Leaderboard

I decided to make a few more entries in section 4, on Live Patterns and Misc. settings on the Jam page, so that the whole Jam affair is complete. After these sections there's section 6 ('Some advanced features'), and the table of contents for it is: 6. Some advanced features 6.1. Using a bus to control a track 6.1.1. The MODE page 6.1.2. Setting up sending and receiving tracks 6.1.3. Receiving track mode: Transposer 6.1.4. Receiving track mode: Arpeggiator 6.1.5. Using a MIDI controller to control track transpose or arpeggio 6.1.6. Sending CCs over a bus to control track settings 6.2. Force to Scale 6.3. Random generator 6.4. Euclidean rhythm generator 6.4.1. Euclidean rhythm generator for Drum type tracks 6.4.2. Euclidean rhythm generator for Note type tracks 6.5. Mixer maps Questions/issues: Possible bug on Live Patterns subpage on the Jam page: if the Ptn. page is selected on the left LCD, but you change certain settings on the two LCDs and then press SELECT again to edit live patterns (Ptn. is still selected), the edit mode won't go on, but instead the page selection will change away from Ptn. to another page (on the left LCD). This happens if you have Ptn. page selected, change one the following settings, and then press SELECT to edit: If you pressed Length (GPK14), changes to MIDI page, if you pressed Fwd, changes to Step page, if you pressed Rec, changes to Step page. I think as long as Ptn. is selected, pressing & holding SELECT should always go to edit live patterns mode. Also, as a separate(?) phenomenon, if you press & release the SELECT button four times in a row, the fourth press changes away from the Ptn. page and to the MIDI page. Possible bug on Misc. settings subpage on the Jam page: misc page octave transpose, FX and FTS on/off states have no effect In section 6.1. on arpeggiator tracks: Up to four-note chords are supported, but what about the new chord parameter layer chords (the firmware is not ready yet) that have more than four notes in them? MODE page 'Restart' option: there seems to be some false triggering going on with restart (one key press results in one or more triggerings), as well as short delays in re-starting the track sometimes I don't really understand how the FX -> Scale page settings 'Control'. On the one hand, the official manual says of Control: "the scale and root note can either be controlled globally or pattern based", but on the other hand it says "Only one group can control the scale and root note". The first would seem to say that either you have one scale to rule them all ('Global'), or alternatively each group can have its own scale. But the second seems to say that only one group can determine the scale. I'm not quite sure how 'Root' works either. Is it so, that if I set 'Root' to 'E', and scale is 'Natural minor', all notes will be forced into the E natural minor scale? If 'Root' is set to 'Keyb' and scale is 'Natural minor', and I press C# on the keyboard, all force-to-scale tracks are forced to C# natural minor scale? Mixer maps: are the freely assignable CCs the standard MIDI CCs? ------------------------------8<------------------------- 4.1.5. Live Patterns The Live Patterns function allows you to effect rhythm patterns that have either been prepared earlier, or ones that are created or edited live. Live patterns play "on top of" the track, without overwriting anything, but the patterns can also be recorded on the track if needed. Each session has its own set of live patters, and they cannot be imported to other sessions. Live patterns are useful especially for spicing up Drum type tracks, though they can be used for other track types as well. The patterns can be activated with MIDI controller keys, and their playback velocity can be controlled with aftertouch (note that many MIDI controllers don't support aftertouch). The Live Patterns page 'Ptn.' can be found on the Jam page (GPB6), and the Live Patterns menu is available on the right LCD. The sequencer has to be running and the Jam page function Fwd has to be set to 'on' for Live Patterns to work. Note that having Fwd 'on' might conflict with your MIDI Router settings. (For details, see Appendix 3.) 4.1.5.1. Live Patterns for Drum type tracks As a Drum type track is probably the most likely candidate for Live Patterns use, the functions will be covered in detail with drum tracks, and only the few differences explained in the next section with regard to other track types. For a Drum type track, the Live Patterns page allows you to effect one of 16 different live patterns for any of the available drum instruments. Select the drum instrument that you want with GPK9. 