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- | ===== Table of contents. ===== | + | Content moved to [[mididocs:seq:beginners_guide:start]] |
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- | [[jjonas#0. Introduction|0. Introduction]] | + | |
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- | [[jjonas#1. The basics|1. The basics]]\\ | + | |
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- | [[jjonas#2. Basic settings|2. Basic settings]]\\ | + | |
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- | [[jjonas#3. Trigger layers and parameter layers|3. Trigger layers and parameter layers]]\\ | + | |
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- | [[jjonas#4. Entering notes|4. Entering notes]]\\ | + | |
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- | [[jjonas#5. Working with patterns and songs|5. Working with patterns and songs]]\\ | + | |
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- | [[jjonas#6. Some advanced features|6. Some advanced features]]\\ | + | |
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- | ----- | + | |
- | + | ||
- | ===== 0. Introduction ===== | + | |
- | This user manual is intended to cover the basic operation and concepts of the MBSEQv4 step sequencer. It does not include instructions on how to make the most out of all the features of the sequencer, or what each of the options on every menu page does, but I believe it does give a good overview for the new user. | + | |
- | + | ||
- | Most of this manual is based on what can already be found on the ucapps.de website' | + | |
- | + | ||
- | What this manual does //not// cover, however, is building the unit, the control surface, where to get the parts etc. It is intended to be useful when you have a completed and working unit at your disposal, preferably with Wilba' | + | |
- | + | ||
- | Also, this manual is based on the premise that you have a MIDI controller connected to the sequencer' | + | |
- | ----- | + | |
- | + | ||
- | ===== 1. The basics ===== | + | |
- | + | ||
- | Before starting with the basics, it's useful to create a new session so that you're be able to explore the sequencer' | + | |
- | + | ||
- | The default new session has sixteen tracks that are almost similar. | + | |
- | • All tracks are Note type tracks\\ | + | |
- | • Track length is 16/256 steps\\ | + | |
- | • Divider/ | + | |
- | • Port is Def. | + | |
- | + | ||
- | Only the MIDI channel setting is different, each track having its own MIDI channel (1-16) on which the track is sending data. | + | |
- | + | ||
- | \\ | + | |
- | + | ||
- | ==== 1.1. User interface ==== | + | |
- | + | ||
- | The physical user interface consists of buttons, indicator leds, two LCD displays, and 17 knobs. In this manual the buttons are referred to with their names in ALL CAPS, i.e. MENU means the menu button, PLAY mean the play button etc. | + | |
- | + | ||
- | 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. | + | |
- | + | ||
- | 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. | + | |
- | + | ||
- | The unit should have at least one physical MIDI IN and one physical MIDI OUT port, and that's taken for granted in this manual (it is likely you'll have four of each). These will be called MIDI IN1 and MIDI OUT1, or just IN1 and OUT1. | + | |
- | + | ||
- | Almost all of the menu pages can be reached by pressing EXIT (once or a few times, depending on where you are) to get to the top menu, then using the datawheel to browse the options on the left LCD and finally pressing a GPB to select the menu you need. However, with Wilba' | + | |
- | + | ||
- | Various options on the screen will be written between apostrophes. For example, if reference is made to the save function on the main menu, the option is written as ' | + | |
- | + | ||
- | Many buttons have indicator LEDs associated with them. These LEDs will tell you whether something (out of many possible options) is selected, or whether some mode or function is toggled ' | + | |
- | + | ||
- | On the left side of the frontpanel there' | + | |
- | + | ||
- | You can select multiple tracks at once //within a group// by pressing & holding one track selection button and then pressing the others one by one; press another time to deselect. (Any combination of tracks can be selected on the Track Selection page, which is available only as a F1–F4 button or as a saved bookmark; for customising F1–F4 buttons, see Appendix 1, and for bookmarks, see Appendix 2.) | + | |
- | + | ||
- | Below the group and track buttons there are six more buttons for //layer selection// | + | |
- | + | ||
- | In a new session, trigger layer button A selects the gate trigger layer, button B selects the accent trigger layer and button C brings up a menu of all the trigger layers, allowing you to choose the one you need with the GP buttons. You can have a maximum of 8 trigger layers, except on drum tracks, where the maximum is two. | + | |
- | + | ||
- | In a new session, parameter layer button A selects the note parameter layer, button B selects the velocity parameter layer, and button C alternates between length and roll parameter layers. Each of the default session' | + | |
- | + | ||
- | \\ | + | |
- | + | ||
- | ==== 1.2. Basic concepts ==== | + | |
- | + | ||
- | === 1.2.1. Groups, tracks, patterns and banks === | + | |
- | + | ||
- | MBSEQv4 is organised into //groups//, //tracks// and // | + | |
- | + | ||
- | There are four //groups// of tracks, and //each group has four tracks//, so all in all there are 16 tracks. Group 1 always holds the tracks 1–4, group 2 always holds the tracks 5–8 and, group 3 the tracks 9–12 and group 4 the tracks 13–16. In MBSEQv4 shorthand language, groups and tracks are referred to with the formula GxTx. For example, G1T3 means "Group 1, Track 3" (i.e., track 3 out of 16), and G3T4 means "Group 3, track 4" (i.e., track 12 out of 16). | + | |
- | + | ||
- | [image of patterns divided into tracks] | + | |
- | + | ||
- | Tracks contain the data – gates, accents, notes, note velocities, CCs etc. – that you've programmed in them and that is sent over to your MIDI equipment. This data is in //trigger layers// and //parameter layers//. (For details, see section 3.) | + | |
- | + | ||
- | In addition to the musical data, tracks also contain settings data. Defining the settings for each individual track is one of the most complicated operations a new user has to face, because of all the interconnections that are not immediately self-evident. The flipside is that track setup offers a lot of possibilities. Some settings (like the MIDI Router settings, see Appendix 4) are independent of any session. | + | |
- | + | ||
- | Most of the time one track is selected and visible on the screen. This is the //active track//, the track that's ready for editing. You can always tell which track is selected by looking at the group and track selection LEDs (on the left of the frontpanel); | + | |
- | + | ||
- | //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. | + | |
- | + | ||
- | 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' | + | |
- | + | ||
- | 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 // | + | |
- | + | ||
