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| mididocs:seq:beginners_guide:start [2020/06/30 05:44] – latigid_on | mididocs:seq:beginners_guide:start [2024/06/27 04:59] (current) – jjonas |
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| [[beginners_guide|{{3XSEQV4.png}}]] | [[beginners_guide|{{3XSEQV4.png}}]] |
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| The sixteen numbered buttons immediately below the LCDs and knobs are referred to either with their button names (LENGTH, DIVIDER, FX etc.), especially if they are used together with the MENU button; or if they are used without the MENU button, they are called //general purpose buttons//, or GPBs for short (usually with a number, e.g. GPB7 for the 7th GPB from the left). Often the menu pages, too, are called with their button names (EVENT fron the Track Event page etc.), to indicate the means to get to that page quickly. | The sixteen numbered buttons immediately below the LCDs and knobs are referred to either with their button names (LENGTH, DIVIDER, FX etc.), especially if they are used together with the MENU button; or if they are used without the MENU button, they are called //general purpose buttons//, or GPBs for short (usually with a number, e.g. GPB7 for the 7th GPB from the left). Often the menu pages, too, are called with their button names (EVENT for the Track Event page etc.), to indicate the means to get to that page quickly. |
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| All knobs are called //general purpose knobs//, or GPK for short (also with numbers) with the exception of the big knob in the middle of the panel, which is called the datawheel. The displays are called the left LCD and right LCD. | All knobs are called //general purpose knobs//, or GPK for short (also with numbers) with the exception of the big knob in the middle of the panel, which is called the datawheel. The displays are called the left LCD and right LCD. |
| //A pattern// is a collection of musical and other //data on four tracks//. Each group always has one //active pattern// in it. Because there are four groups, you will always have four simultaneous active patterns. (Whether or not all the active patterns have any practical data in them is another matter.) Groups and patterns overlap in the sense that a pattern in Group 1 will always be made up of tracks 1–4, a pattern in Group 4 will always be made up of tracks 13–16, etc. But the group is just an organisational concept, a receptacle, and the pattern is the content that fills it. The same pattern can be played in any of the groups. | //A pattern// is a collection of musical and other //data on four tracks//. Each group always has one //active pattern// in it. Because there are four groups, you will always have four simultaneous active patterns. (Whether or not all the active patterns have any practical data in them is another matter.) Groups and patterns overlap in the sense that a pattern in Group 1 will always be made up of tracks 1–4, a pattern in Group 4 will always be made up of tracks 13–16, etc. But the group is just an organisational concept, a receptacle, and the pattern is the content that fills it. The same pattern can be played in any of the groups. |
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| Patterns are stored in four //banks// (1–4). In a default session, Group 1 plays patterns from Bank 1, Group 2 from Bank 2, etc., but in principle there's nothing stopping you from playing a pattern from any bank in any group you like. Patterns always have a numerical names, which indicate the bank they are stored in, and the location within that bank. For example, pattern 3:B2 is stored in the 3rd bank, 10th slot. Every bank has 64 slots, and the slots are named with a combination of a letter (A–H) and a number (1–8). Thus, A8 is the 8th slot, B1 is the 9th, and H8 is the 64th. | Patterns are stored in four //banks// (1–4). In a default session, Group 1 plays patterns from Bank 1, Group 2 from Bank 2, etc., but in principle there's nothing stopping you from playing a pattern from any bank in any group you like. Patterns always have a numerical name, which indicate the bank they are stored in, and the location within that bank. For example, pattern 3:B2 is stored in the 3rd bank, 10th slot. Every bank has 64 slots, and the slots are named with a combination of a letter (A–H) and a number (1–8). Thus, A8 is the 8th slot, B1 is the 9th, and H8 is the 64th. |
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| Patterns can be chained to form //songs//. Songs are several patterns played one after the other. A maximum of four patterns can play in parallel (one in each group). It is not possible to put //individual tracks// one after the other; a pattern is made up of four tracks, and that is the smallest unit that can be chained. | Patterns can be chained to form //songs//. Songs are several patterns played one after the other in an automated fashion. A maximum of four patterns can play in parallel (one in each group). It is not possible to put //individual tracks// one after the other; a pattern is made up of four tracks, and that is the smallest unit that can be chained. If you want to play just one track at a time, either leave the three other tracks in the pattern empty, or mute them. |
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| A totality of tracks, patterns, songs and settings (and a few other things like groove patterns and mixer maps) is called a //session//. One session can have a maximum of 256 different patterns (64 per bank) and 64 different songs (i.e. different sequences of the patterns in the session). | A totality of tracks, patterns, songs and settings (and a few other things like groove patterns and mixer maps) is called a //session//. One session can have a maximum of 256 different patterns (64 per bank) and 64 different songs (i.e. different sequences of the patterns in the session). |
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| >>>//It makes sense to organise your groups (and hence the four tracks they contain) around a principle. For example, Group 1 could be for lead sounds, Group 2 for keys and pads, Group 3 for bass, and Group 4 for drums. Or, Groups1–3 could be dedicate to different synthesizers, and Group 4 from drums and percussion.// | >>>//It makes sense to organise your groups (and hence the four tracks they contain) around a principle. For example, Group 1 could be for lead sounds, Group 2 for keys and pads, Group 3 for bass, and Group 4 for drums. Or, Groups1–3 could be dedicated to different synthesizers, and Group 4 for drums and percussion.// |
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| Initialising the track erases all data in the track's parameter and trigger layers and replaces them with default initialisation values for the chosen track type. Initialisation won't affect Port, MIDI channel, and Program Change commands (on the Track Instrument page, GPB8), but all other settings such as length, divider value, name etc. are reset to default values. | Initialising the track erases all data in the track's parameter and trigger layers and replaces them with default initialisation values for the chosen track type. Initialisation won't affect Port, MIDI channel, and Program Change commands (on the Track Instrument page, GPB8), but all other settings such as length, divider value, name etc. are reset to default values. |
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| By default, initialisation switches the gates 'on' for each 4th step. In the options menu (UTILITY 🡪 Opt. 🡪 Option #11) you can disable this effect, so that initialisation inserts no notes in the track. | By default, initialisation switches the gates 'on' for every 4th step. In the options menu (UTILITY 🡪 Opt. 🡪 Option #11) you can disable this effect, so that initialisation inserts no notes in the track. |
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| Initialisation works for only one track at a time, even if you have several tracks selected. Only the track that's being displayed on the LCDs, the active track, will get initialised. | Initialisation works for only one track at a time, even if you have several tracks selected. Only the track that's being displayed on the LCDs, the active track, will get initialised. |
| >>>//Next, select the correct port and MIDI channel. Use the GP knobs to set Port to 'Def.' and Chn. to whatever channel your synth is listening to (you will have to know yourself what the right channel for your equipment is).// | >>>//Next, select the correct port and MIDI channel. Use the GP knobs to set Port to 'Def.' and Chn. to whatever channel your synth is listening to (you will have to know yourself what the right channel for your equipment is).// |
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| >>>//Then push track selection button #2 to select G1T2. You will notice that you stay in the same menu page (the EVENT page), but the information you see now pertains to track G1T2. Make the same Type, Steps/Layers, Port and MIDI channel selections for G1T2 as you did for G1T1, and initialise the track.// | >>>//Then push track selection button #2 to select G1T2. You will notice that you stay on the same menu page (the EVENT page), but the information you see now pertains to track G1T2. Make the same Type, Steps/Layers, Port and MIDI channel selections for G1T2 as you did for G1T1, and initialise the track.// |
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| The setting Sustain on the MODE page is good to keep in mind when setting up a track to play chords (whether transposed or not). Sustain holds each note/chord until another one is played, and this spares you the trouble of having to set the length of each individual note/chord. | The setting Sustain on the MODE page is good to keep in mind when setting up a track to play chords (whether transposed or not). Sustain holds each note/chord until another one is played, and this spares you the trouble of having to set the length of each individual note/chord. |
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| Given the disadvantages of the chord track, for the beginner it is probably easier to just initialise a note type track with four or more note layers (maximum length 128 steps or less), and record the required chords there as several simultaneous notes. (For recording, see section 4.) | Given the complexities of the chord track, for the beginner it is probably easier to just initialise a note type track with four or more note layers (maximum length 128 steps or less), and record the required chords there as several simultaneous notes. (For recording, see section 4.) |
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| >>>//For the examples in this guide, the default port on the MIDI Router page should be 'OUT1'.// | >>>//For the examples in this guide, the default port on the MIDI Router page should be 'OUT1'.// |
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| Back on the EVENT page, in addition to the Def. (or 'OUT1') port options, there are several others, the (real) availability of which depends on the hardware choices made when your sequencer was put together. However, if you scroll to the end of the value list, you will find values 'Bus1–4'. These are //virtual// outputs that can be routed //inside// the sequencer, so that one track of the sequencer sends its data on, say, Bus2, which is listened to by another track. (See sections 4.1.1. and 6.1. for details.) | Back on the EVENT page, in addition to the Def. (or 'OUT1') port options, there are several others, the (actual) availability of which depends on the hardware choices made when your sequencer was put together. However, if you scroll to the end of the value list, you will find values 'Bus1–4'. These are //virtual// outputs that can be routed //inside// the sequencer, so that one track of the sequencer sends its data on, say, Bus2, which is listened to by another track. (See sections 4.1.1. and 6.1. for details.) |
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| MIDI Channel (Chn.) defines the MIDI channel on which the track's data is sent (in the chosen port). Naturally you want to match this with the MIDI channel(s) of your synth(s). The options are straightforward: channels 1–16. If Port is set to one of the buses, MIDI channel setting has no effect. (For the one exception, see section 6.1.6.) | MIDI Channel (Chn.) defines the MIDI channel on which the track's data is sent (in the chosen port). Naturally you want to match this with the MIDI channel(s) of your synth(s). The options are straightforward: channels 1–16. If Port is set to one of the buses, MIDI channel setting has no effect. (For the one exception, see section 6.1.6.) |
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| >>>//With 16 MIDI channels, you can control up to 16 different synths or other MIDI equipment. Normally setting the channel for each synth/etc. is flexible, but some MIDI equipment have limitations to which channel they can be made to listen to. For example, the Electro-Harmonix V256 Vocoder only listens to MIDI channel 16. If you have equipment with conflicting channel requirements, several physical ports (e.g. OUT1 and OUT2) offer a way out: you could have two tracks sending data on the same MIDI channel, but into different physical ports.// | >>>//With 16 MIDI channels, you can control up to 16 different synths or other MIDI equipment. Normally setting the channel for each synth/etc. is flexible, but some MIDI gear have limitations to which channel they can be made to listen to. For example, the Electro-Harmonix V256 Vocoder only listens to MIDI channel 16. If you have equipment with conflicting channel requirements, several physical ports (e.g. OUT1 and OUT2) offer a way out: you could have two tracks sending data on the same MIDI channel, but into different physical ports.// |