'Ptn.' setting turns the live patterns function 'on' and 'off' for the selected drum instrument. If 'Ptn.' is 'off' for a drum instrument, pressing the appropriate key on your MIDI controller for e.g. a bass drum sound (the key which each drum sound is associated with is set on the drum track's EVENT page) will both play the drum instrument in question as well as select it for pattern assigning. If 'Ptn.' is 'on', pressing & holding the appropriate key for e.g. a bass drum sound will not play a bass drum sound, but instead will keep effecting the chosen live pattern as long as the key is held. The live pattern will be played with the velocity with which you hit the key on your MIDI controller. If your MIDI controller sends aftertouch messages, the velocity of the pattern can be controlled with aftertouch. If you want maximum control over the velocity of the live pattern, press the controller key very softly, and then use only aftertouch to control the playback velocity. If you hit the key hard, that will determine the initial velocity of the pattern, but after applying aftertouch, it is the aftertouch amount that will keep determining the playback velocity of the live pattern. Note that if Rec on the Jam page is 'on', your key presses will be recorded on the track. If Rec is 'on' while also Ptn. is 'on' (GPB10), recording on the track will take place only for those steps where the current live pattern is triggered. If you just want to effect the live patterns when you press a key, but don't want to record anything on the track, make sure Rec is 'off'. Live patterns will be played "on top of" the "normal" track. For example, if you have a bass drum playing quarter notes on the track and you effect a live pattern on any drum instrument, the "normal" track will keep playing in the backgroud normally (it won't get muted, overwritten etc.), and the live pattern is played in addition to it, fill-style. There are 16 live patterns per session, and each pattern is always 16 steps long. Example: You could select one live pattern for each drum instrument, set 'Ptn.' to 'on' for each drum instrument, and then use the MIDI controller keys to effect the selected patterns for each individual drum instrument. 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 diamond-shaped symbol denotes normal velocity (controlled by aftertouch), and a "?" denotes accent velocity (no aftertouch sensitivity). 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. The Length setting (for note length) has no effect on a Drum type track. 4.1.5.2. Live Patterns for other tracks types If the track is a Note, Chord or CC type track, the basic operation principles are the same as on a Drum type track. Compared among themselves, Note, Chord and CC type tracks work almost identically, though Note tracks are probably the most useful of the three. Only Note tracks will be dealt with here. Compared to Drum type tracks, there are two differences. First, Length (GPK14) adjusts the note length of each step (up to 98%). Second, the Mode option (GPK9) changes from drum instrument selection to Mono/Poly selection. This is a recording setting, the same as on the Jam page's Step and Live recording pages. Mono allows you to record single notes, and Poly allows you to record multiple notes. Like normally with recording, you cannot record multiple notes unless you have enough note layers. If Rec is 'on' while the Ptn. is 'on' (GPB10), recording on the track will take place only for those steps where the current live pattern is triggered. If you just want to use the live patterns when you press a key, but don't want to record anything on the track, make sure Rec is 'off'. ***if the Ptn. page is selected on the left LCD, but you change certain settings on the two LCDs and then press SELECT again to edit live patterns (Ptn. is still selected), the edit mode won't go on, but instead the page selection will change away from Ptn. to another page (on the left LCD). This happens if you have Ptn. page selected, change the following settings, and then press SELECT to edit: Length (GPK14, changes to MIDI page), Fwd (changes to Step page), Rec (changes to Step page). I think as long as Ptn. is selected, pressing & holding SELECT should always go to edit live patterns mode. Also, as a separate(?) phenomenon, if you press & release the SELECT button four times in a row, the fourth press changes away from the Ptn. page and to the MIDI page. 4.1.6. Miscellaneous settings The Misc. page has only a few pertinent settings to spare you the trouble of running around in other menus. Oct. effects an octave transpose (normally done on the TRANSPOSE page); FX enables/disables Humanizer, LFO, Limiter and Echo effects (normally done on the FX page); and FTS enables/disables Force To Scale for the active track (normally done on the MODE page). ***misc page octave transpose, FX and FTS on/off states have no effect! ------------------8<------------------------- -------------------------- 6. Some advanced features -------------------------- 6.1. Using a bus to control a track ----------------------------------- The MBSEQv4 has four buses that can be used to send MIDI data to other tracks. A track sending on a bus can be used to control the behaviour of another track over the bus for effecting arpeggios and transposing notes. The controlling track is called *the sending track* (because it sends data on a bus), and the controlled track the *receiving track* (because it listens to a bus for data). First, it is possible to use the sending track's *note data* to transpose the notes of the receiving track. A receiving track in Transposer mode accepts only one note as input. You can send chord data as well – either as multiple notes or as chord parameter layer entry – but only the last note layer or chord note will be accepted. ***there's a wishlist item to make this the first note layer. Transpose is relative. This means that if the sending track is controlling two tracks over the same bus, and the first receiving track has one note in it, C-3, and the second receiving track has one note in it, E-3, changing the sending track's note from C-2 to C#2 will transpose the receiving tracks' notes half a step upwards – from C-# to C#3 on the first track, and from E-3 to D-3 on the second track. 