- | A totality of tracks, patterns, songs and settings (and a few other things like groove patterns and mixer maps) is called a // | + | |
- | + | ||
- | >>>// | + | |
- | ------------------------------------------------------------------------------------------------------------------------------------------------------- | + | |
- | + | ||
- | ===== 2. Basic settings ===== | + | |
- | + | ||
- | ==== 2.1. Track EVENT ==== | + | |
- | + | ||
- | The track EVENT page is the central page for track settings. In a new session, each track will have some default settings, but it's likely that you will have to change them to match your setup. Changing the track' | + | |
- | + | ||
- | Initialising the track erases all data in the track' | + | |
- | + | ||
- | By default, initialisation switches the gates ' | + | |
- | + | ||
- | 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. | + | |
- | + | ||
- | >>>// | + | |
- | >>> | + | |
- | >>>// | + | |
- | >>> | + | |
- | >>>// | + | |
- | >>>// | + | |
- | >>>// | + | |
- | >>>// | + | |
- | >>> | + | |
- | >>>// | + | |
- | >>> | + | |
- | >>>// | + | |
- | >>> | + | |
- | >>>// | + | |
- | >>> | + | |
- | >>>// | + | |
- | >>> | + | |
- | >>>// | + | |
- | + | ||
- | \\ | + | |
- | + | ||
- | === 2.1.1. Track types === | + | |
- | + | ||
- | On the MBSEQv4, track selection possibilities are organised into several predefined options based on track type, length (number of steps), number of parameter layers, and number of trigger layers (the options are listed below). | + | |
- | + | ||
- | Changing the track type allows you to select different kinds of track presets that best suit your purposes. The track types are Note, Chord, CC and Drum, and each of these types has subtypes based on a combination of maximum track length, number of parameter layers and number of trigger layers. (For the difference between parameter layers and trigger layers, see sections 3.1. and 3.2.) Because of memory limitations it's not possible to have the longest possible track (256 steps) with the maximum number of parameter and trigger layers (16 and 8, respectively), | + | |
- | + | ||
- | Note, Chord and CC tracks always have 8 trigger layers, so in effect the track has to be balanced between maximum length and the number of parameter layers. Drum tracks are somewhat different from the other types, so they are dealt with separately. (See section 3.3.). | + | |
- | + | ||
- | ^Mode^Steps^Param. layers^Trig. Layers^Instruments^ | + | |
- | |Note|64|16|8|1| | + | |
- | |Note|128|8|8|1| | + | |
- | |Note|256|4|8|1| | + | |
- | |Chord|64|6|8|1| | + | |
- | |Chord|128|8|8|1| | + | |
- | |Chord|256|4|8|1| | + | |
- | |CC|64|16|8|1| | + | |
- | |CC|128|8|8|1| | + | |
- | |CC|256|4|8|1| | + | |
- | |Drum|64|1|2|16| | + | |
- | |Drum|128|2 (32 steps)|1|16| | + | |
- | |Drum|128|1|2|8| | + | |
- | |Drum|256|2 (64 steps)|1|8| | + | |
- | |Drum|64|1|1|16| | + | |
- | |Drum|128|1|1|8| | + | |
- | |Drum|256|1|1|4| | + | |
- | + | ||
- | When changing track type, the track needs to be // | + | |
- | + | ||
- | It is important to note that even though initialising a track to the selected preset fixes the number of parameter layers, you can, after initialisation, | + | |
- | + | ||
- | Indeed, you will have access to many parameter layer functions (like Pitch, Delay and Probability) only this way, as they won't be available in any of the presets. On the EVENT page, use GPK9 to choose which parameter layer you want to edit (from A to H, if you have eight parameter layers), then turn GPK10 to set which function you want to control with that parameter layer. You need to confirm the change of function by pressing GPB10 (the seq will tell you this). Note that if you change parameter layer functions, e.g. from Roll to Nth1, you will lose all parameter values in the Roll layer. | + | |
- | + | ||
- | \\ | + | |
- | + | ||
- | == 2.1.1.1. Note tracks == | + | |
- | + | ||
- | In a default session, all tracks are of the same type: they are Note tracks that are 256 steps long and have four parameter layers. This kind of Note type tracks have one velocity layer (parameter layer B), one length layer (parameter layer C, for note length, not track length!), one roll layer (parameter layer D), and one note layer (parameter layer A). If you initialise a shorter Note track, you just get more note layers (parameter layer E and onwards); if you want other kinds of parameter layers, you have to set them manually on the EVENT page (see section 2.1.1.). Maximum length of 128 steps gives you four extra note parameter layers compared to the default, allowing you to enter up to five note chords, and that should already be enough for most purposes. | + | |
- | + | ||
- | The setting Sustain on the MODE page is good to keep in mind when setting up a track to play chords or long single notes. Sustain holds each note/chord until another one is played on the track, and this spares you the trouble of having to set the length of each individual note/ | + | |
- | + | ||
- | \\ | + | |
- | + | ||
- | == 2.1.1.2. Chord tracks == | + | |
- | + | ||
- | Chord tracks are set up length and layer wise just like note tracks. However, in a chord track, parameter layer A is a chord layer instead of a note layer. The chord layer doesn' | + | |
- | + | ||
- | The advantage of this to using several note layers on a note type track to play chords is that you can have the chord data on a single layer, even if the chords are made up of 4 notes. Because you only need a single parameter layer for chords, you can increase your track' | + | |
- | + | ||
- | There are two chord parameter layers, called ' | + | |
- | + | ||
- | List of predefined chords for layer ' | + | |
- | • A-C: Major I, Major II, Major III (transposed variants)\\ | + | |
- | • D-F: Root note, 3rd note, 5th note (single notes)\\ | + | |
- | • G,H: Root+3rd, Root+5th\\ | + | |
- | • I-N: Maj6, Maj7, Maj8, Maj9, Maj10, Maj12 (4-note chords)\\ | + | |
- | • O,P: Sus4 and Maj+\\ | + | |
- | • a-c: Minor I, Minor II, Minor III (transposed variants)\\ | + | |
- | • d-f: Root note, 3rdMin note, 5th note (single notes)\\ | + | |
- | • g,h: Root+3ndMin, | + | |
- | • i-n: Min6, Min7, Min8, Min9, Min10, Min12 (4-note chords)\\ | + | |
- | • o-p: Co7 and Min+ | + | |
- | + | ||
- | List of predefined chords for layer ' | + | |
- | • A-C: Pwr5, Pwr8, R+mj3\\ | + | |
- | • D-F: R+min3, Maj, Sus4\\ | + | |
- | • G–I: Maj+, Maj6, Maj7\\ | + | |
- | • J–L: add9, Maj9, Maj11\\ | + | |
- | • M–N: Maj13, Min\\ | + | |
- | • O–P: Min6, Min7\\ | + | |
- | • a–c: Minad9, Min9, Min11\\ | + | |
- | • d–f: Min13, Dom7, 7Sus4\\ | + | |
- | • g–i: Dom9, Dom11, Dom13\\ | + | |
- | • j–l: 7b5, 7#5, 7b9\\ | + | |
- | • m–n: 7#9, DimTri\\ | + | |
- | • o–p: Dim, m7b5 | + | |
- | + | ||
- | Note that some of the chords in Chord2 layer have more than four notes. You can use both chord layers to send note data to an arpeggiator track (see section 6.1. for details), but the arpeggiator function will receive only four notes. If you send chord layer chords with more than four notes, only the last four notes of the chord will be accepted; the earlier ones are ignored. | + | |
- | + | ||