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| [[beginners_guide|{{ trkinst1.gif }}]] | [[beginners_guide|{{ trkinst1.gif }}]] |
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| >>>//When you've reached a point where you have many songs saved on the sequencer, it would be awkward to dial in the right synth patches by hand on every synth whenever you change to another session, so it's super handy that you can use this page to set program change messages to switch to those patches automatically, when you press PLAY and start the sequencer. Note that not all synthesizers will be able to change patches "in zero time".// | >>>//When you've reached a point where you have many songs saved on the sequencer, it would be awkward to dial in the right synth patches by hand on every synth whenever you change to another session, so it's super handy that you can use this page to set program change messages to switch to those patches automatically, when you press PLAY and start the sequencer. Note that not all synthesizers will be able to change patches "in zero time". (Note also that the actual functioning of this option relies on your gear and patch setup having stayed the same, something not always easily guaranteed!)// |
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| The Program Change command is saved with the track when you save a pattern, so when you chain patterns into a song, the Program Change command can be used to change the patch on the synthesizer that is listening to that track at the same time as the pattern is changed. Note that smooth live functioning of this feature depends on how quickly your synths can load new patches. If this is causing problems, Program Change commands can be sent also on a parameter layer dedicated for this purpose, allowing you to time them more flexibly, so that your equipment has time to react (see section 3.2.10. for details). Note, however, that //sending Program change messages simultaneously from the Track Instrument page and the Program Change parameter layer may lead to conflicting commands!// | The Program Change command is saved with the track when you save a pattern, so when you chain patterns into a song, the Program Change command can be used to change the patch on the synthesizer that is listening to that track at the same time as the pattern is changed. Note that smooth live functioning of this feature depends on how quickly your synths can load new patches. If this is causing problems, Program Change commands can be sent also on a parameter layer dedicated to this purpose, allowing you to time them more flexibly, so that your equipment has time to react (see section 3.2.10. for details). Note, however, that //sending Program change messages simultaneously from the Track Instrument page and the Program Change parameter layer may lead to conflicting commands!// |
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| If you press GPB9 on the Track Instrument page, you go to the Edit Name page. Naming the track has two components. The first component of the name is a //category// like lead, bass, pad, FX, drums, keys, your-synth-name, or whatever you can fit into 5 letters. The second component is a more detailed name for the actual sound/patch/whatever that is played on that track. | If you press GPB9 on the Track Instrument page, you go to the Edit Name page. Naming the track has two components. The first component of the name is a //category// like lead, bass, pad, FX, drums, keys, your-synth-name, or whatever you can fit into 5 letters. The second component is a more detailed name for the actual sound/patch/whatever that is played on that track. |
| The DIVIDER page offers two ways to change the divider value: either by changing it directly with GPK2 (and GPK3 for normal/triplet), or by quick-selecting a common timebase value with a GP button. The former allows for great precision, but the latter makes more human sense and is probably the more useful option for most situations. | The DIVIDER page offers two ways to change the divider value: either by changing it directly with GPK2 (and GPK3 for normal/triplet), or by quick-selecting a common timebase value with a GP button. The former allows for great precision, but the latter makes more human sense and is probably the more useful option for most situations. |
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| Normally you would use timebase 16 (divider value 16), which in simple terms means that when you're on the EDIT page, every step on the two displays (8 steps per display = 16 steps altogether) represents a 16th note, allowing for four note (or other) events per quarter note. If, on the DIVIDER page, you select timebase 8 (divider value 32), each of the 16 steps on the EDIT page now represents an 8th note, allowing for two note events per quarter note (the BPM led above the datawheel always shows the length of the quarter note). Timewise, the track lasts twice as many seconds as before, but what is gained in duration is lost in resolution (possible events per quarter note). In the same vein, quick-selecting timebase 4 (divider value 64) means that each step represents a quarter note, and so on. | Normally you would use timebase 16 (divider value 16), which in simple terms means that when you're on the EDIT page, every step on the two displays (8 steps per display = 16 steps altogether) represents a 16th note, allowing for four note (or other) events per quarter note. If, on the DIVIDER page, you select timebase 8 (divider value 32), each of the 16 steps on the EDIT page now represents an 8th note, allowing for two note events per quarter note (the BPM LED above the datawheel always shows the length of the quarter note). Timewise, the track lasts twice as many seconds as before, but what is gained in duration is lost in resolution (possible events per quarter note). In the same vein, quick-selecting timebase 4 (divider value 64) means that each step represents a quarter note, and so on. |
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| The divider value can be set to normal or triplet (in the quick select menu triplet is denoted with a T). Triplet option can be used to effect "triplet timing" for that track, but in that case you might want to have the track set to "sync to measure". (See section 5.4.) Of course, you can realise triplet timing with the "normal" divider setting as well and without "sync to measure", provided that the resolution of the track is enough to allow the adequate placement of notes. | The divider value can be set to normal or triplet (in the quick select menu triplet is denoted with a T). Triplet option can be used to effect "triplet timing" for that track, but in that case you might want to have the track set to "sync to measure". (See section 5.4.) Of course, you can realise triplet timing with the "normal" divider setting as well and without "sync to measure", provided that the resolution of the track is enough to allow the adequate placement of notes. |
| It is probably a good idea to limit divider/timebase changes to a small number of tracks, otherwise you won't remember which ones were playing a custom timebase (and which custom one). | It is probably a good idea to limit divider/timebase changes to a small number of tracks, otherwise you won't remember which ones were playing a custom timebase (and which custom one). |
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| >>>//Two cases where changing the divider/timebase value is useful are 1) fast melody tracks and 2) slow chord tracks.//\\ | >>>//Two example cases where changing the divider/timebase value is useful are 1) fast melody tracks and 2) slow chord tracks.//\\ |
| >>>//You might have a lead track where the default 16th notes are not enough for the melodies you want. If the other tracks are 64 steps long and their timebase is the default 16 (divider value 16), you could set the lead track to 128 steps, running at timebase 32 (divider value 8). Each step on the displays now represents a 32th note. This way the longer track would reach its end at the same time as the other tracks, but you could effectively write your melody with 32th notes.//\\ | >>>//You might have a lead track where the default 16th notes are not enough for the melodies you want. If the other tracks are 64 steps long and their timebase is the default 16 (divider value 16), you could set the lead track to 128 steps, running at timebase 32 (divider value 8). Each step on the displays now represents a 32th note. This way the longer track would reach its end at the same time as the other tracks, but you could effectively write your melody with 32th notes.//\\ |
| >>>//If you need 64th notes, quick select options have run out and you have to use GPK2 to change the divider value to 4.//\\ | >>>//If you need 64th notes, quick select options have run out and you have to use GPK2 to change the divider value to 4.//\\ |
| With parameter layer selection buttons, button A selects the first parameter layer and B selects the second parameter layer. If your track has only four parameter layers, button C alternates between parameter layers C and D. If you have more than four parameter layers, button C brings up a page where you can use a GP button to choose one of the available parameter layers. (Drum tracks have only 1–2 parameter layers, for these see section 3.3.) | With parameter layer selection buttons, button A selects the first parameter layer and B selects the second parameter layer. If your track has only four parameter layers, button C alternates between parameter layers C and D. If you have more than four parameter layers, button C brings up a page where you can use a GP button to choose one of the available parameter layers. (Drum tracks have only 1–2 parameter layers, for these see section 3.3.) |
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| Trigger and parameter layers hold most of the data that makes up your music, such as gates, notes, note lengths, CC values etc. In order to understand what recording a note actually does, it is necessary to first say something about these two kinds of layers. | Trigger and parameter layers hold most of the data that makes up your music, such as gates, notes, note lengths, CC values etc. In order to understand what recording a note actually does, first it is necessary to say something about these two kinds of layers. |
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| One trigger layer and one parameter layer are always selected, and thus active, ready to be edited with the GP buttons (for triggers) and GP knobs (for parameters) below each step. The active layers are named on the EDIT page (left LCD, top row). "Px: Name" gives the active parameter layer, where x is the layer (A-P) and "Name" the name of the layer, such as Vel. (velocity), Len. (length), etc. "Tx: Name" gives the active trigger layer (A-H) and the name of the layer, such as Gate, Roll, etc. | One trigger layer and one parameter layer are always selected, and thus active, ready to be edited with the GP buttons (for triggers) and GP knobs (for parameters) below each step. The active layers are named on the EDIT page (left LCD, top row). "Px: Name" gives the active parameter layer, where x is the layer (A-P) and "Name" the name of the layer, such as Vel. (velocity), Len. (length), etc. "Tx: Name" gives the active trigger layer (A-H) and the name of the layer, such as Gate, Roll, etc. |
| Gate is the basic trigger, without which other layers (whether trigger or parameter) cannot express themselves. Gate controls whether the data in the step is going to be played or not. If gate is 'on', the contents of the step's layers will be played, and if it's 'off', it will be treated as an empty step, even if there is data in the other layers of the step. | Gate is the basic trigger, without which other layers (whether trigger or parameter) cannot express themselves. Gate controls whether the data in the step is going to be played or not. If gate is 'on', the contents of the step's layers will be played, and if it's 'off', it will be treated as an empty step, even if there is data in the other layers of the step. |
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| >>>//You can verify this by pressing & holding EDIT, which brings up a menu where you can choose the type of EDIT view you want. Choose 'Trigger View'. The left display shows eight trigger layers, and the right display shows the first eight parameter layers. (If you need to see the rest of the parameter layers, you can choose 'Layer View', which shows all available parameter layers.)//\\ | >>>//You can see this for yourself by pressing & holding EDIT, which brings up a menu where you can choose the type of EDIT view you want. Choose 'Trigger View'. The left display shows eight trigger layers, and the right display shows the first eight parameter layers. (If you need to see the rest of the parameter layers, you can choose 'Layer View', which shows all available parameter layers.)//\\ |