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. In either case, chords of up to four notes are supported. 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 pattern on the receiving track's arpeggio patterns 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. ***what about the new chord parameter layer chords that have more than four notes in them? In all cases (transpose notes, transpose CCs***, 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. 6.1.1. The MODE page The central settings on the MODE page of each track pertain to tracks that are to be controlled by another track (or a MIDI controller) over a bus. These are: Mode (off, Normal, Transpose, Arpeggiator), Bus (1–4), Hold, and Sort. 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'. If the track mode is Arpeggiator, and Sort is set to 'on', it will sort the played notes into ***what? ascending, descending?. The setting works only in Arpeggiator mode. If Sort is set to 'off' in Arpeggiator mode, the Arpeggiator will use the notes in the order they were played, without sorting them.*** If Sustain is set 'on', it will sustain the latest note or a chord played on the track until another one is played or the sequencer is stopped. This is useful for tracks that play long notes or chords, so that you don't have to set each note's length individually. Sustain will have effect only on tracks that are sending to a physical output port (set on the EVENT page). In other words, it will have no effect on tracks sending on a bus. If Restart is 'on', it will restart the track every time something new is played on it. This is mostly useful for tracks controlled with a MIDI controller over a T&A bus (see section 4.1.1.). In principle it works for normal tracks too, but the effect gained is better implemented with adjusting track LENGTH. ***there seems to be some false triggering going on with restart (one key press results in one or more triggerings), as well as short delays in re-starting the track On Force To Scale, see section 6.2. for details. 6.1.2. Setting up sending and receiving tracks In order to enable one track's control over another track via a bus, both the sending (controlling) track and the receiving (controlled) track need to be set up. The sending track is set up in the same way, whether it's controlling the transpose or arpeggiator pattern of another track. To set up the sending track, press MENU + EVENT. On the EVENT page, the Port option (BPK6) controls which port the track is sending its data out on. Bus1–4 are among the selectable ports. The function of each of the four buses is set on the Jam page's MIDI settings. There are two options: 'Jam' and 'T&A' (Transpose & Arpeggiator). (For details, see section 4.1.1.) If, on the controlling track's EVENT page, you choose one of the buses as the port, the track will now be sending its data to that bus instead of a physical port (such as OUT1). 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. 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. 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 The sending track should send only a single note via a bus to the receiving track in Transpose mode. 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 one note in it, C-3, and the second receiving track has one note in it, E-3, changing the sending track's note from C-2 to C#2 will transpose the receiving tracks' notes half a step upwards, from C-# to C#3 on the first track, and from E-3 to D-3 on the second track. 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.). If there's no data on the sending track, the receiving Transpose track will simply play its contents as they are. If there are (subsequent, not simultaneous) notes on the sending track, they will control the receiving track's transpose. If the sending track's notes are erased after some playback, the receiving track will remember the note it received last, and will be controlled by the last played note until a new note is played. In a case like this you can revert back to the receiving track's own data on the Jam page's MIDI configuration settings: press 'Reset Stacks' to reset all note stacks. See also the MODE page option Hold in section 6.1.1. 6.1.4. Receiving track mode: Arpeggiator Unlike transposer tracks, an arpeggiator track accepts chord data, though also single notes will work in principle. Chords of up to four notes can be sent, either as chord parameter layer data or as simulatenous note layer data. ***what about the new 4+ chord parameter layer entries? 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.). 