- | If the length of a chord track allows more than 4 parameter layers, by default all the extra ones will be note layers. However, it is not really possible to play chords and melodies simultaneously on the same track, because each parameter layer shares the one and only gate trigger for that track. Thus you cannot trigger individual gates for the notes of the melody in a note layer, while leaving the gate untriggered for the chord layer at the same time. If you go to Layer View (press & hold EDIT + GPB3; see section 4.2. for details on different EDIT modes), you can insert notes in the note layers by turning a knob, but it's only feasible in the same steps where there is already a chord and where the gate is already on. | + | |
- | + | ||
- | 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/ | + | |
- | + | ||
- | 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.) | + | |
- | + | ||
- | \\ | + | |
- | + | ||
- | == 2.1.1.3. CC tracks == | + | |
- | + | ||
- | CC tracks allow you to send Control Change messages to your MIDI equipment. By default, all parameter layers of a CC type track are CC layers that do the same thing, i.e. they send CC messages. By default, each newly initialised CC layer is ' | + | |
- | + | ||
- | >>>// | + | |
- | + | ||
- | Note that you don't necessarily have to have an independent CC type track to send CC messages. Instead you can change one of the note layers on a " | + | |
- | + | ||
- | \\ | + | |
- | + | ||
- | === 2.1.2. Port and MIDI Channel === | + | |
- | + | ||
- | Each track sends out its data, first, into a physical output port, and second, on one MIDI channel in the chosen port. | + | |
- | + | ||
- | Port value on the EVENT page defines which physical port the track' | + | |
- | + | ||
- | >>>// | + | |
- | + | ||
- | Back on the EVENT page, in addition to the Def. (or ' | + | |
- | + | ||
- | MIDI Channel (Chn.) defines the MIDI channel on which the track' | + | |
- | + | ||
- | >>>// | + | |
- | + | ||
- | \\ | + | |
- | + | ||
- | === 2.1.3 Track Event and Track Instrument === | + | |
- | + | ||
- | While on the EVENT page, you can switch between two pages by pressing GPB8: Track Event, which is the default when entering the EVENT page, and Track Instrument. On the Track Instrument page, the port and channel settings will be the same as on the Track Event page (and will be automatically copied between the pages), but in addition you can set a Program Change command and name for the track so that you remember better which synth and what kind of line the track is playing, for example. | + | |
- | + | ||
- | >>>// | + | |
- | + | ||
- | 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!// | + | |
- | + | ||
- | 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 // | + | |
- | + | ||
- | >>>// | + | |
- | >>>// | + | |
- | + | ||
- | Back on the Track Event page there is finally ' | + | |
- | + | ||
- | Presets can be saved in the right LCD by pressing GPB14–15 (' | + | |
- | + | ||
- | In the left LCD, you can recall saved presets. Selecting one of them brings up a menu where you can delimit which track data you want to import. Name and Chn. are self-explainatory, | + | |
- | + | ||
- | \\ | + | |
- | + | ||
- | === 2.1.4. Setting parameter layer functions === | + | |
- | + | ||
- | Finally, the EVENT page allows you to customise your parameter layers. Use GPK9 to select the layer and GPK10 to select the function for this layer. The default sessions has four parameter layers, and by default parameter layer A controls note, layer B controls note velocity, layer C controls gate length, and layer D controls roll. (For parameter layer functions, see section 3.2.) You can set these functions to any of the available options, if you don't like the defaults. | + | |
- | + | ||
- | If you change parameter layer functions, e.g. from Roll to Nth1, you will lose all parameter values in the Roll layer. | + | |
- | + | ||
- | \\ | + | |
- | + | ||
- | ==== 2.2. Track LENGTH ==== | + | |
- | + | ||
- | The maximum length of a track is determined when the track is initialised, | + | |
- | + | ||
- | Unless otherwise specified, all 16 tracks in the four active patterns will run independently of each other, sharing only the tempo. Different track lengths mean thus that eventually the tracks will end and restart at different times, and the effect is cumulative: a track that is four steps shorter than the others will restart four steps before the others, and on the next round, 8 steps before the others etc. For more on this topic, see sections 2.3. (Track DIVIDER and Tempo), 5.2. (Phrase mode and song mode), and 5.4. (Measure) with its subsections. | + | |
- | + | ||
- | >>>// | + | |
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- | >>>// | + | |
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- | + | ||
- | \\ | + | |
- | + | ||
- | ==== 2.3. Track DIVIDER and tempo ==== | + | |
- | + | ||
- | === 2.3.1. Tempo === | + | |
- | + | ||
- | Even though by default the tracks are running independently of each other, they share the same tempo for reference. This can be set by pressing MENU + BPM. The BPM (beats per minute) setting can be adjusted with GPK3 and GPK4, or alternatively with Tap Tempo by pressing GPB16 five times in a row. Alternatively, | + | |
- | + | ||
- | \\ | + | |
- | + | ||
- | === 2.3.2. Divider === | + | |
- | + | ||
- | You can make each of your tracks run faster or slower compared to the others by changing the divider/ | + | |
- | + | ||
- | The DIVIDER page offers two ways to change the divider value: either by changing it directly with GPK2 (and GPK3 for normal/ | + | |
- | + | ||
- | 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. | + | |
- | + | ||
- | 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 " | + | |
- | + | ||
- | If you change the timebase value while the sequencer is running, you risk the track becoming out of sync with the others unless you're right on the beat. This is even more true of changing the divider value // | + | |
- | + | ||
- | It is probably a good idea to limit divider/ | + | |
- | + | ||
- | >>>// | + | |
- | >>>// | + | |
- | >>>// | + | |
- | >>>// | + | |
- | >>>// | + | |
- | >>>// | + | |
- | ----- | + | |
- | + | ||
- | ===== 3. Trigger layers and parameter layers ===== | + | |
- | + | ||
- | On the lower left corner of the front panel there are three trigger layer selection buttons (A, B, C) and three parameter layer selection buttons (A, B, C). These allow you to select different layers for editing. Editing is done either with the GP button under each step (for the active trigger layer) or with the GP knobs under each step (for the active parameter layer). | + | |
- | + | ||
- | By default, trigger layer selection button A selects the gate layer, B selects accent, and C brings up a page where you can select one of the eight trigger layers with a GP button. (Drum tracks have only 1–2 trigger 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.) | + | |
- | + | ||
- | 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. | + | |
- | + | ||
- | 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 " | + | |
- | + | ||
- | \\ | + | |
- | + | ||
- | ==== 3.1. Trigger layers ==== | + | |
- | + | ||