| >>>//If you select G1T1 and use GPK1 to view Step 1, you can see that Gate is 'on' (*), and all the other triggers are 'off' (o). As to the parameter layers, you can see that note, velocity and length layers have something in them. Now use GPK1 to select Step 2. All the information in the steps stays the same, only the gate flag is turned 'off' (o). If you switch back to step view (press & hold EDIT), you can't see anything on the display for step 2, because gate is 'off'. But if you press GPB2, you will create a C-3. Where did that come from? It was in the step all the time, your button press just turned the gate on, and made the information in the step "visible".// | >>>//If you select G1T1 and use GPK1 to view Step 1, you can see that Gate is 'on' (*), and all the other triggers are 'off' (o). As to the parameter layers, you can see that note, velocity and length layers have something in them. Now use GPK1 to select Step 2. All the information in the steps stays the same, only the gate flag is turned 'off' (o). If you switch back to step view (press & hold EDIT), you can't see anything on the display for step 2, because gate is 'off'. But if you press GPB2, you will create a C-3. Where did that come from? It was in the step all the time, your button press just turned the gate on, and made the information in the step "visible".// |
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| === 3.1.4. Glide === | === 3.1.4. Glide === |
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| If the Glide trigger is 'on', the sequencer will trigger a glide //from the note in the current step// (where the glide trigger should be set 'on') into the note in the following step. This kind of glide is also called "fingered portamento". Glide will have no effect unless the two notes are different. | If the Glide trigger is 'on', the sequencer will trigger a glide //from the note in the current step// (where the glide trigger should be set 'on') into the note in the following step. This kind of glide is also called "fingered portamento". (Played on the keyboard this would require that you keep holding down the first key when hitting the second one; instead, if you release the first key before hitting the second one, the fingered portamento won't trigger.) Glide will have no effect unless the two notes are different. |
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| Note that the operation of this function depends on your synthesizer's settings. Also, not all synthesizers have the capability to trigger slides. | Note that the operation of this function depends on your synthesizer's settings. Also, not all synthesizers have the capability to trigger glides. |
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| >>>//Triggering a glide from step 3 into step 4. The visible layers in the image are note and length parameter layers (first and second), and the glide trigger layer (third).//\\ | >>>//Triggering a glide from step 3 into step 4. The visible layers in the image are note and length parameter layers (first and second), and the glide trigger layer (third).//\\ |
| === 3.1.5. Skip === | === 3.1.5. Skip === |
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| If the Skip trigger is 'on', the step in question will be skipped. This is not simply an "empty step", but the step will be jumped over, and the track will effectively become one step shorter than its length set on the LENGTH page. For example, if you set the skip trigger 'on' for step 5, the sequencer plays steps 1, 2, 3, 4, and jumps then directly to step 6. If your track length on the LENGTH page is 16/128, setting the skip trigger 'on' for three steps effectively makes your track three steps shorter'. | If the Skip trigger is 'on', the step in question will be skipped. This is not simply an "empty step", but the step will be jumped over, and the track will effectively become one step shorter than its length set on the LENGTH page. For example, if you set the skip trigger 'on' for step 5, the sequencer plays steps 1, 2, 3, 4, and jumps then directly to step 6. If your track length on the LENGTH page is 16/128, setting the skip trigger 'on' for three steps effectively makes your track three steps shorter. |
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| === 3.2 Parameter layers === | ==== 3.2 Parameter layers ==== |
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| A parameter layer always has a value between 0 and 127. It can be in plain numerical form (0–127) or it may appear as a combination of letters and numbers, like e.g. for notes and roll values. The values can be adjusted with the GP knobs below each step. | A parameter layer always has a value between 0 and 127. It can be in plain numerical form (0–127) or it may appear as a combination of letters and numbers, like e.g. for notes and roll values. The values can be adjusted with the GP knobs below each step. |
| The parameter layer to be edited is selected with the parameter layer selection buttons (lower left corner of the front panel). Button A selects the first parameter layer (which is a note layer in a newly initialised Note type track), button B selects the second parameter layer, and button C brings up a menu where you can choose any available parameter layer with the GP buttons. (Or, if you have only four parameter layers, button C alternates between the 3rd and the 4th layer.) | The parameter layer to be edited is selected with the parameter layer selection buttons (lower left corner of the front panel). Button A selects the first parameter layer (which is a note layer in a newly initialised Note type track), button B selects the second parameter layer, and button C brings up a menu where you can choose any available parameter layer with the GP buttons. (Or, if you have only four parameter layers, button C alternates between the 3rd and the 4th layer.) |
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| Note that all steps will have Note, Velocity, CC etc. values in them by default, but they are effective only if the gate trigger is set 'on'. On the EDIT page, the active parameter layer name can be seen in the left LCD. "PA: Note" means "Parameter layer A: Note", i.e. the first (= A) note layer is active, "PB: Vel." means the Velocity layer is active, etc. | Note that all steps will have Note, Velocity, CC etc. values in them by default, but they are effective only if the gate trigger is set 'on'. On the EDIT page, the active parameter layer name can be seen on the left LCD. "PA: Note" means "Parameter layer A: Note", i.e. the first (= A) note layer is active, "PB: Vel." means the Velocity layer is active, etc. |
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| Note layers contain the notes which the sequencer is going to play. If you have several note layers, you can use them to play several notes at once, e.g. for chords. (See section 4.) | Note layers contain the notes which the sequencer is going to play. If you have several note layers, you can use them to play several notes at once, e.g. for chords. (See section 4.) |
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| Note that the note layers are not independent of each other, because each track has only one gate trigger layer which is shared by all the note layers of the track. Hence, it is not possible to have each note layer play their own line, each layer having its own gate, length etc. Multiple note layers are useful for playing multi-note chords in each step, but e.g. piano-style two-handed play with some notes held down longer in one note layer, while other notes play "broken chord" arpeggios in another note layer is not possible with just one track. You would need to dedicate a separate track (perhaps sending on the same MIDI channel) for each "hand". | Note that the note layers are not independent of each other, because each track has only one gate trigger layer which is shared by all the note layers of the track. Hence, it is not possible to have each note layer play their own line, each layer having its own gate, length etc. Multiple note layers are useful for playing multi-note chords in each step, but e.g. piano-style two-handed play with some notes held down longer in one note layer, while other notes play "broken chord" arpeggios in another note layer is not possible with just one track. You would need to dedicate a separate track (perhaps sending on the same MIDI channel) to each "hand". |
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| >>>//Example: The following will work:// | >>>//Example: The following will work:// |
| === 3.2.3. Length === | === 3.2.3. Length === |
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| Gate length per step allows you to adjust how long a note will sound. Length is expressed as a percentage for each step, from 1% to Gld. (=100%). Length can be stretched over several steps by adjusting the gate length until the value for that step says "Gld." (for glide), and then adjusting the next step's length until "Gld.", if you want to sustain the note to yet another step, and so on. You can stop at any step when you've reached the length that you like by leaving the length value in that step anywhere below 100% (glide). The "stretched over" steps should have their gates triggers switched 'off'. | Gate length per step allows you to adjust how long a note will sound. Length is expressed as a percentage for each step, from 1% to Gld. (=100%). Length can be stretched over several steps by adjusting the gate length until the value for that step says "Gld." (for glide), and then adjusting the next step's length until "Gld.", if you want to sustain the note to yet another step, and so on. You can stop at any step when you've reached the length that you like by leaving the length value in that step anywhere below 100% (glide). The "stretched over" steps should have their gate triggers switched 'off'. |
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| >>>//In the example below, the note in step 1 will be glided into step 2, and the note in step 15 will be glided into step 16//. | >>>//In the example below, the note in step 1 will extend into step 2, and the note in step 15 will be glided into step 16//. |
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| [[beginners_guide|{{glide.gif}}]] | [[beginners_guide|{{glide.gif}}]] |
| Roll controls the number of hits per step and their intensity curve, whereas Roll2 controls the number or hits per step and the hits' distance from each other. Rolls are most often used for percussion sounds (particularly in drum tracks), but in principle they work with any type of track or sound. | Roll controls the number of hits per step and their intensity curve, whereas Roll2 controls the number or hits per step and the hits' distance from each other. Rolls are most often used for percussion sounds (particularly in drum tracks), but in principle they work with any type of track or sound. |
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| Roll parameter is a more refined version of the Roll trigger. With the Roll parameter you can set the number of notes played within the step, their intensity (range 0-15) and whether the intensity is ascending or descending (D for descending, U for ascending). For example, setting 3D03 means the note in the step will be played three times in quick succession, the first hit being played at a higher velocity than the second and third. 3D15 means the same, except all three hits will be played at equal velocity. | The Roll parameter is a more refined version of the Roll trigger. With the Roll parameter you can set the number of notes played within the step, their intensity (range 0-15) and whether the intensity is ascending or descending (D for descending, U for ascending). For example, setting 3D03 means the note in the step will be played three times in quick succession, the first hit being played at a higher velocity than the second and third. 3D15 means the same, except all three hits will be played at equal velocity. |
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| The Roll speed is relative to tempo. A slow tempo (e.g. 30bpm) is useful in evaluating the effect of different intensity settings. | The Roll speed is relative to tempo. A slow tempo (e.g. 30bpm) is useful in evaluating the effect of different intensity settings. |
| === 3.2.10. Program Change === | === 3.2.10. Program Change === |
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| Program Change parameter layer (PrgCh) allows you to send Program Change messages to your MIDI equipment, e.g. to change patches. This is useful if you want to change patches in the middle of a track. However, this requires that your MIDI equipment can effect patch changes quickly enough. On the other hand, if your MIDI equipment cannot handle the Program Change commands set on the Track Instrument page (see section 2.1.3.) quickly enough, Program Change parameter layer offers a solution: if you want your next pattern to play with a changed patch, you could use the Program Change parameter layer to effect the patch change during the current pattern, early enough so that the patch is ready when the next pattern starts. | Program Change parameter layer (PrgCh) allows you to send Program Change messages to your MIDI equipment. This is useful if you want to change patches in the middle of a track. However, this requires that your MIDI equipment can effect patch changes quickly enough. On the other hand, if your MIDI equipment cannot handle the Program Change commands set on the Track Instrument page (see section 2.1.3.) quickly enough, Program Change parameter layer offers a solution: if you want your next pattern to play with a changed patch, you could use the Program Change parameter layer to effect the patch change during the current pattern, early enough so that the patch is ready when the next pattern starts. |
