Ch00rD wrote:Basically: it bumps the volume and the cut-off up, depending on the accent level (which is a separate control knob on the panel), and a fixed envelope shape is used with fast attack (but perhaps slightly slower than regular notes, can't remember or check atm), and fast decay. Although regular notes and accented notes use different envelope shapes, there seems to be only a single envelope, with a single depth control that affects the envelope depth for both types of notes. The intensity of accents is also increased by previous accents, but then tops off after a bit; depending on the speed (of the sequencer, or playing notes manually if they are modded to take gate/CV input), you'd typically get three or four different levels in a rapid succession of accented notes, which makes it sound very much 'alive'. Also, when you play a non-accented note tied to an accented note, you can make the accent audible at varying levels (or completely disappear) by varying the decay amount of the previous note, again, also dependent on speed. So while it may seem that the decay control only directly affects non-accented notes, in fact it can very much affect accented notes as well.pdxindy wrote:So what does Accent in a 303 do? Please explain...Ch00rD wrote: However, the characteristic 303 accent is still quite a different beast compared to sequencing separate filter / amp / envelope parameter values for each step. Imho there is no practical way that the former (admittedly a very specific and at this point hypothetical case) can be achieved by the latter (which in general has much more interesting possibilities, but would not suffice to capture the interaction between parameters that is so characteristic for the 303).
The best way to understand what it does, probably, is to play with it yourself for a bit. Perhaps try ABL2 in demo mode for a bit; it captures it quite well.
(Somewhat related recent thread on KV here, btw.)
Your description makes sense... thx
More seriously, at the Musikmesse one might get the impression that 99% of musicians use hardware gear, and plug-ins are only a very tiny niche market. The latter may even be somewhat close to the truth... U-he being present there really shows how professional and innovative you guys are (overall, not just in the development of plug-ins). I really couldn't think of a better representation of plug-ins as part of the overall music instruments industry. Glad to hear you'll be there next year as well! 
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