- | Note, Chord and CC type tracks always have eight trigger layers. Drum type tracks are a special case, and have 1 or 2 trigger layers; they are dealt with in a separate section (see section 3.3.). | + | |
- | + | ||
- | A trigger layer always has one of two values: ' | + | |
- | + | ||
- | You can set which trigger layer controls which trigger function on the TRIGGER page (MENU + TRIGGER). The page displays a list of all available trigger functions (nine) and their assignments into the trigger layers (max. eight). Turn a GP knob to change the function for each layer. Note that normally all trigger layers apart from RollG (see section 3.1.9.) are available by default (drum tracks are an exception). Note also that you can control multiple triggers with a single layer. For example, by assigning both Gate and Accent trigger to trigger layer A, every time you trigger a note with Gate, it will also be played at Accent velocity. | + | |
- | + | ||
- | \\ | + | |
- | + | ||
- | === 3.1.1. Gate === | + | |
- | + | ||
- | 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 ' | + | |
- | + | ||
- | >>>// | + | |
- | >>>// | + | |
- | + | ||
- | \\ | + | |
- | + | ||
- | === 3.1.2. Accent === | + | |
- | + | ||
- | If the Accent trigger is ' | + | |
- | + | ||
- | \\ | + | |
- | + | ||
- | === 3.1.3. Roll === | + | |
- | + | ||
- | If the Roll trigger is ' | + | |
- | + | ||
- | Note that the Roll trigger won't work if the Sustain setting on MODE page is on. | + | |
- | + | ||
- | \\ | + | |
- | + | ||
- | === 3.1.4. Glide === | + | |
- | + | ||
- | If the Glide trigger is ' | + | |
- | + | ||
- | Note that the operation of this function depends on your synthesizer' | + | |
- | + | ||
- | >>>// | + | |
- | + | ||
- | < | + | |
- | step1 step2 step3 step4 step5 step6 step7 step8 | + | |
- | note param. layer C-3 | + | |
- | lenght param. layer |||| | + | |
- | glide trg. layer * | + | |
- | </ | + | |
- | + | ||
- | \\ | + | |
- | + | ||
- | === 3.1.5. Skip === | + | |
- | + | ||
- | If the Skip trigger is ' | + | |
- | + | ||
- | \\ | + | |
- | + | ||
- | === 3.1.6. Random gate (R.G.) === | + | |
- | + | ||
- | If this trigger is set ' | + | |
- | + | ||
- | \\ | + | |
- | + | ||
- | === 3.1.7. Random value (R.V.) === | + | |
- | + | ||
- | If this trigger is set ' | + | |
- | + | ||
- | \\ | + | |
- | + | ||
- | + | ||
- | === 3.1.8. No FX === | + | |
- | + | ||
- | If this trigger is set ' | + | |
- | + | ||
- | \\ | + | |
- | + | ||
- | === 3.1.9. Roll gate (RollG) === | + | |
- | + | ||
- | RollG trigger layer is used together with Roll and Roll2 parameter layers. This trigger is not assigned to any trigger layer by default. You can assign it to one of the available trigger layers on the TRIGGER page (MENU + TRIGGER), but normally you don't need it. See section 3.2.4.1. for details on how and when to use RollG. | + | |
- | + | ||
- | \\ | + | |
- | + | ||
- | === 3.2 Parameter layers === | + | |
- | + | ||
- | 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.) | + | |
- | + | ||
- | 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 ' | + | |
- | + | ||
- | \\ | + | |
- | + | ||
- | === 3.2.1. Note === | + | |
- | + | ||
- | 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 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 " | + | |
- | + | ||
- | >>>// | + | |
- | + | ||
- | < | + | |
- | step1 step2 step3 step4 step5 step6 step7 step8 | + | |
- | note param.layer 1 C-3 --- --- --- C-3 --- --- --- | + | |
- | note param.layer 2 E-3 --- --- --- F-3 --- --- --- | + | |
- | note param.layer 3 G-3 --- --- --- A-3 --- --- --- | + | |
- | </ | + | |
- | + | ||
- | >>>// | + | |
- | + | ||
- | < | + | |
- | step1 step2 step3 step4 step5 step6 step7 step8 | + | |
- | note param.layer 1 C-3 E-3 G-3 E-3 C-3 F-3 A-3 F-3 | + | |
- | note param.layer 2 --- --- --- --- --- --- --- --- | + | |
- | note param.layer 3 --- --- --- --- --- --- --- --- | + | |
- | </ | + | |
- | + | ||
- | >>>// | + | |
- | < | + | |
- | step1 step2 step3 step4 step5 step6 step7 step8 | + | |
- | note param.layer 1 C-3 --- --- --- C-3 --- --- --- | + | |
- | note param.layer 2 --- E-3 --- E-3 --- F-3 --- F-3 | + | |
- | note param.layer 3 --- --- G-3 --- --- --- A-3 --- | + | |
- | </ | + | |
- | + | ||
- | \\ | + | |
- | + | ||
- | === 3.2.2. Velocity === | + | |
- | + | ||
- | At its simplest, velocity controls how loud the note in the step is to be played. Velocity values simulate the force with which you strike a piano key: the higher the value, the " | + | |
- | + | ||
- | The velocity layer shows the velocity value as a vertical bar next to the note layer value (from the first note layer). The note layer value is merely displayed, and cannot be edited when the velocity layer is visible (and vice versa), because the GP knob is used to edit the velocity value, not the note value. | + | |
- | + | ||
- | \\ | + | |
- | + | ||
- | === 3.2.3. Length === | + | |
- | + | ||
- | 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 " | + | |
- | + | ||
- | Note that " | + | |
- | + | ||
- | The setting Sustain on the MODE page is good to keep in mind when setting up a track to play long notes. Sustain holds each note/chord until another one is played, and this spares you the trouble of having to set the gate length of each individual note/ | + | |
- | + | ||
- | When editing gate length per step, it is also good to keep in mind the ALL button function, which allows you to edit the values several steps with one knob (see section 4.2.3.). | + | |
- | + | ||
- | \\ | + | |
- | + | ||
- | === 3.2.4. Roll and Roll2 === | + | |
- | + | ||
- | 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 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 speed is relative to tempo. A slow tempo (e.g. 30bpm) is useful in evaluating the effect of different intensity settings. | + | |
- | + | ||
- | Note that the effect of the intensity parameter depends on the velocity sensitivity settings of your synthesizer and/or patch. | + | |
- | + | ||
- | Roll2 parameter can be used to play the step 2–5 times, but instead of velocity, you can control the distance between the played notes. The distance is expressed in microticks. Each step consists of 96 microticks, and the first hit is always played at the first microtick in the beginning of the step. Setting 2x48 would play two notes, one at the beginning and the second at the middle of the step. If the setting is 3x57, the resulting three notes will be longer than one step, i.e. longer than 96 microticks. The first note will be played at the beginning the step, the second note will be played in the step at 57 microticks, and the third one will be played in the second step, at 18 microticks. | + | |
- | + | ||
- | Note that the Roll parameters won't work if the Sustain setting on MODE page is on. | + | |
- | + | ||
- | \\ | + | |
- | + | ||
- | == 3.2.4.1. Using the RollG trigger layer == | + | |
- | + | ||
- | You can use the trigger layer RollG together with the Roll and Roll2 parameter layers. Normally it should be enough to just set the trigger layer Gate (=the normal gate trigger, by default in trigger layer A) ' | + | |
- | + | ||