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| Note that sending Program Change messages simultaneously from the Track Instrument page (see section 2.1.3.) and the Program Change parameter layer may lead to conflicting commands! | Note that sending Program Change messages simultaneously from the Track Instrument page (see section 2.1.3.) and the Program Change parameter layer may lead to conflicting commands! |
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| The default value for every step on a new Program Change parameter layer is 0. The layer sends a new Program Change message only if the value changes from one step to the next, so a 16 step layer filled with "0" send the command only once. If you don't want the track to send anything, use the ALL button & function (see section 4.2.3.) and turn the GP knob all the way to the right: the last value (---) will have the step send nothing. | The default value for every step on a new Program Change parameter layer is 0. The layer sends a new Program Change message only if the value changes from one step to the next, so a 16 step layer filled with "0" sends the command only once. If you don't want the track to send anything, use the ALL button & function (see section 4.2.3.) and turn the GP knob all the way to the right: the last value (---) will have the step send nothing. |
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| \\ | \\ |
| Parameter layers Nth1 and Nth2 allow you to create long variant patterns which change based on mathematical rules. Nth1 will trigger the specified action the first time and then each nth bar, while Nth2 will start triggering only after n bars, and then each nth bar. | Parameter layers Nth1 and Nth2 allow you to create long variant patterns which change based on mathematical rules. Nth1 will trigger the specified action the first time and then each nth bar, while Nth2 will start triggering only after n bars, and then each nth bar. |
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| The possible actions are: | The possible actions are:\\ |
| 1. Pl: Play each nth bar\\ | - Pl: Play each nth bar\\ |
| 2. Mu: Mute each nth bar\\ | - Mu: Mute each nth bar\\ |
| 3. Ac: Accent each nth bar\\ | - Ac: Accent each nth bar\\ |
| 4. Ro: Roll each nth bar\\ | - Ro: Roll each nth bar\\ |
| 5. Fx: enable Fx each nth bar\\ | - Fx: enable Fx each nth bar\\ |
| 6. Nx: disnable Fx each nth bar | - Nx: disable Fx each nth bar |
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| The first selectable "operation" (-- 2 etc.), before Pl, is actually a dummy value. It does nothing and can be ignored. The final operation ("?? 1" etc.) is currently empty, and also does nothing. | The first selectable "operation" (-- 2 etc.), before Pl, is actually a dummy value. It does nothing and can be ignored. The final operation ("?? 1" etc.) is currently empty, and also does nothing. |
| The track using a Root layer must be in Normal mode, not in Transpose or Arpeggiator mode (MENU + MODE). | The track using a Root layer must be in Normal mode, not in Transpose or Arpeggiator mode (MENU + MODE). |
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| Using a Root parameter layer in a track makes it easier to use the Chord and Chord2 layers on the same track, because there is no need to set up a controlling track to control the root note of another track (see section 6.1. Using a bus to control a track for the details on this). For example, you could use only one type of chord, a major chord, on the chord layer of a track, and control whether it is a C major, F major or G major with the Root note track. | Using a Root parameter layer in a track makes it easier to use the Chord and Chord2 layers on the same track, because there is no need to set up a controlling track to control the root note of another track (see section '6.1. Using a bus to control a track' for the details on this). For example, you could use only one type of chord, a major chord, on the chord layer of a track, and control whether it is a C major, F major or G major with the Root note track. |
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| \\ | \\ |
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| 1) Mode sets which of the two functions, Jam or T&A (Transpose & Arpeggiator), this bus is set to.\\ | 1) Mode sets which of the two functions, Jam or T&A (Transpose & Arpeggiator), this bus is set to.\\ |
| 2) Port can be set to allow messages from all input ports ('All'), or from a single input port.\\ | 2) Port can be set to allow input from all input ports ('All'), or from a single input port.\\ |
| 3) Chn. can be set to allow messages from all MIDI channels ('All'), from a single MIDI channel, or no MIDI channel ('- - -'). If you want to disable a bus, set the channel setting to '- - -'.\\ | 3) Chn. can be set to allow input from all MIDI channels ('All'), from a single MIDI channel, or no MIDI channel ('- - -'). If you want to disable a bus, set the channel setting to '- - -'.\\ |
| 4) Lower/Upper can be set to allow messages across the whole keyboard ('- - - G-8'), or from a narrower range. 'Lower' sets the lowest note allowed through, and 'Upper' the highest note.\\ | 4) Lower/Upper can be set to allow input across the whole keyboard ('- - - G-8'), or from a narrower range. 'Lower' sets the lowest note allowed through, and 'Upper' the highest note.\\ |
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| [[beginners_guide|{{jam-bus-block-chart.png?500 }}]] | [[beginners_guide|{{jam-bus-block-chart.png?500 }}]] |
| Quantize can be set from 0% to 99%, and it controls the tolerance with which "early" off-beat notes will be recorded in the //following// step, instead of in the step where they technically were played. The higher the value, the more likely it is that an "early" note will be recorded into the next step. | Quantize can be set from 0% to 99%, and it controls the tolerance with which "early" off-beat notes will be recorded in the //following// step, instead of in the step where they technically were played. The higher the value, the more likely it is that an "early" note will be recorded into the next step. |
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| Note that when note forwarding (Fwd) on the Jam page is 'on' and an "early" note is moved by the quantize function to the next step, the note will be triggered twice. When you press a key on your MIDI controller, the note is immediately forwarded to the port and MIDI channel for that track (because Fwd is 'on'), and sounds for the first time. Because it was a a bit early, it is moved "into the future", i.e. the next step, but the sequencer won't be there for another 0.2 seconds or so. However, when the sequencer does reach the next step, it will play the note that was moved there, the note that had sounded already a fraction of a second before. | Note that when note forwarding (Fwd) on the Jam page is 'on' and an "early" note is moved by the quantize function to the next step, the note will be triggered twice. When you press a key on your MIDI controller, the note is immediately forwarded to the port and MIDI channel for that track (because Fwd is 'on'), and sounds for the first time. Because it was a bit early, it is moved "into the future", i.e. the next step, but the sequencer won't be there for another 0.2 seconds or so. However, when the sequencer does reach the next step, it will play the note that was moved there, the note that had sounded already a fraction of a second before. |
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| >>>//The image below is a caption of four steps, where the player is live recording, aiming at steps 5 and 8. If quantize is set to 50 % (pretty aggressive), the first note will be recorded in step 5, where it was played, but the second note will be moved to step 8, even though it was played in step 7.// | >>>//The image below is a caption of four steps, where the player is live recording, aiming at steps 5 and 8. If quantize is set to 50 % (pretty aggressive), the first note will be recorded in step 5, where it was played, but the second note will be moved to step 8, even though it was played in step 7.// |
| >>>//You could select one live pattern for several drum instruments, set 'Ptn.' to 'on' for each of them, and then use the MIDI controller keys to effect the selected patterns for the selected drum instruments simultaneously.// | >>>//You could select one live pattern for several drum instruments, set 'Ptn.' to 'on' for each of them, and then use the MIDI controller keys to effect the selected patterns for the selected drum instruments simultaneously.// |
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| The live patterns can be edited live while you're on the Live Patterns page. Press & hold SELECT to enter the edit mode ("EDIT" will appear in the right upper corner of the right LCD). While SELECT is pressed & held, you can use the GP buttons to turn each of the 16 steps of the current live pattern 'on' and 'off'. Accent can be effected for each step by pressing a GP button for turned-on step another time, in which case that live pattern step will be played at maximum velocity, regardless of aftertouch value. A "♦" denotes normal velocity (controlled by aftertouch), and a "ʘ" denotes accent velocity (no aftertouch sensitivity). | The live patterns can be edited live while you're on the Live Patterns page. Press & hold SELECT to enter the edit mode ("EDIT" will appear in the right upper corner of the right LCD). While SELECT is pressed & held, you can use the GP buttons to turn each of the 16 steps of the current live pattern 'on' and 'off'. Accent can be effected for each step by pressing a GP button for a turned-on step another time, in which case that live pattern step will be played at maximum velocity, regardless of aftertouch value. A "♦" denotes normal velocity (controlled by aftertouch), and a "ʘ" denotes accent velocity (no aftertouch sensitivity). |
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| While on the Live Patterns page, you can copy the current live pattern either with GPB15 ('Cpy') or with the dedicated COPY button on the frontpanel. Likewise, while on the Live Patterns page, you can paste the copied live pattern with GPB16 ('Paste') or with the dedicated PASTE button on the frontpanel. This means that the COPY and PASTE buttons won't copy or paste the //track contents// as they normally do. Also the CLEAR button on the frontpanel has a specialised function while you're on the Live Patterns page: it clears the current live pattern instead of the track. | While on the Live Patterns page, you can copy the current live pattern either with GPB15 ('Cpy') or with the dedicated COPY button on the frontpanel. Likewise, while on the Live Patterns page, you can paste the copied live pattern with GPB16 ('Paste') or with the dedicated PASTE button on the frontpanel. This means that the COPY and PASTE buttons won't copy or paste the //track contents// as they normally do. Also the CLEAR button on the frontpanel has a specialised function while you're on the Live Patterns page: it clears the current live pattern instead of the track. |
| ==== 4.2. Working on the EDIT page ==== | ==== 4.2. Working on the EDIT page ==== |
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| Of all the pages of the MBSEQv4, you will probably spend most your time on the EDIT page. The default view is the Step View, where you can see 16 steps at a time, but only two layers: one parameter layer and one trigger layer. The active parameter layer is displayed in the LCDs, the values can be changed with the GP knobs, and the name of the layer is displayed in the left LCD's top row (e.g. PB:Vel. for "Parameter layer B: Velocity"). The active trigger layer name is displayed in the left LCD's top row (e.g. TB:Roll for "Trigger layer B: Roll"), and the trigger can be switched 'on' or 'off' for each step with the GP buttons. The LEDs below each step will indicate whether the trigger is 'on' or 'off' for each step. If the LED is lit, the active trigger layer for that step is 'on', and if it's unlit, the trigger is 'off'. | Of all the pages of the MBSEQv4, you will probably spend most your time on the EDIT page. The default view is the Step View, where you can see 16 steps at a time, but only two layers: one parameter layer and one trigger layer. The active parameter layer is displayed on the LCDs, the values can be changed with the GP knobs, and the name of the layer is displayed in the left LCD's top row (e.g. PB:Vel. for "Parameter layer B: Velocity"). The active trigger layer name is displayed in the left LCD's top row (e.g. TB:Roll for "Trigger layer B: Roll"), and the trigger can be switched 'on' or 'off' for each step with the GP buttons. The LEDs below each step will indicate whether the trigger is 'on' or 'off' for each step. If the LED is lit, the active trigger layer for that step is 'on', and if it's unlit, the trigger is 'off'. |
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| Pressing & holding EDIT brings up a menu where you can select three alternative views for the EDIT page: | Pressing & holding EDIT brings up a menu where you can select three alternative views for the EDIT page: |
| [[beginners_guide|{{util1.gif}}]] | [[beginners_guide|{{util1.gif}}]] |
