Lol, you're right about "canonic." I never write in canon so I don't often think of this. But it's worth remembering... and maybe trying my hand at some canon now and again. And more broadly, sequence offset, delay, temporal divide / multiply, retrigger, invert, retrograde -- all those and more to do with "sequencing sequencers" is in my queue of items to study further.
Speaking of canon and other complex counterpoint, it reminds me of a few years back, trying reading Taneyev's "Convertible Counterpoint in the Strict Style." Barf! I will tolerate a lot of weird and thorny musical / theoretical writing, but that was pressing too far for me. Maybe I should return to that book as it might have more interest / implications now that I'm into modular and trying to push my game on compositional control schemes.
Regarding #4 above, maybe I'm making too much of having a continuous pitch signal available for the counterpoint voice. Maybe it would be fine to just use the rhythmic-value gates to drive the presentation of pitch information (e.g. substitute the rhythmic gates for step 4 above). In other words, a non-continuous pitch signal would be workable too, so long as the pitch information is available during all "note on" time spans.