- | However, if you have one roll value that you would like to use all over your track, normally you'd have to enter the roll values by turning the knob for each step individually, | + | |
- | + | ||
- | In other words, now the " | + | |
- | + | ||
- | This way you can enable and disable the roll value for each note with a single press of a button, instead of having to turn the knobs to zero with each individual step. Or, instead of the ALL button trick to enter multiple values simultaneously, | + | |
- | + | ||
- | Normally, the gate trigger ' | + | |
- | + | ||
- | \\ | + | |
- | + | ||
- | === 3.2.5. Chord and Chrd2 === | + | |
- | + | ||
- | Chord layers can be used to play chords with up to 4 (' | + | |
- | + | ||
- | \\ | + | |
- | + | ||
- | === 3.2.6. Control Change (CC) === | + | |
- | + | ||
- | CC layers can be used to send Control Change messages to your MIDI equipment. For the details on the CC layers, see section 2.1.1.3. | + | |
- | + | ||
- | \\ | + | |
- | + | ||
- | === 3.2.7. Pitch === | + | |
- | + | ||
- | Pitch layer can be used to send pitch wheel events to your MIDI equipment, simulating the pitch wheel position. Value 64 (default) is the middle position, i.e. no effect. | + | |
- | + | ||
- | \\ | + | |
- | + | ||
- | === 3.2.8. Probability (Prob) === | + | |
- | + | ||
- | Probability layer can be used to set the probability for the step to be played (0–100%). This is especially useful for drum tracks to increase variation without creating multiple tracks. (See also random gate trigger, section 3.1.6.) | + | |
- | + | ||
- | \\ | + | |
- | + | ||
- | === 3.2.9. Delay === | + | |
- | + | ||
- | Delay layer can be used to delay each step with 1–96 microticks. Regardless of tempo, one step is 96 microticks long, so delaying a step with 96 microticks plays the step at the last possible instance within that step before moving into the next step. | + | |
- | + | ||
- | \\ | + | |
- | + | ||
- | === 3.2.10. Program Change === | + | |
- | + | ||
- | 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. | + | |
- | + | ||
- | 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! | + | |
- | + | ||
- | The Program Change parameter layer sends a new Program Change message only if the value changes. | + | |
- | + | ||
- | \\ | + | |
- | + | ||
- | === 3.2.11. Nth1 and Nth2 === | + | |
- | + | ||
- | 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. | + | |
- | + | ||
- | The possible actions are: | + | |
- | 1. Pl: Play each nth bar\\ | + | |
- | 2. Mu: Mute each nth bar\\ | + | |
- | 3. Ac: Accent each nth bar\\ | + | |
- | 4. Ro: Roll each nth bar\\ | + | |
- | 5. Fx: enable Fx each nth bar\\ | + | |
- | 6. Nx: disnable Fx each nth bar | + | |
- | + | ||
- | The first selectable " | + | |
- | + | ||
- | Below is an example sequence and how it will actually sound. The operation for both steps is " | + | |
- | + | ||
- | < | + | |
- | step1 step2 step3 step4 | + | |
- | note param. layer C-3 | + | |
- | Nth1 param. layer --- | + | |
- | </ | + | |
- | + | ||
- | This is the actual outcome of the settings above: | + | |
- | + | ||
- | < | + | |
- | step1 step2 step3 step4 | + | |
- | note param. layer C-3 | + | |
- | note param. layer C-3 | + | |
- | note param. layer C-3 | + | |
- | note param. layer C-3 | + | |
- | note param. layer C-3 | + | |
- | </ | + | |
- | + | ||
- | With the same settings but with Nth2 parameter, muting would start only on the second time the note is played (for step 2), and then every second time (for step 2) in the example above. If the Nth layer was Nth2 instead of Nth1 in the example above, the outcome would be: | + | |
- | + | ||
- | < | + | |
- | | + | |
- | note param. layer C-3 | + | |
- | note param. layer C-3 | + | |
- | note param. layer C-3 | + | |
- | note param. layer C-3 | + | |
- | note param. layer C-3 | + | |
- | </ | + | |
- | + | ||
- | \\ | + | |
- | + | ||
- | ==== 3.3. Drum tracks ==== | + | |
- | + | ||
- | Drum tracks are suitable for playing up to 16 drum sounds simultaneously, | + | |
- | + | ||
- | Trigger layer length is always the same as track length. However, parameter layer length can be shorter than track length. If, for example, track length is 256 steps, but parameter layer length is 64 steps, the parameter layer will get repeated four times (4 x 64 = 256) while the track plays its 256 steps. | + | |
- | + | ||
- | The drum track type notation differs somewhat from the other tracks. | + | |
- | + | ||
- | ^ StepsP/T ^ Drums ^ ^ | + | |
- | | (64/ | + | |
- | | (2*32/ | + | |
- | |(128/ | + | |
- | |(2*64/ | + | |
- | |(64/ | + | |
- | |(128/ | + | |
- | |(256/ | + | |
- | + | ||
- | + | ||
- | === 3.3.1. Drum track instrument layers === | + | |
- | + | ||
- | Unlike other track types which can control only one instrument, a drum track can control up to 16 instruments, | + | |
- | + | ||
- | In order to set up a working drum track, you have to make sure that the note values for each of the instruments match what your drum machine expects for each instrument. This is done on the EVENT page (right LCD). Choose the drum instrument with GPK11 and the matching note with GPK12. For example, by default MBSEQv4 assumes that a bass drum sound is equal to the note C-1, but this may be different from what your drum machine thinks a base drum note is. You have to know the settings of your drum machine to set up the equivalent values on the sequencer (or vice versa). | + | |
- | + | ||
- | You can also rename the drum instruments, | + | |
- | + | ||
- | Once you have set up the drum notes and names to your liking, you probably want to save the whole thing as a preset; go back to Track Event page (GPB8) and press GPB15 (' | + | |
- | + | ||
- | \\ | + | |
- | + | ||
- | === 3.3.2. Drum track trigger layers === | + | |
- | + | ||
- | A drum track will always have at least one trigger layer, and that is gate. If the gate trigger layer is selected (left LCD top row says " | + | |
- | + | ||
- | If there is more than one trigger layer, the second one is Accent by default. The second trigger layer can be selected by pressing trigger layer selection button B (left LCD top row says e.g. " | + | |
- | + | ||
- | For the accent layer, a " | + | |
- | + | ||
- | You can change the second trigger layer by pressing MENU + TRIGGER and assigning trigger layer B to one of the options on the page with the knobs. You can change layer A too, but you really need the gate layer, so in practice changing it isn't so useful. Note that you can assign many functions in a single trigger layer. For example, by assigning both Accent and Roll into trigger layer B, each step where trigger layer B is set ' | + | |
- | + | ||
- | \\ | + | |
- | + | ||
- | === 3.3.3. Drum track parameter layers === | + | |
- | + | ||
- | Drum track parameter layers can be set to the desired function on the EVENT page with GPK9 and GPK10 (not all functions are useful). By default a single parameter layer is Roll, and if you have two parameter layers, they are Velocity and Roll. Parameter layer functions can be changed on the EVENT page with GPK9 and, if you have two parameter layers, GPK10. | + | |
- | + | ||