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| Pressing COPY copies the active track into the buffer, and can then be pasted into another track; you can change sessions in between copying and pasting if you like. Note that COPY copies the //set length// (from the LENGTH page) of the track. For example, if the set length is 16/128, pressing COPY will copy only the first 16 steps into the buffer. Also, note that if track set length is e.g. 8, the COPY function will copy the section of 8 steps where the cursor position happens to be. For example, if the cursor is in step 1, COPY will copy the first 8 steps (probably what you intend most of the time), but if the cursor is in step 12, COPY will copy steps 8-16 instead. | Pressing COPY copies the active track into the buffer, and it can then be pasted into another track; you can change sessions in between copying and pasting if you like. Note that COPY copies the //set length// (from the LENGTH page) of the track. For example, if the set length is 16/128, pressing COPY will copy only the first 16 steps into the buffer. Also, note that if track set length is e.g. 8, the COPY function will copy the section of 8 steps where the cursor position happens to be. For example, if the cursor is in step 1, COPY will copy the first 8 steps (probably what you intend most of the time), but if the cursor is in step 12, COPY will copy steps 8-16 instead. |
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| It is possible to copy and paste an individual parameter layer. On the source track, choose the parameter layer you want to copy, and press COPY. Then go to the target track and select the parameter layer where you want to paste the individual parameter layer. Press SELECT + PASTE to copy the parameter layer into the active parameter layer. This will overwrite the active parameter layer, including its type. | It is possible to copy and paste an individual parameter layer. On the source track, choose the parameter layer you want to copy, and press COPY. Then go to the target track and select the parameter layer where you want to paste the individual parameter layer. Press SELECT + PASTE to copy the parameter layer into the active parameter layer. This will overwrite the active parameter layer, including its type. |
| However, if you //press & hold// PASTE, you can offset the beginning point of the operation with the GP knobs. The >- - -< angle brackets indicate the location. If the pasted section is too short to cover all the content in the target track, e.g. pasting a 16 step section into a 24 step track, 8 steps of the target track will not be overwritten. (Which 8 steps won't be overwritten depends on your paste operation's starting point.) | However, if you //press & hold// PASTE, you can offset the beginning point of the operation with the GP knobs. The >- - -< angle brackets indicate the location. If the pasted section is too short to cover all the content in the target track, e.g. pasting a 16 step section into a 24 step track, 8 steps of the target track will not be overwritten. (Which 8 steps won't be overwritten depends on your paste operation's starting point.) |
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| In UTILITY 🡪 Opt. (Option #8) you can change whether the paste function pastes the whole track (Complete Track), or just the trigger layer and parameter layer values in the steps (Only Steps). (The same option controls the behaviour of the clear function as well.) 'Only steps' is probably the better setting for normal use. Complete Track copies all steps and all track settings, i.e. MIDI channel, port, length, etc. If the target track is of the same type (Note, Chord, CC, Drum) as the source track, pasting a complete track won't initialise the target track to change its combination of maximum length or the number of parameter and trigger layers. But if the target track is of a different type than the source track, the target track's type will change, and it will become an exact copy of the source track. For example, pasting a 16/128 Note track into a 64/64 CC track will turn the latter into a 16/128 Note track. | In UTILITY 🡪 Opt. (Option #8) you can change whether the paste function pastes the whole track (Complete Track), or just the trigger layer and parameter layer values in the steps (Only Steps). (The same option controls the behaviour of the clear function as well.) 'Only steps' is probably the better setting for normal use. Complete track pastes/clears all track settings, i.e. length, mode, in a word, all configuration. The exceptions are MIDI channel and port, which will not be overwritten. If the target track is of the same type (Note, Chord, CC, Drum) as the source track, pasting a complete track won't initialise the target track to change its combination of maximum length or the number of parameter and trigger layers. But if the target track is of a different type than the source track, the target track's type will change, and it will become an exact copy of the source track. For example, pasting a 16/128 Note track into a 64/64 CC track will turn the latter into a 16/128 Note track. |
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| It is possible to duplicate a track by pressing & holding COPY and then pressing PASTE. If your track is 16/128 steps long, this operation will copy the first 16 steps of the track and paste them immediately after it, starting from step 17. The track length is changed automatically to match the new duplicated length (e.g. from 16/128 to 32/128). The cursor position will jump to the beginning of the newly duplicated sequence (e.g. step 17). You won't be able to duplicate a track that is too long to be duplicated (e.g. a track with a length of 64/128 can be duplicated once, but a track with a length of 128/128 cannot be duplicated.) | It is possible to duplicate a track by pressing & holding COPY and then pressing PASTE. If your track is 16/128 steps long, this operation will copy the first 16 steps of the track and paste them immediately after it, starting from step 17. The track length is changed automatically to match the new duplicated length (e.g. from 16/128 to 32/128). The cursor position will jump to the beginning of the newly duplicated sequence (e.g. step 17). You won't be able to duplicate a track that is too long to be duplicated (e.g. a track with a length of 64/128 can be duplicated once, but a track with a length of 128/128 cannot be duplicated.) |
| CLEAR clears all layers of all steps in the selected track, even if they're beyond the track's set length. Thus, if your track is 16/128 steps long, CLEAR will clear also the steps 17–128. In UTILITY 🡪 Opt. (Option #8) you can change whether the clear function clears (i.e. resets) all track parameters (Complete Track), or just the steps (Only steps). | CLEAR clears all layers of all steps in the selected track, even if they're beyond the track's set length. Thus, if your track is 16/128 steps long, CLEAR will clear also the steps 17–128. In UTILITY 🡪 Opt. (Option #8) you can change whether the clear function clears (i.e. resets) all track parameters (Complete Track), or just the steps (Only steps). |
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| 'Complete Track' spares the settings on the EVENT page, but settings such as set length, divider value, FX settings etc. are reset to default values. 'Only steps' is probably the better setting for normal use. | Even 'Complete Track' spares MIDI channel and port settings from being overwritten, but settings such as set length, divider value, FX settings etc. are reset to default values. 'Only steps' is probably the better setting for normal use. |
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| Move allows you to move //individual steps// to another position with the GP knobs. When you press & hold 'Move', the screen switches to the EDIT page, and you can grab an individual step by turning the knob below it, and then move it to another location if you keep turning the knob one way or the other. Releasing the GP button will write the moved step into the new location, overwriting whatever was there previously. | Move allows you to move //individual steps// to another position with the GP knobs. When you press & hold 'Move', the screen switches to the EDIT page, and you can grab an individual step by turning the knob below it, and then move it to another location if you keep turning the knob one way or the other. Releasing the GP button will write the moved step into the new location, overwriting whatever was there previously. |
| When working with several patterns and in song mode, it is important to save often so as not to lose by accident the changes you've made to the parameter and trigger layers and other settings of the four tracks in a pattern. MBSEQv4 will not save anything automatically (every five minutes or whatever), but instead you have to //choose// to save the changes yourself. | When working with several patterns and in song mode, it is important to save often so as not to lose by accident the changes you've made to the parameter and trigger layers and other settings of the four tracks in a pattern. MBSEQv4 will not save anything automatically (every five minutes or whatever), but instead you have to //choose// to save the changes yourself. |
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| The primary way in which you'll lose your changes is bound up with //switching patterns//. Switching from an active pattern without saving it first will mean losing the changes you made to it since the last save. When you switch to another pattern //within a group// – from 1:A1 to 1:A2, for example – you will lose the changes made to the track you are switching from – e.g. 1:A1 – unless you explicitly save them first. The unsaved changes in the active patterns of the //other groups// won't be affected (they're not being switched, after all). | The primary way in which you'll lose your changes is bound up with //switching patterns//. Switching from an active pattern without saving it first will mean losing the changes you made to it since the last save. |
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| | When you switch to another pattern //within a group// – from 1:A1 to 1:A2, for example – you will lose the changes made to the track you are switching from – e.g. 1:A1 – unless you explicitly save them first. The unsaved changes in the active patterns of the //other groups// won't be affected (they're not being switched, after all). |
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| However, starting the sequencer in song mode – either by pressing PLAY or automatically with the Jam page function AStart – will erase the unsaved changes in the active patterns of //all// groups. But once the sequencer is running in song mode, you can make changes to a pattern and not lose them, on the condition that the pattern in question doesn't get switched to another one during the song. If it does get switched, that is the moment you'll lose your unsaved changes. | However, starting the sequencer in song mode – either by pressing PLAY or automatically with the Jam page function AStart – will erase the unsaved changes in the active patterns of //all// groups. But once the sequencer is running in song mode, you can make changes to a pattern and not lose them, on the condition that the pattern in question doesn't get switched to another one during the song. If it does get switched, that is the moment you'll lose your unsaved changes. |
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| You can choose to save only one pattern, or to save all active patterns. A single pattern can be saved with MENU + SAVE (GPB14). The source pattern to be saved is always one of the four active patterns (each group has one active pattern). With GPK1–4 you can choose the source group the active pattern of which you want to save, and with GPK6 you can choose the target bank to save the pattern into. Finally, with GPK7 you can choose which location within the selected bank the pattern is to be saved into. There are 64 locations per bank to choose from (from A1–A8 to H1–H8). | You can choose to save only one pattern, or to save all active patterns. A single pattern can be saved with MENU + SAVE (GPB14). The source pattern to be saved is always one of the four active patterns (each group has one active pattern). With GPK1–4 you can choose the source group whose active pattern you want to save, and with GPK6 you can choose the target bank to save the pattern into. Finally, with GPK7 you can choose which location within the selected bank the pattern is to be saved into. There are 64 locations per bank to choose from (from A1–A8 to H1–H8). |
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| [[beginners_guide|{{save1.gif}}]] | [[beginners_guide|{{save1.gif}}]] |
| When saving individual patterns with MENU + SAVE, you get a chance to give the pattern a category and a label. The label could be named for the pattern's function in the song structure ("Intro", "Bridge", "2nd Verse", "VrseVariant3" etc.) and the category could be e.g. the synth you're playing the pattern with, or the synth patch, or whatever helps you memorise the function of the pattern. | When saving individual patterns with MENU + SAVE, you get a chance to give the pattern a category and a label. The label could be named for the pattern's function in the song structure ("Intro", "Bridge", "2nd Verse", "VrseVariant3" etc.) and the category could be e.g. the synth you're playing the pattern with, or the synth patch, or whatever helps you memorise the function of the pattern. |
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| If you want to save all active patterns patterns at once, press EXIT until you arrive on the main page, and then press GPB10 for 'Save'. This saves all the active patterns (and in fact the whole session). This way you won't get to give any categories or labels to the patterns, but instead they will be saved as "- - - - - Unnamed", or under the name you have given them when saving them individually earlier. You can also assign one of the F1–F4 buttons (right side of the frontpanel) to for a quick 'Save All' function (see Appendix 1). | If you want to save all active patterns at once, press EXIT until you arrive on the main page, and then press GPB10 for 'Save'. This saves all the active patterns (and in fact the whole session). This way you won't get to give any categories or labels to the patterns, but instead they will be saved as "- - - - - Unnamed", or under the name you have given them when saving them individually earlier. You can also assign one of the F1–F4 buttons (right side of the frontpanel) to for a quick 'Save All' function (see Appendix 1). |