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 the note is to be played in. The minus or plus in between denotes whether the given number of octaves 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. You can have as many simultaneous notes (chords) on the controlling track, but in practice only four simultaneous notes is useful, because the arpeggiator track will allow you to refer to only the first four note layers. In addition to multiple simultaneous note layers to play chords on the sending track, you can also use a chord parameter layer to send note data to the receiving track. See also the options Hold and Sort in section 6.1.1. 6.1.5. Using a MIDI controller to control track transpose or arpeggio In addition to controlling a track's transpose or arpeggio over a bus with another track, you can control a track's transpose or arpeggio with a MIDI controller over a bus. On the MIDI configuration page (see section 4.1.1.), you need to set up a T&A bus to let through the messages you send on your MIDI controller, and then set the receiving track to listen to the bus your MIDI controller is sending data on. Make sure that no track is sending data on the same bus (check the port setting on each track's EVENT page). It will work in principle, but will likely lead to confusion. For a transpose or arpeggiator track, you can use the Hold option on the MODE page to control whether the track will remember the last note you played on the MIDI controller (set Hold 'on'), or whether the track will only play something when you press a key (set Hold to 'off'). The Hold setting has no effect except in Transpose and Arpeggiator modes. For an arpeggiator track, you can use the Sort option on the MODE page to sort the notes you play into ***what. The Sort option has no effect except in Arpeggiator mode. 6.1.6. Sending CCs over a bus to control track settings It is possible to send CC data over a bus to change a track's settings. There's three settings you need to make on the sending track. First, on the sending track's EVENT page, select a CC parameter layer. Second, set the track's Port to send over a bus. You can select any bus, Jam or T&A, it makes no difference. Once the Port setting is set to a bus, the CC layer options on the right LCD change to loopback CC control options. For example, CC049 now allows you to control another track's octave transpose. The final setting you need to make is use the *sending track's* Chn. setting (on the EVENT page) to determine which track you want to control with the CCs. (Normally the Chn. setting has no effect if Port is set to a bus.) However, in this case the Chn. setting doesn't denote MIDI channel, but *track number*. For example, if you want to control track G1T1, which is playing a synthesizer on MIDI channel 5, you set Chn. to '1' (not '5') on the sending track's EVENT page. It is important to note that sending CCs over a bus to control another track *doesn't require any setup on the receiving track*. All the settings are done on the sending track's EVENT page. The full list of MBSEQv4 CC implementation is available in Appendix 4. 6.2. Force To Scale ------------------- By default the sequencer plays a 12-notes-per-octave chromatic scale. If you want that all the notes in a track are in a certain key, you can force them to a chosen scale. This is useful e.g. in combination with randomly generated notes (see section 6.3.), which would be all over the place without Force To Scale. Force To Scale has relevant settings on two pages: FX (MENU + FX) and Mode (MENU + MODE). Each individual track has the option of being Forced To Scale. The setting for this is on each track's MODE page. Force to Scale can be either 'off' (default) or 'on'. Force To Scale can be turned 'on' and 'off' also on the Jam page's 'Misc' settings section, where it's abbreviated as FTS. ***the misc page setting has no effect! The scale that each track can individually be forced to is set on the FX page (MENU + FX -> GPB10 for 'Scale'). On the Scale page GPK4–8 can be used to choose one of the 166 predefined scales; the notes in the scale are displayed in the right LCD. ***i dont' really understand the 'Control' and 'Root' settings! 6.3. Random generator --------------------- Random generator allows you to randomise the data of parameter or trigger layers (and for drum tracks, drum instrument layers). The randomiser menu is found in the main menu, with UTILITY + GPB7 (Rand), or with EDIT + GP13–14. 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, Trg B etc. denote trigger layers. If the active track is a Drum type track, drum instrument names are available instead. Because the layers are called just LayA, TrgB etc., you have to remember yourself which functions you have assigned for 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. Parameter layers are randomised by setting the intensity of the randomisation. Randomisation starts from value 64, and the randomisation setting allows you to determine how much the random values will deviate from 64. For example, if you enter an intensity value of 5, the randomised value will be 64 +/- 5, in other words, a randomly picked value between 59 and 69. A value of "--" will mean the randomiser will not change the values in that parameter layer. For trigger layers, the randomiser value denotes the likelihood of the