- | The parameter values can be adjusted for each step in each drum instrument layer by turning a GP knob (you have to be on the EDIT page). Turning the knob will summon the selected parameter layer, which will be visible as long as the value is changed; after a few seconds of inactivity the display will return to the gate on/off view. | + | |
- | ----- | + | |
- | + | ||
- | ===== 4. Entering notes ===== | + | |
- | + | ||
- | There' | + | |
- | + | ||
- | The most simple option is to press a GP button to trigger Gate ' | + | |
- | + | ||
- | For a drum track' | + | |
- | + | ||
- | However, this is not really " | + | |
- | + | ||
- | \\ | + | |
- | + | ||
- | ==== 4.1. The Jam page ==== | + | |
- | + | ||
- | You can enter the Jam page by pressing UTILITY + GPB10 (' | + | |
- | + | ||
- | The Jam page consists of two stand-alone settings (Rec and Fwd) and five groups of settings: Step, Live, Pattern, MIDI, and Miscellaneous. The groups can be selected with GP buttons, the editable settings of the selected group appearing on the right LCD. | + | |
- | + | ||
- | However, before getting down to recording notes, something must be said of the MIDI Configuration page. | + | |
- | + | ||
- | \\ | + | |
- | + | ||
- | === 4.1.1. MIDI Configuration === | + | |
- | + | ||
- | The MIDI Configuration page is available from the main menu, or with MENU + MIDI 🡪 GPB1–2 (' | + | |
- | + | ||
- | On the MIDI configuration page, GPK9 allows you to select one of the four buses for editing. A bus is a virtual port (as opposed to a physical port such as OUT1 or OUT2), which allows you to route data inside the sequencer, instead of routing it directly to a physical output port. | + | |
- | + | ||
- | The MIDI configuration page allows you set limitations to which MIDI messages get passed on to the bus. | + | |
- | + | ||
- | 1) Mode sets which of the two functions, Jam or T&A (Transpose & Arpeggiator), | + | |
- | 2) Port can be set to allow messages from all input ports (' | + | |
- | 3) Chn. can be set to allow messages from all MIDI channels (' | + | |
- | 4) Lower/Upper can be set to allow messages across the whole keyboard ('- - - G-8'), or from a narrower range. ' | + | |
- | + | ||
- | If the incoming MIDI data passes through the port, channel and keyboard range limitations, | + | |
- | + | ||
- | The alternative bus function to ' | + | |
- | + | ||
- | //Recording and live note forwarding is possible only through the Jam bus//. Anything coming through on a T&A bus cannot be used for recording. This is why one bus has to be set to ' | + | |
- | + | ||
- | Note that the Force To Scale function (see section 6.2.) uses the T&A bus to control the root note of the chosen scale, if the root note it set to be controller by the keyboard. | + | |
- | + | ||
- | >>>// | + | |
- | >>>// | + | |
- | >>>// | + | |
- | + | ||
- | The final option on the MIDI Configuration page is 'Reset Stacks' | + | |
- | + | ||
- | \\ | + | |
- | + | ||
- | === 4.1.2. Rec and Fwd === | + | |
- | + | ||
- | Rec (GPB2) sets recording mode ' | + | |
- | + | ||
- | When Rec is ' | + | |
- | + | ||
- | Rec stays ' | + | |
- | + | ||
- | Recording works regardless of whether the sequencer is running or stopped. Most of the time recording makes practical sense only in Phrase mode, where patterns are not switching, because switching to another pattern erases all unsaved changes. (For Phrase and Song mode, see section 5.2.) | + | |
- | + | ||
- | Fwd (GPB3) sets note forwarding ' | + | |
- | + | ||
- | Whether or not to keep Fwd ' | + | |
- | + | ||
- | \\ | + | |
- | + | ||
- | === 4.1.3. Step recording === | + | |
- | + | ||
- | On the Jam page, press GPB4 to choose Step recording settings for editing. They appear in the right LCD. | + | |
- | + | ||
- | Mode can be set to either ' | + | |
- | + | ||
- | In mono mode you will have access to Inc (increment) setting, which allows you to effect an automatic step increment after recording a note in a step. For example, Inc setting ' | + | |
- | + | ||
- | AStart controls whether or not to start the sequencer automatically when you press a key on your MIDI controller to record the first note. If the sequencer is already running, AStart setting makes no difference. Note that if the sequencer is not running and AStart is ' | + | |
- | + | ||
- | The Step setting indicates the cursor position on the EDIT page. The position can be changed on the EDIT page with the datawheel, and the cursor position is copied to the Jam page, but with Step (GPK11) you can change the cursor position while on the Jam page as well. Turning the knob takes you briefly to the EDIT page, and after a few seconds of inactivity you will be returned to the Jam page. | + | |
- | + | ||
- | You can step record CC messages the same way you can record notes. There are two alternative conditions: either the incoming CC message number has to have a dedicated CC parameter layer already, or there is a CC layer that is currently ' | + | |
- | + | ||
- | \\ | + | |
- | + | ||
- | === 4.1.4. Live recording === | + | |
- | + | ||
- | On the Jam page, press GPB5 to choose Live recording settings for editing. They appear in the right LCD. | + | |
- | + | ||
- | Mode can be set to either ' | + | |
- | + | ||
- | AStart controls whether or not to start the sequencer automatically when you press a key on your MIDI controller to record the first note. If the sequencer is already running, AStart setting makes no difference. Note that if the sequencer is not running and AStart is ' | + | |
- | + | ||
- | Note also that with Live recording, if you have AStart ' | + | |
- | + | ||
- | Quantize can be set from 0% to 99%, and it controls the tolerance with which " | + | |
- | + | ||
- | Note that when note forwarding (Fwd) on the Jam page is ' | + | |
- | + | ||
- | You can record CC messages live the same way you can record notes. There are two alternative conditions: either the incoming CC message number has to have a dedicated CC parameter layer already, or there is a CC layer that is currently ' | + | |
- | + | ||
- | >>>// | + | |
- | + | ||
- | \\ | + | |
- | + | ||
- | === 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 and/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 ' | + | |
- | + | ||
- | The sequencer has to be running and the Jam page function Fwd has to be set to ' | + | |
- | + | ||
- | \\ | + | |
- | + | ||
- | == 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. ' | + | |
- | + | ||
- | If ' | + | |
- | + | ||
- | 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 ' | + | |
- | + | ||
- | Live patterns will be played "on top of" the " | + | |
- | + | ||
- | There are 16 live patterns per session, and each pattern is always 16 steps long. | + | |
- | + | ||
- | >>>// | + | |
- | + | ||
- | The live patterns can be edited live while you're on the Live Patterns page. Press & hold SELECT to enter the edit mode (" | + | |
- | + | ||
- | While on the Live Patterns page, you can copy the current live pattern either with GPB15 (' | + | |
- | + | ||
- | 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 with a Drum type track. Compared among themselves, Note, Chord and CC type tracks work almost identically, | + | |
- | + | ||
- | 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 ' | + | |
- | + | ||
- | \\ | + | |
- | + | ||
- | === 4.1.6. Miscellaneous settings === | + | |