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| [[beginners_guide|{{session_main.gif}}]] | [[beginners_guide|{{session_main.gif}}]] |
| In song mode you can chain the patterns you've made into a predetermined sequence of four parallel patterns. In addition to just putting the bundles of four patterns one after the other, you can also use song position operations to effect loops, mutes, tempo changes etc. (For details see section 5.2.2.) | In song mode you can chain the patterns you've made into a predetermined sequence of four parallel patterns. In addition to just putting the bundles of four patterns one after the other, you can also use song position operations to effect loops, mutes, tempo changes etc. (For details see section 5.2.2.) |
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| In song mode you must remember to save the pattern(s) before starting the sequencer, if you don't want to risk losing the changes you've made, because in song mode starting the sequencer //will// erase the changes made since the last save. | In song mode you must remember to save the pattern(s) before starting the sequencer, if you don't want to lose the changes you've made, because in song mode starting the sequencer //will// erase the changes made since the last save. |
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| You can check whether you're in Song or Phrase mode by pressing SONG. On the right LCD (top row) you can see either "Phrase Mode" or "Song Mode". The mode can be changed with GPK13–14. You can also press & hold the SONG button, which will bring up the song page utility menu. While you keep pressing the SONG button, you can alternate between song and phrase modes by pressing GPB9–10. | You can check whether you're in Song or Phrase mode by pressing SONG. On the right LCD (top row) you can see either "Phrase Mode" or "Song Mode". The mode can be changed with GPK13–14. You can also press & hold the SONG button, which will bring up the song page utility menu. While you keep pressing the SONG button, you can alternate between song and phrase modes by pressing GPB9–10. |
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| In addition to the information of the LCD, the LED above the SONG button indicates the mode, no matter which page you're in: if it's lit, it's song mode, and if it's unlit, it's phrase mode. When you're on the SONG page, the LED above the SONG button will flicker if you're in Phrase mode, and it will be solid when you're in Song mode. | In addition to the information of the LCD, the LED above the SONG button indicates the mode, no matter which page you're on: if it's lit, it's song mode, and if it's unlit, it's phrase mode. When you're on the SONG page, the LED above the SONG button will flicker if you're in Phrase mode, and it will be solid when you're in Song mode. |
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| If you want to change the pattern bank, in all cases you have to use the GP knobs 3, 7, 11, and 15 to do it. For selecting individual patterns in the banks, there are two ways. Either you can use the GP knobs 4, 8, 12, and 16 to select a pattern within the selected bank, or you can use the GP buttons 1–8 to choose the pattern section A–H and the GP buttons 9–16 to choose the actual pattern 1–8 within the sections A–H. | If you want to change the pattern bank, in all cases you have to use the GP knobs 3, 7, 11, and 15 to do it. For selecting individual patterns in the banks, there are two ways. Either you can use the GP knobs 4, 8, 12, and 16 to select a pattern within the selected bank, or you can use the GP buttons 1–8 to choose the pattern section A–H and the GP buttons 9–16 to choose the actual pattern 1–8 within the sections A–H. |
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| Also, on the PATTERN page the group and track selection buttons (on the upper left of the frontpanel) have a special function: you can use them to select the group where you want to change a pattern. Group/track selection button 1 selects the first group, button 2 the second group etc. For a fully equipped frontpanel, this is probably not necessary though, because you can just turn a GP knob to select a pattern within any group, without need to use the group/track selection buttons to select a group for switching first. | Also, on the PATTERN page the group and track selection buttons (on the upper left of the frontpanel) have a special function: you can use them to select the group where you want to change a pattern. Group/track selection button 1 selects the first group, button 2 the second group etc. For a fully equipped frontpanel, this is probably not necessary though, because you can just turn a GP knob to select a pattern within any group, without the need to use the group/track selection buttons to select a group for switching first. |
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| In position A5 Group 1 switches to a new pattern (1:A3), as does group 4 (4:A2). Also, now Group 3 starts playing a pattern, 3:A1. After they have played once, the song proceeds to the next song position, A6. There is an operation there, which causes the song to jump immediately to song position A1, i.e. the beginning of the song. Everything will go as before, but this time group 3 will be playing 3:A1 all the way from the beginning. This is because now there is a "previous song position" for the -:- - in G3 for song position A1, namely position A5 from the first iteration, where G3 was playing 3:A1. | In position A5 Group 1 switches to a new pattern (1:A3), as does group 4 (4:A2). Also, now Group 3 starts playing a pattern, 3:A1. After they have played once, the song proceeds to the next song position, A6. There is an operation there, which causes the song to jump immediately to song position A1, i.e. the beginning of the song. Everything will go as before, but this time group 3 will be playing 3:A1 all the way from the beginning. This is because now there is a "previous song position" for the -:- - in G3 for song position A1, namely position A5 from the first iteration, where G3 was playing 3:A1. |
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| Besides commands to play a pattern 1–16 times, the possible song operations are: | The possible song operations are: |
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| - **End**. Loops the previously played song position with patterns in it until the sequencer is stopped manually or another song position is selected with the GP buttons (turning GPK2 on the SONG page won't switch patterns). This means you can use 'End' also in the middle of a song, e.g. to jam over the looped song position as long as you like, and then press a GP button to continue with the preprogrammed song. As the GP buttons can only be used to select eight different song positions (A1, B1, C1 etc., up to P1), you have to make sure to start the "post-jamming" sequences at those song positions; otherwise they won't be selectable. Also, make sure that the "-:--" entries are not messing up which pattern gets played after manual song position change! Another option is to select the next song position with GPK2 and then press PLAY to instantly jump to the selected song position.\\ | - **End**. Loops the previously played song position with patterns in it until the sequencer is stopped manually or another song position is selected with the GP buttons (turning GPK2 on the SONG page won't switch patterns). This means you can use 'End' also in the middle of a song, e.g. to jam over the looped song position as long as you like, and then press a GP button to continue with the preprogrammed song. As the GP buttons can only be used to select eight different song positions (A1, B1, C1 etc., up to P1), you have to make sure to start the "post-jamming" sequences at those song positions; otherwise they won't be selectable. Also, make sure that the "-:--" entries are not messing up which pattern gets played after manual song position change! Another option is to select the next song position with GPK2 and then press PLAY to instantly jump to the selected song position.\\ |
| On the Session import and export pages you can copy patterns, songs, mixer maps, grooves, track configurations and bookmarks from one session to another, or within the same session. (Scroll through the 'Type' options with GPK9–10.) Exporting means copying something //from the current session// to somewhere else, and importing means copying something //to the current session// from somewhere else. However, if you just want to copy something //within the same session// (such as patterns), it's irrelevant whether you use exporting or importing to do it; the one end of either is always the current session, and if you set the other end (source or destination session) to be the current session as well, they will lead to the same outcome. | On the Session import and export pages you can copy patterns, songs, mixer maps, grooves, track configurations and bookmarks from one session to another, or within the same session. (Scroll through the 'Type' options with GPK9–10.) Exporting means copying something //from the current session// to somewhere else, and importing means copying something //to the current session// from somewhere else. However, if you just want to copy something //within the same session// (such as patterns), it's irrelevant whether you use exporting or importing to do it; the one end of either is always the current session, and if you set the other end (source or destination session) to be the current session as well, they will lead to the same outcome. |
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| In other words, if you want to use import or export to copy a pattern //within the same session//, you always select the current session on the left LCD. Use the knobs below the left LCD to scroll through the saved sessions and the GP buttons to choose the source/destination session. If you don't remember your current session's name, press EXIT until you reach the main page. The current session's name is displayed in the right LCD, top row. | In other words, if you want to use import or export to copy a pattern //within the same session//, you always select the current session on the left LCD. Use the knobs below the left LCD to scroll through the saved sessions and the GP buttons to choose the source/destination session. If you don't remember your current session's name, press EXIT until you reach the main page. The current session's name is displayed on the right LCD, top row. |
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| In addition to session selection, you need to determine the source pattern in the source session and destination pattern in the target session, whether the source/target session is the current session or not. First make sure that the Type to be copied is 'Patterns', then use GPK11 to select the first pattern to be copied, and GPK12 to select the last one to be copied – this means you can copy several subsequent patterns in one go. Then turn GPK13–14 to select where you want to copy the selected patterns to. If you selected several patterns to be copied, the destination setting changes automatically to cover equal number of pattern slots. Confirm your selection with GPB15 ('IMPORT' or 'EXPORT'). | In addition to session selection, you need to determine the source pattern in the source session and destination pattern in the target session, whether the source/target session is the current session or not. First make sure that the Type to be copied is 'Patterns', then use GPK11 to select the first pattern to be copied, and GPK12 to select the last one to be copied – this means you can copy several subsequent patterns in one go. Then turn GPK13–14 to select where you want to copy the selected patterns to. If you selected several patterns to be copied, the destination setting changes automatically to cover equal number of pattern slots. Confirm your selection with GPB15 ('IMPORT' or 'EXPORT'). |
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| If you have an idea for a song which has a recurring pattern structure and settings, you can copy the first "seed pattern" with the right settings into several other pattern slots (which otherwise would have the sequencer's default settings) like this: first, copy x:A1–x:A1 to x:A2–x:A2. Then copy x:A1-x:A2 to x:A3–x:A4, then x:A1–x:A4 to x:A5–x:A8, and so on. | If you have an idea for a song which has a recurring pattern structure and settings, you can copy the first "seed pattern" with the right settings into several other pattern slots (which otherwise would have the sequencer's default settings) like this: first, copy x:A1–x:A1 to x:A2–x:A2. Then copy x:A1-x:A2 to x:A3–x:A4, then x:A1–x:A4 to x:A5–x:A8, and so on. |
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| | If you want to copy just a single pattern at a time, you can use MENU + SAVE to copy the active pattern to another location. Using this option also allows you to name the new pattern as you copy it, something that's not possible with the mass copy option above. |