trigger getting turned 'on'; the higher the number, the more likely it is that the trigger in each step will be 'on'. For example, if you choose TrgA (Gate by default) for randomisation, a value of 1 will result in only a few steps having their gates turned 'on', while a value of 14 will result in almost all steps having their gates switched 'on'. By selecting 'All' you can have the randomisation occur for all steps. A value of "---" means randomiser will not change the values in that trigger layer. Randomising drum instrument layers works the same way as randomising trigger layers. You can randomise any number of a track's parameter and trigger layers simultaneously by assigning values to all the layers you want to randomise. When you have selected the ones you want to randomise, press GP2–3 to effect the randomisation. If you are unhappy with the result, you can undo it with GPB8 ('Undo'). GPB7 ('Util') takes you back to the UTILITY page, and GPB6 ('Clr.') will clear the whole track (which can be undone as well with 'Undo'). Note, Velocity and CC parameter layers, and Gate, Accent and Roll trigger layers are obvious targets for randomisation, but in principle randomiser will work with any type of layer that's available. The Force To Scale option on the MODE page is particularly useful for randomised note layers. For details on Force To Scale, see section 6.2. ***request: is it possible to have Step Selection settings affect the randomiser, so that the randomiser will change only those layers that have been selected with the Step Selection function? This way you could set e.g. TrgA (Gate) randomisation to 'All', and still have only e.g. each quarter note randomised. 6.4. Euclidean rhythm generator ------------------------------- The Euclidean rhythm generator (ERG) allows you to create rhythms very easily, and change them afterwards with normal track editing. Changing the settings on the ERG page changes the contents of the track immediately, so be careful not to lose anything you want to keep. The ERG works best for Drum type tracks, but in principle it can be used for Note type tracks as well. It can be found in the main menu, or with EDIT + GPB13–14. 6.4.1. Euclidean rhythm generator for Drum type tracks On the ERG page, track length can be changed within the maximum length (this is the same setting as on the LENGTH page, and the value will be copied between pages). On the right LCD, there's another length setting, which sets the length of the *loop* (GPK9). Along with the loop length setting, there's 'Pulses', which will place the set number of pulses (or gates) over the length of the loop (repeating the pattern over the whole track). For example, if the loop length is 16 steps and the number of pulses is 4, a pulse will be placed each four steps. In principle, any number of pulses will be divided over the given loop length, though in practice a large number of pulses will quickly become impossible to place, if the loop is too short. Normally each series of pulses starts in the first step of the track, but this can be changed with 'Offset' (GPK11). 'Offset' setting simply inserts that many empty steps in the beginning of the track before the first pulse. If the loop is shorter than the set track length, the loop will be written onto the track as many times the track length allows. For example, if track length is 16 steps and loop length 13 steps, the loop's 13 steps fit once into the 16 steps of the track; then 3 more steps fit, but then the track length runs out. The resulting pattern of 16 steps will be written on the track *over it's whole lenght*, not just the set length. Thus, a track of 16/64 will be written four times with the same 13+3 pattern. If the loop is longer than the set track length, only what fits into the track length will get repeated. For example if track length is 16 steps and loop length is 20 steps, only the first 16 steps of the loop will be repeated. If the track is 16/64, this truncated 16-step pattern will be written on the track four times. Offhand it might not make sense to use loops longer than the set track length. However, because the pulses are divided as evenly as possible over the loop length, whether it's longer or shorter than the set track length, you can effect rhythm patterns with loops longer than the track that are not possible is the loop is shorter than, or equally long as, the track. Note that when you change 'Len', 'Pulses' or 'Offset' settings, the ERG will immediately write the loop repeatedly *over the whole track*, not just over the set length of it, overwriting anything that was there previously. On the left LCD, you can change the drum instrument layer to be edited by ERG with GPK4. Also the note that the instrument layer is playing can be changed. With GPK6–7 you can change the Normal (VelN) and Accent (VelA) velocities. (The mentioned settings are the same as on the EVENT page, and the values will be copied between pages.) The velocity values for each pulse can be randomised with GPK8. Turning GPK8 will simultaneously set the likelihood of a pulse getting an accent, as well as effect the randomisation. 