- | + | ||
- | The settings on the Misc. page work only with the Jam page Fwd setting ' | + | |
- | + | ||
- | Oct. effects an octave transpose to the forwarded notes, but leaves the track notes untouched (the track transpose is controlled from the TRANSPOSE page); FX enables/ | + | |
- | + | ||
- | \\ | + | |
- | + | ||
- | === 4.1.7. Edit recording mode === | + | |
- | + | ||
- | Besides Live and Step recording, there is one more way to enter notes while on the EDIT page: the Edit Recording mode. Edit Recording mode can be used in two ways. While on the EDIT page, you can press & hold a GP button, and the >- - -< angle brackets will turn into {- - -} curly brackets, the display will flash 'EDIT RECORDING', | + | |
- | + | ||
- | Note that Edit Recording mode takes its settings (notably Mode and AStart) from the Jam page, so e.g. unless you have Poly mode enabled there, you won't be able to record multiple notes simultaneously; | + | |
- | + | ||
- | Alternatively you can press SELECT while on the EDIT page to //toggle// Edit Recording mode ' | + | |
- | + | ||
- | \\ | + | |
- | + | ||
- | ==== 4.2. Working on the EDIT page ==== | + | |
- | + | ||
- | 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 " | + | |
- | + | ||
- | Pressing & holding EDIT brings up a menu where you can select alternative views. | + | |
- | + | ||
- | 1. Step View (the default) shows 16 steps at a time, but only one parameter layer (in the LCDs) and one trigger layer (in the states of the LEDs below the LCDs).\\ | + | |
- | 2. Trigger View shows only one step at a time, but seven trigger layers and up to 8 parameter layers for the selected step.\\ | + | |
- | 3. Layer View shows only one step at a time: the gate trigger layer and up to 14 parameter layers for the selected step.\\ | + | |
- | 4. 303 View shows a variety of settings, mimicing Roland TB-303' | + | |
- | + | ||
- | \\ | + | |
- | + | ||
- | === 4.2.1. Copy, paste, duplicate, quick-export/ | + | |
- | + | ||
- | Besides just entering/ | + | |
- | + | ||
- | 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. | + | |
- | + | ||
- | 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. | + | |
- | + | ||
- | Clearing individual parameter layers works the same way: SELECT + CLEAR will clear only the active parameter layer. | + | |
- | + | ||
- | It is also possible to perform these operations on a Drum type track' | + | |
- | + | ||
- | Multiple tracks cannot be copied at once. If several tracks are selected, only the one visible in the LCDs (the active track) is copied. | + | |
- | + | ||
- | However, if you //press & hold// COPY, you can copy a selected //section// of the active track. GP knobs select the start and end position of the section (indicated by > < angle brackets). A knob at the starting position (or to the left of it) selects the start of the section (">" | + | |
- | + | ||
- | Pressing PASTE once pastes the copied track from the buffer into the beginning of the track, overwriting whatever was there. If the copied track was 16/128 steps long and you paste it into a track that is 32/128 steps long, only the first 16 steps will be overwritten. | + | |
- | + | ||
- | 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' | + | |
- | + | ||
- | 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' | + | |
- | + | ||
- | 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.) | + | |
- | + | ||
- | One or several tracks can also be quick-exported and imported. Multiple tracks within a single group can be selected with the track selection buttons, or any combination of tracks on the Track Selection page (available only as an F1–F4 button or as a saved bookmarks; see Appendices 1 and 2), and then exported with MENU + COPY. This will copy all data in the track(s), including settings, into the PRESETS folder, i.e. they' | + | |
- | + | ||
- | One, some or all of the copied tracks can be pasted with MENU + PASTE, which will paste only so many tracks as have been selected with the track selection buttons. The pasting follows the same relative pattern as the copying, so that COPY1 will be pasted to the first selected track, regardless of its " | + | |
- | + | ||
- | Note that if you first copy four tracks this way, and later copy two tracks, the first two of the older tracks (COPY1 and COPY2) will be overwritten, | + | |
- | + | ||
- | Tracks exported with MENU + COPY can also be imported one by one from the EVENT page's PRESETS menu (GPB14-15). Currently there is no way to delete files in the presets folder in the sequencer; you have to do delete them manually from the SD card on your computer. | + | |
- | + | ||
- | \\ | + | |
- | + | ||
- | === 4.2.2. Clear, move, scroll, undo === | + | |
- | + | ||
- | Clear has a dedicated button on the frontpanel, while move, scroll and undo can be found by pressing UTILITY. | + | |
- | + | ||
- | CLEAR clears all layers of all steps in the selected track, even if they' | + | |
- | + | ||
- | ' | + | |
- | + | ||
- | Move allows you to move // | + | |
- | + | ||
- | Scroll allows you to move //sections of steps// with the knobs. When you press & hold ' | + | |
- | + | ||
- | Undo cancels the latest paste, clear, move and scroll operation. Note that if your MBSEQv4 is using an LPC1769 core, the undo function is disabled since firmware 4.089 because of memory issues! In other words, the undo function works only with STM32F4 based MBSEQv4. | + | |
- | + | ||
- | \\ | + | |
- | + | ||
- | === 4.2.3. Using FAST and ALL buttons === | + | |
- | + | ||
- | The FAST and ALL buttons are located on the left side of the frontpanel, bottom row. They both have indicator LEDs to show whether the function is ' | + | |
- | + | ||
- | Using the FAST button allows you to change a value with the knobs faster. The normal setting is useful for narrow value ranges and/or detailed changes, while FAST is useful for fast changes on a wide value range. Note that in some contexts, e.g. when editing velocity values, the FAST function is activated automatically. However, you can always switch it ' | + | |
- | + | ||
- | FAST and ALL buttons can be set to ' | + | |
- | + | ||
- | Using the ALL button allows you to edit multiple values with just one knob in three ways. First, with the ALL function ' | + | |
- | + | ||
- | Second, if you move any knob //other than the one in the current cursor position//, the sequencer will generate a descending or ascending //ramp// between the present cursor position and the knob you turn. This way you can generate e.g. velocity ramps easily. | + | |
- | + | ||
- | Third, when the ALL function is ' | + | |
- | + | ||
- | By default the ALL function affects all steps, but this can be changed with the GP buttons when the ALL mode is on. When the ALL mode is on, the step LEDs start blinking to indicate a special function in the ALL mode. A blinking LED below a step means that the step will be affected by the ALL function; by pressing a GP button under a step you can turn the ALL mode ' | + | |
- | + | ||
- | >>>// | + | |
- | ----- | + | |
- | + | ||
- | ===== 5. Working with patterns and songs ===== | + | |
- | + | ||
- | ==== 5.1. Saving a pattern ==== | + | |
- | + | ||
- | 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. | + | |
