[bFooz]

Those are two valid opposites. Maybe the option here would do - to have two colour maps, one sequential, one shuffled. Could be changed via the script, don't know if the API allows that though.

Or there could be the third option - to have low (1-4?) channels differentiated, and 5-16 sequential. The low ones would be further differentiated from the high ones by saturation/lightness, e.g. 1-4 with high saturation; 5-16 lower saturation, just enough to be perceived as being different from 1-4.

I am coming from the notation side of use, I do not use the MIDI editor itself very often. In the notation generally, there is the standard of 4 voices - soprano, alto, tenor, bass, which I have assigned to channels 1-4. I also use channels 5 and 6 as supplementary voices when I run out of the first 4 voices.

Here are my real use (including the bottom one) examples:

1,2,3,4


5,1,2


1,2,3,4

Can you explain what you mean by that please?

The HSB color wheel is based on what I call a technical color (based on how hardware, pixels, human eye works) = cyan is placed against red. I found this one to be better for finishing (color grading).
https://mk0mixinglightefx5p5.kinstac...015-ML0307.jpg

In what I call the painter's wheel, there is green against red leaving more room for yellows. For me this one is better for creating.
https://color.adobe.com/create

The colors you use are based on the HSB color wheel, giving IMO too many blues. I've counted 2 reds, 1 orange, 1 yellow, 3 greens, 4 blues, 4 purple. Some blues and purples looks very close to each other. But don't know if using the painter's wheel for 16 hues wouldn't lead to some others colors looking too similar.

Voice assigns its colours from the pitch colours, and is hardwired.

Keeping red at Cs is fine I think, with hue changing sequentially as the pitch goes up. This mirrors how it sounds in a way.

Regarding voice colors, maybe this could be also requested from the devs in the same package as the other notation issue.