the basics. Press Clip, tap a pad on a row, and you have a (polyphonic!) piano roll for that row’s track. Click synth or kit or MIDI button to change the track type, and the turn main encoder to pick a kit or preset. Press one of the effects buttons and use the two effects encoders to change the associated effects. Press Song to go back to multitrack view. Voila, you’re making music.
Downside would be the immediacy of the Play. I’m a massive fan of the beat fills, chance and randomization. Everything, provided you have the samples you want loaded, is right there for you.
With that said, I like as many options as my wallet allows me. The OXI with the iPad is a powerful combination. To offer any downsides: 1. Subjective. 2. Because of #1, there can be no downsides. Anything that makes noise is a win.
LOL, I actually convinced myself in writing about the Deluge vs Play+ to sell my Play+. For the third time. And again immediately regretted it. I’ll never sell the Deluge (until there’s a Deluge v2) but the Play* I have such mixed feelings about that how I feel about it changes with the wind. There are things about it that are maddening to me, and other things that are brilliant. Ah, well, guess I’ll be shopping again soon.
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