6.4.2. Euclidean rhythm generator for Note type tracks It is possible to use the ERG with a Note type track as well. However, even with the Note type tracks, the ERG is still essentially a rhythm creating aid. The ERG will leave the Note layer values untouched, but will switch the gates 'on' and 'off' based on the loop length, pulse and offset settings you make. For track length, normal/accent velocity settings and their randomisation (VelN, VelA and RndA), loop length, pulses and offset settings, see section 6.4.1. for the details. The main difference to Drum type tracks is that you can change the Note type track's parameter layer values. The exception is that the the first parameter layer contents cannot be edited (the entry says 'Orig'), whether it is a note layer or something else. Also it is important to note that changing the content of a parameter layer on the ERG page *affects all the pulsed steps*. Thus, changing the velocity value will change the velocity values of all those steps which are "pulsed", i.e. where the ERG has set the gate 'on'. One useful way to use the ERG with Note type tracks is creating a rhythmic pattern on the ERG, then leaving the page and changing the notes to something more tonal than what the ERG is capable of. 6.5. Mixer maps --------------- The mixer maps on the MIXER page (MENU + MIXER) allow you to send Program Change and Control Change messages to your MIDI equipment. Each session has a maximum of 127 mixer maps, which can be named and customised, and each mixer map has 12 pages, one page for each kind of setting. The pages can be changed with the datawheel, or the up and down buttons on the frontpanel. The ALL and FAST buttons work on the MIXER page. (For details, see section 4.2.3.) Each mixer map page has 16 different slots for customised commands that can be sent simultaneously. The first two pages of a mixer map define, first, the *output port* on which the message for each of the 16 slots is sent, and second, the *MIDI channel* on which the message for each slot is sent. The default value for Port is 'Def.', i.e. the setting is taken from the MIDI Router page (see section 2.1.2. or Appendix 3). The default MIDI channel is '# 1' for the first slot, '# 2' for the second, and so on. The Port and MIDI channel are the foundational settings for each mixer map slot, without which the messages won't be sent to the right place; the don't send any command by themselves, they just set the conduit for the commands from the other pages. For example, if you've set track G1T1 to play a synthesizer connected to OUTPUT1 on MIDI channel 5 (settings made on the track's EVENT page), you should set one of the slots on the mixer map page to that port and that MIDI channel to send a message from the mixer map to that synthesizer. While you're on the MIXER page, the port and channel for the slot in the current cursor position will always be visible in the upper right corner of the right LCD. Port and MIDI channel are the foundational settings of a mixer map, without which none of the actual messages will get delivered to the right address. Port is set on mixer page 1, and MIDI channel on mixer page 2. Once Port and MIDI channel are in order, the actual messages that you can send are: Page 3: Program Change Page 4: Volume Page 5: Panorama ("Pan") Page 6: Reverb Page 7: Chorus Page 8: Modulation wheel Page 9: Freely assignable CC (CC1) Page 10: Freely assignable CC (CC2) Page 11: Freely assignable CC (CC3) Page 12: Freely assignable CC (CC4) ***image here ***are the freely assignable CCs the standard MIDI CCs? While on the MIXER place, pressing & holding SELECT brings up a utility menu. GPB2 and GPB4 ('Copy', 'Clr') copy and clear the current mixer map, and GPB3 ('Paste') pastes a previously copied mixer map into the current one. GPB7 saves the current mixer map, and and GPB6 allows you to load a previously saved map. GPK1 switches between the 127 possible mixer maps in the session. Switching away from the current map will erase any unsaved changes. GPB16 allows you to name the current mixer map. There are four ways to send mixer map commands to their destinations. The easiest way is to press a GPB button under an entry that has some value other than '---' in it. Pressing the GP button will simply send the command in the slot once. This is useful e.g. for sending one-off commands like Program Change. The second option is available in the utility menu: 'Dump' (GPB8) will send all the commands in the 16 slots of all 10 command pages to the ports and MIDI channels set for each slot. The third option can be enabled in the mixer utility menu (press & hold SELECT): LiveSend can be set 'on' or 'off'. If LiveSend is 'on', the values in the slots of all pages in the current mixer map will be active all the time, and all changes will be updated immediately. For example, mixer page 4 (Volume) could be used as a centralised volume control for all your MIDI equipment. The fourth way to send mixer map values is on the SONG page, as a song position action ('Mixer -> Map #').

Fortunately Andy speaks better French than I speak English! Love this RGB leds .... nice illuminated pots! Andy please stop making amazing projects , I'm gonna have the MBCV 2.01 on my TODO list.... if you continue i will have no time for the music!