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| Fiddling with the divider/timebase settings on the DIVIDER page can bring the independent tracks completely out of sync with each other. Sometimes that's just what you want, but if you have a number of tracks that are out of sync and you want them sync'd, this can be done with setting 'Sync to Measure' to 'yes' on the DIVIDER page. If measure length is 16 steps, every track that is sync'd to measure will be reset and started from the beginning at the time when the measure count resets back to the beginning, no matter how long the tracks are and where their relative cursor position is. Tracks that are shorter than measure length will repeat on their own until the measure count is reset, and the shorter-than-measure tracks will reset at that point, just like any other track that is sync'd to measure. | Fiddling with the divider/timebase settings on the DIVIDER page can bring the independent tracks completely out of sync with each other. Sometimes that's just what you want, but if you have a number of tracks that are out of sync and you want them sync'd, this can be done with setting 'Sync to Measure' to 'yes' on the DIVIDER page. If measure length is 16 steps, every track that is sync'd to measure will be reset and started from the beginning at the time when the measure count resets back to the beginning, no matter how long the tracks are and where their relative cursor position is. Tracks that are shorter than measure length will repeat on their own until the measure count is reset, and the shorter-than-measure tracks will reset at that point, just like any other track that is sync'd to measure. |
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| >>>//Measure lenght is 16 steps, a track's length is 6 steps, and the track is sync'd to measure. This track will repeat twice on its own, quite independent of the measure, because two times 6 is 12 steps, i.e. shorter than 16 steps, which is the length of the measure. However, during the third iteration of the track, the measure is reset before the track can reach its end; the track is reset together with the measure count. Thus, this shorter-than-measure track will play two times and four steps before it is reset (6 + 6 + 4 = 16). A track that is longer than measure will be cut short, if it is sync'd to measure.// | >>>//Let's say measure lenght is 16 steps, a track's length is 6 steps, and the track is sync'd to measure. This track will repeat twice on its own, because two times 6 is 12 steps, i.e. shorter than 16 steps, which is the length of the measure. However, during the third iteration of the track, the measure is reset before the track can reach its end; the track is reset together with the measure count. Thus, this shorter-than-measure track will play two times and four steps before it is reset (6 + 6 + 4 = 16). A track that is longer than measure will be cut short, if it is sync'd to measure.// |
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| Naturally sync'ing to measure doesn't guarantee that the sync'd tracks will be in sync //all the time//, only that they will be simultaneously //started// from the beginning every time measure count starts from the beginning. In other words, each track is sync'd to the //measure//, not to each other. Each sync'd track will hear the reset command at the same time, but after the reset they will go they own separate ways again, according to their individual length and divider settings, until measure reset forces them to start from the beginning again. This allows you to effect repeating patterns of asynchronous play. | Naturally sync'ing to measure doesn't guarantee that the sync'd tracks will be in sync //all the time//, only that they will be simultaneously //started// from the beginning every time measure count starts from the beginning. In other words, each track is sync'd to the //measure//, not to each other. Each sync'd track will get the reset command at the same time, but after the reset they will go they own separate ways again, according to their individual length and divider settings, until measure reset forces them to start from the beginning again. This allows you to effect repeating patterns of asynchronous play. |
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| >>>//In the example below, measure is set to 6, and tracks 1–4 are sync'd to measure. Tracks 1 and 2 will be cut short because they're longer than measure, and tracks 3 and 4 will repeat part of their content before measure count restart resets them.//\\ | >>>//In the example below, measure is set to 6, and tracks 1–4 are sync'd to measure. Tracks 1 and 2 will be cut short because they're longer than measure, and tracks 3 and 4 will repeat part of their content before measure count restart resets them.//\\ |
| ==== 5.5. Guide Track ==== | ==== 5.5. Guide Track ==== |
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| Pressing & holding the SONG button brings up a menu where you can alternate between the song mode and phrase mode (GPB9). In song mode the Guide Track setting is on the right display, and it can be used to choose a single track which the sequencer will follow as a master track, as far as length and changing to another pattern are concerned. (You can change the Guide Track setting in mid-song as well, it's one of possible song position operations on the SONG page; see section 5.2.2.) The Guide Track function is only available in song mode, and won't even be visible or selectable in phrase mode. | Pressing & holding the SONG button brings up a menu where you can alternate between the song mode and phrase mode (GPB9 or GPK9). In song mode the Guide Track setting is on the right display, and it can be used to choose a single track which the sequencer will follow as a master track, as far as length and changing to another pattern are concerned. (You can change the Guide Track setting in mid-song as well, it's one of possible song position operations on the SONG page; see section 5.2.2.) The Guide Track function is only available in song mode, and won't even be visible or selectable in phrase mode. |
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| [[beginners_guide|{{song3.gif}}]] | [[beginners_guide|{{song3.gif}}]] |
| In phrase mode, all tracks are running independently of each other, and share only the tempo. For song mode, this will not do. The point of the song mode is to chain several patterns together and switch them in an automated way, and you have to determine when to switch to another pattern, even if the tracks have different lengths and end at different times. Guide Track will allow you to determine which track (G1T1–G4T4) triggers the change to the next song position (or to the next loop within the same song position). | In phrase mode, all tracks are running independently of each other, and share only the tempo. For song mode, this will not do. The point of the song mode is to chain several patterns together and switch them in an automated way, and you have to determine when to switch to another pattern, even if the tracks have different lengths and end at different times. Guide Track will allow you to determine which track (G1T1–G4T4) triggers the change to the next song position (or to the next loop within the same song position). |
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| By default, Guide Track is on, and set to G1T1. If the Guide Track function is active (i.e. has some other value than "- - -"), it will make pattern change dependent on the track set as the guide track. The track selected as the guiding track will allow pattern change only when //it// reaches its end. Shorter tracks will loop back to their beginning and keep playing over and over until the guiding track reaches is end, and if that happens before the other tracks have finished, they will be terminated mid-way. Tracks longer than the guide track will be terminated mid-way as well. | By default, Guide Track is 'on', and set to G1T1. If the Guide Track function is active (i.e. has some other value than "- - -"), it will make pattern change dependent on the track set as the guide track. The track selected as the guiding track will allow pattern change only when //it// reaches its end. Shorter tracks will loop back to their beginning and keep playing over and over until the guiding track reaches is end, and if that happens before the other tracks have finished, they will be terminated mid-way. Tracks longer than the guide track will be terminated mid-way as well. |
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| So, the selected guide track will run to its end, and when it reaches the end, the sequencer switches to the next song position, regardless of where the other, non-guide tracks are at. All the tracks of the next pattern to be played are started from the beginning. | So, the selected guide track will run to its end, and when it reaches the end, the sequencer switches to the next song position, regardless of where the other, non-guide tracks are at. All the tracks of the next pattern to be played are started from the beginning. |
| Second, it is possible to use the //chord data// of the sending track to control the //arpeggios// on a receiving track. The chord data can be either chord parameter layer data, or it can be data from multiple simultaneous note layers. For example, if the sending track's chord sequence is C-Am-F-G, played each quarter note (either as chord track or note track data), the arpeggio patterns on the receiving track will always include only the notes that the current chord on the sending track contains. In other words, the arpeggio //patterns// are determined by the receiving track (the arpeggiator track), but the //notes// in the patterns are determined by the chords the sending track plays. | Second, it is possible to use the //chord data// of the sending track to control the //arpeggios// on a receiving track. The chord data can be either chord parameter layer data, or it can be data from multiple simultaneous note layers. For example, if the sending track's chord sequence is C-Am-F-G, played each quarter note (either as chord track or note track data), the arpeggio patterns on the receiving track will always include only the notes that the current chord on the sending track contains. In other words, the arpeggio //patterns// are determined by the receiving track (the arpeggiator track), but the //notes// in the patterns are determined by the chords the sending track plays. |
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| Whether the input is in chord or note layers, the arpeggiator takes the last four played notes as input. If you play more than four chords simultaneously, the earlier ones will drop out first. Hence, if you send five simultaneous notes in different note layers, the first note layer will be ignored, and if you send a chord layer chord that's more than four notes, only the last four notes of the chord will register. | Whether the input is in chord or note layers, the arpeggiator takes the last four played notes as input. If you play more than four notes simultaneously, the earlier ones will drop out first. Hence, if you send five simultaneous notes in different note layers, the first note layer will be ignored, and if you send a chord layer chord that's more than four notes, only the last four notes of the chord will register. |
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| In both cases (transpose notes or control arpeggios), instead of sending //track data// over a bus to control another track, you can use your //MIDI controller// over a bus to control a track in a similar manner, so that e.g. the chord you play on the keyboard will determine what the receiving track or tracks play. For this, see section 6.1.5. for details. | In both cases (transpose notes or control arpeggios), instead of sending //track data// over a bus to control another track, you can use your //MIDI controller// over a bus to control a track in a similar manner, so that e.g. the chord you play on the keyboard will determine what the receiving track or tracks play. For this, see section 6.1.5. for details. |
| [[beginners_guide|{{trkmode1.gif}}]] | [[beginners_guide|{{trkmode1.gif}}]] |
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| If the track mode is Transpose or Arpeggiator, and Hold is set to 'on', the sequencer will hold the last note(s) received on a 'T&A' bus //from a MIDI controller// (see section 4.1.1. for details). In other words, Hold will have no effect if the controlling data is coming in from a track. If Hold is set to 'off' and no keys are held on the MIDI controller, the track will play nothing. (However, if the Sustain setting is 'on', it //will// hold the previously played note(s) until something else is played.) Hold works in Transpose and Arpeggiator modes, but has no effect if track mode is 'Normal' (or 'off', for that matter :-) | If the track mode is Transpose or Arpeggiator, and Hold is set to 'on', the sequencer will hold the last note(s) received on a 'T&A' bus //from a MIDI controller// (see section 4.1.1. for details). In other words, Hold will have no effect if the controlling data is coming in from a track. If Hold is set to 'off' and no keys are held on the MIDI controller, the track will play nothing. (However, if the Sustain setting is 'on', it //will// hold the previously played note(s) until something else is played.) Hold works in Transpose and Arpeggiator modes, but has no effect if track mode is 'Normal' (or 'off'). |
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| If the track mode is Arpeggiator, and Sort is set to 'on', it will sort the played notes into an ascending order. The setting works only in Arpeggiator mode, and it makes sense to have this option on for Arpeggiator mode, so that the Arpeggiator track notation stays more understandable. If Sort is set to 'off' in Arpeggiator mode, the Arpeggiator will play the notes in the //reverse// order to how they were played. | If the track mode is Arpeggiator, and Sort is set to 'on', it will sort the played notes into ascending order. The setting works only in Arpeggiator mode, and it makes sense to have this option 'on' for Arpeggiator mode, so that the Arpeggiator track notation stays more understandable. If Sort is set to 'off' in Arpeggiator mode, the Arpeggiator will play the notes in the //reverse// order to how they were played. |
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| The 'Note' setting pertains to the Transposer mode. If the setting is 'First', the transposer will use the first note of the controlling chord, and if it's 'Last', it will use the last note of the controlling chord. While a single note is enough for the transposer, you might want to use the same controlling track to control both the transpose of a track and the arpeggiating of another track, and for the latter you need a chord. | The 'Note' setting pertains to the Transposer mode. If the setting is 'First', the transposer will use the first note of the controlling chord, and if it's 'Last', it will use the last note of the controlling chord. While a single note is enough for the transposer, you might want to use the same controlling track to control both the transpose of a track and the arpeggiating of another track, and for the latter you need a chord. |
| Note that the moment you switch the port setting to a bus on a track's EVENT page, the track will stop playing any synths directly, and can now do so only indirectly by controlling other tracks that have //their// port setting pointing to a physical port. If you want to audition what you've entered into the sending track before you have set up a receiving track, you have to adjust Port (and perhaps Chn.) settings accordingly. | Note that the moment you switch the port setting to a bus on a track's EVENT page, the track will stop playing any synths directly, and can now do so only indirectly by controlling other tracks that have //their// port setting pointing to a physical port. If you want to audition what you've entered into the sending track before you have set up a receiving track, you have to adjust Port (and perhaps Chn.) settings accordingly. |
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| The receiving track has to be set to listen to a bus. This is done on the MODE page (MENU + MODE). By default each track is listening to Bus1. A track can have three modes: Normal (default), Transpose, and Arpeggiator (also, it can be set to 'off'). The mode is selected with GP buttons 2–5, and the selected mode is surrounded with > < angle brackets. The bus which this track is listening to is set with GPK8. The bus setting has no effect in Normal mode. | The receiving track has to be set to listen to a bus. This is done on the receiving track's MODE page (MENU + MODE). By default each track is listening to Bus1. A track can have three modes: Normal (default), Transpose, and Arpeggiator (also, it can be set to 'off'). The mode is selected with GP buttons 2–5, and the selected mode is surrounded with > < angle brackets. The bus which this track is listening to is set with GPK8. The bus setting has no effect in Normal mode. |
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| Transpose and Arpeggiator modes work differently, so each of them will have to be dealt with in turn. | Transpose and Arpeggiator modes work differently, so each of them will have to be dealt with in turn. |
| === 6.1.3. Receiving track mode: Transposer === | === 6.1.3. Receiving track mode: Transposer === |
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| The sending track should send only a single note via a bus to the receiving track in Transpose mode. If several notes are sent, only the last one will register (the last note of the chord or the last note layer of many simultaneous note layers). The receiving track's notes will gets transposed relative to the received note. This means that if the sending track is controlling two tracks over the same bus, and the first receiving track has just C-3 notes in it, and the second receiving track has only E-3 notes in it, changing the sending track's note from C-2 to C#2 will transpose the receiving tracks' notes half a step upwards – from C-3 to C#3 on the first track, and from E-3 to D-3 on the second track. | The sending track should send only a single note via a bus to the receiving track in Transpose mode. If several notes are sent, only the last one will register (the last note of the chord or the last note layer of many simultaneous note layers). The receiving track's notes will get transposed relative to the received note. This means that if the sending track is controlling two tracks over the same bus, and the first receiving track has just C-3 notes in it, and the second receiving track has only E-3 notes in it, changing the sending track's note from C-2 to C#2 will transpose the receiving tracks' notes half a step upwards – from C-3 to C#3 on the first track, and from E-3 to D-3 on the second track. |
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| The receiving transpose track must be set to listen to the sending track's bus, and it has to have its mode changed to 'Transpose'. The track's mode is changed on the MODE page (MENU + MODE). In addition, the MIDI configuration page (available e.g. on the Jam page, GPB7) must have the bus in question set to the mode 'T&A'; naturally the other settings on the MIDI configuration page must allow the incoming messages through (for details see section 4.1.1.). | The receiving transpose track must be set to listen to the sending track's bus, and it has to have its mode changed to 'Transpose'. The track's mode is changed on the MODE page (MENU + MODE). In addition, the MIDI configuration page (available e.g. on the Jam page, GPB7) must have the bus in question set to the mode 'T&A'; naturally the other settings on the MIDI configuration page must allow the incoming messages through (for details see section 4.1.1.). |
| The receiving arpeggiator track must be set to listen to the sending track's bus, and it has to have its mode changed to 'Arpeggiator'. The track's mode is changed on the MODE page (MENU + MODE). In addition, the MIDI configuration page (available e.g. on the Jam page, GPB7) must have the bus in question set to the mode 'T&A'; naturally the other settings on the MIDI configuration page must allow the incoming messages through (for details see section 4.1.1.). | The receiving arpeggiator track must be set to listen to the sending track's bus, and it has to have its mode changed to 'Arpeggiator'. The track's mode is changed on the MODE page (MENU + MODE). In addition, the MIDI configuration page (available e.g. on the Jam page, GPB7) must have the bus in question set to the mode 'T&A'; naturally the other settings on the MIDI configuration page must allow the incoming messages through (for details see section 4.1.1.). |
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| Selecting the Arpeggiator mode changes the EDIT page layout. Each note layer now follows a notation of two numbers with a minus or plus between them. The first number refers to the ordinal number of the notes of the sending track's chords, and the second number refers to the octave transpose of the note. The minus or plus in between denotes whether the given number of octaves is that much is up or down. For example, if the controlling track is currently playing the chord Am with the notes A-2, C-3 and E-3 in it, occupying first, second and third note layers, and if the note entry for a step in the (receiving) Arpeggiator track is "2+1", it means this step will play the note in the //second// note layer of the sending track's currently playing chord – C-3 – transposed up by one octave, so the final note played by the Arpeggiator track for this step is C-4. | Selecting the Arpeggiator mode changes the EDIT page layout. Each note layer now follows a notation of two numbers with a minus or plus between them. The first number refers to the ordinal number of the notes of the sending track's chords, and the second number refers to the octave transpose of the note. The minus or plus in between denotes whether the given number of octaves is that much up or down. For example, if the controlling track is currently playing the chord Am with the notes A-2, C-3 and E-3 in it, occupying first, second and third note layers, and if the note entry for a step in the (receiving) Arpeggiator track is "2+1", it means this step will play the note in the //second// note layer of the sending track's currently playing chord – C-3 – transposed up by one octave, so the final note played by the Arpeggiator track for this step is C-4. |
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| See also the options Hold and Sort in section 6.1.1. | See also the options Hold and Sort in section 6.1.1. |
| [[beginners_guide|{{trkrnd1.gif}}]] | [[beginners_guide|{{trkrnd1.gif}}]] |
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| On the randomiser page you can use GPK9 to scroll through the available layers in the active track. LayA, LayB etc. denote parameter layers, and TrgA, TrgB etc. denote trigger layers. If the active track is a Drum type track, drum instrument names are available instead. | On the randomiser page you can use GPK9 to scroll through the available layers in the active track. LayA, LayB etc. denote parameter layers, and TrgA, TrgB etc. denote trigger layers. If the active track is a Drum type track, drum instrument names are shown instead. |
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| Because the layers are called just LayA, TrgB etc., you have to remember yourself which functions you have assigned to each layer. If you have more than four parameter layers available (depends on track initialisation), you can check the layer assignments quickly by pressing parameter layer selection button C. Likewise, trigger layer assignments can be checked by pressing trigger layer selection button C. | Because the layers are called just LayA, TrgB etc., you have to remember yourself which functions you have assigned to each layer. If you have more than four parameter layers available (depends on track initialisation), you can check the layer assignments quickly by pressing parameter layer selection button C. Likewise, trigger layer assignments can be checked by pressing trigger layer selection button C. |
| ==== Function buttons F1–F4 ==== | ==== Function buttons F1–F4 ==== |
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| In the root of the SD card there is a file named MBSEQ_HW.V4. This is the hardware setup file. Most of the settings there don't need changing, and are anyway beyond the scope of this manual. However, on the Wilba frontpanel there are four buttons labelled F1, F2, F3 and F4, which can be customised relatively easily (and are meant to be so). The default functions for the buttons are: | In the root of the SD card there is a file named MBSEQ_HW.V4. This is the hardware setup file. Most of the settings there don't need changing, and are anyway beyond the scope of this guide. However, on the Wilba frontpanel there are four buttons labelled F1, F2, F3 and F4, which can be customised relatively easily (and are meant to be so). The default functions for the buttons are: |
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| F1: Quick access to the Track Selection page\\ | F1: Quick access to the Track Selection page\\ |
| F2: Quick on/offtoggle of live forwarind mode (Fwd)\\ | F2: Quick on/off toggle of live forwarind mode (Fwd)\\ |
| F3: Quick on/off toggle of recording (Rec)\\ | F3: Quick on/off toggle of recording (Rec)\\ |
| F4: Save the complete session | F4: Save the complete session |
| – MORPH settings | – MORPH settings |
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| If you want to use a track to send internal CCs over a bus to change the sequencer's settings, set the sending track's Port to 'Bus1', Chn. to the receiving track's //ordinal number//, select a CC parameter layer and then select one of the available CC options with GPK11–13. The options are listed on the display in an abbreviated form, but in the table below they are written out in full. Also the possible values for each CC are detailed in the table below; the "NPRN LSB" column's rightmost number matches the CC number on the sequencer. For example, if you want to control another track's LFO waveform (in the track's FX menu), you select CC#16 and set the value to somewhere between 0 and 22. | If you want to use a track to send internal CCs over a bus to change the sequencer's settings, set the sending track's Port to 'Bus1', Chn. to the receiving track's //ordinal number// (and //not// midi channel!), select a CC parameter layer and then select one of the available CC options with GPK11–13. The options are listed on the display in an abbreviated form, but in the table below they are written out in full. Also the possible values for each CC are detailed in the table below; the "NPRN LSB" column's rightmost number matches the CC number on the sequencer. For example, if you want to control another track's LFO waveform (in the track's FX menu), you select CC#16 and set the value to somewhere between 0 and 22. |
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| <code> | <code> |