- | + | ||
- | 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' | + | |
- | + | ||
- | 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' | + | |
- | + | ||
- | 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). | + | |
- | + | ||
- | In the right LCD you can see which locations are free and which ones already have saved content in them. If the location is free, the entry for the location is "- - - - - < | + | |
- | + | ||
- | 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' | + | |
- | + | ||
- | 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 ' | + | |
- | + | ||
- | \\ | + | |
- | + | ||
- | ==== 5.2. Phrase Mode and Song Mode ==== | + | |
- | + | ||
- | In phrase mode you can build up to four active patterns (one in each group) and keep editing and testing them, alternating between manually starting and stopping the sequencer until you're happy with the result. In phrase mode the sequencer will keep playing the four active patterns over and over, and any pattern switch must be done manually on the PATTERN page. This also means that unless you actively, on your own initiative, switch to another pattern, starting the sequencer in phrase mode will //not// erase the changes you've made since the last save. | + | |
- | + | ||
- | The phrase mode is suitable for a complete performance as well. If you have your patterns ready and saved, you can start the sequencer in phrase mode with four initial patterns, and then change the patterns live on the PATTERN page or the SONG page (even if you're not in song mode). Pattern changes like this can be instantaneous or timed, so that pattern change will be considered only at those times when the set number of steps has been played (e.g. every 8th step, or every 16th step). This is controlled with the Option page (UTILITY 🡪 Opt.) settings #2 and #3 (' | + | |
- | + | ||
- | >>>// | + | |
- | >>>// | + | |
- | + | ||
- | 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 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. | + | |
- | + | ||
- | You can check whether you're in Song or Phrase mode by pressing SONG. On the right LCD (top row) you can see either " | + | |
- | + | ||
- | 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. | + | |
- | + | ||
- | \\ | + | |
- | + | ||
- | === 5.2.1. PATTERN page === | + | |
- | + | ||
- | Patterns can be selected on the PATTERN page, e.g. for editing and playing in phrase mode. On the page you can see the four groups, each of which has one active pattern in it, and a small velocity bar for each track. The pattern categories and labels will also be displayed on this page, whether you've explicitly named them or not (in which case you'll see " | + | |
- | + | ||
- | 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. | + | |
- | + | ||
- | 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. | + | |
- | + | ||
- | \\ | + | |
- | + | ||
- | === 5.2.2. Chaining patterns into a song === | + | |
- | + | ||
- | Patterns can be chained into songs on the SONG page. One session can have a maximum of 256 patterns (64 patterns per bank), which can be combined into a maximum of 64 songs. Four patterns are playing in parallel. If you don't want to play anything in one or more groups, have them play an empty pattern (like H8 or other " | + | |
- | + | ||
- | Patterns are organised into a song by means of song positions. There is a maximum of 128 song positions (A1-P8) per song. They can be selected with either just GPK2, or, if your song is very long and/or has many song operations, you can quick-select the letter A-P with the GP buttons and only the number with GPK2. | + | |
- | + | ||
- | Each song position is either a command to play a pattern or perform an operation. A very simple song could be: | + | |
- | + | ||
- | < | + | |
- | Pos Actn G1 G2 G3 G4 | + | |
- | A1 Mutes o*** oooo oooo oooo | + | |
- | A2 x2 1: | + | |
- | A3 Mutes ooo* oooo oooo oooo | + | |
- | A4 x1 1: | + | |
- | A5 x1 1: | + | |
- | A6 Jump 🡪 Pos. A1 | + | |
- | </ | + | |
- | + | ||
- | This song starts by muting G1's tracks 2–4. (" | + | |
- | + | ||
- | After the patterns in position A2 have played for the second time, the song will proceed to the next song position, A3, where there is an operation: some more tracks from G1 are unmuted. In the next position, A4, it's back to playing patterns again: the pattern in G1 is switched to 1:A2. Group 4 now has -:--, but because the previous song position was "play all tracks in this group" and there is a previous song position where 4:A1 was played, 4:A1 will get played here too. Action for position A4 is set to ' | + | |
- | + | ||
- | 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 " | + | |
- | + | ||
- | Besides commands to play a pattern 1–16 times, the possible song operations are: | + | |
- | + | ||
- | – 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 ' | + | |
- | – x1–x16. plays the current song position 1–16 times before proceeding to the next song position.\\ | + | |
- | – Jump Pos. Jump to the specified song position.\\ | + | |
- | – Jump Song. Jump to the beginning of the specified song.\\ | + | |
- | – Mixer. Dump the specified mixer map. (For details on mixer maps, see section 6.5.)\\ | + | |
- | – Tempo. Change to the specified tempo (BPM), and make it gradually during the given time (Ramp). Ramp of zero seconds means immediate change to the new tempo.\\ | + | |
- | – Mutes. Mute/unmute the specified tracks (scroll for all the possible combinations). " | + | |
- | – G.T. Set a track as Guide Track (for details of Guide Track, see section 5.5.).\\ | + | |
- | – UnMte. Unmute all tracks and layers.\\ | + | |
- | + | ||
- | On the SONG page you can see just the numerical names of the patterns, and when your song has several patterns, it can be difficult to remember which pattern is which; was 1:A5 my second verse variation pattern, or was it 1:A8? Here it's helpful to use the PATTERN page to build the song positions. On the PATTERN page you can select the four patterns that you need and see their names while you do the selection. (Naturally this requires that you've given your patterns a category and a label when you've saved them individually earlier.) After selecting the desired pattern for each group, you can press & hold SONG to select 'Take Over Patterns' | + | |
- | + | ||
- | Note once again that changing patterns on the PATTERN page will erase any unsaved changes! | + | |
- | + | ||
- | Pressing & holding the SONG button on the SONG page shows a utility menu in the left LCD with commands to edit song positions: you can copy, paste, clear, and delete a position, or insert a new one //before// the current position. | + | |
- | + | ||
- | If you're in Song mode, pressing & holding the SONG button shows an extra entry on the right display: Guide Track. (See section 5.5.) | + | |
- | + | ||
- | \\ | + | |
- | + | ||
- | ==== 5.3. Copying Patterns ==== | + | |
- | + | ||
- | When working with multiple patterns and possibly complex song structures, it's often useful to be able to copy a pattern into another pattern slot for tweaking, either slightly or by changing one or two tracks in the pattern completely. You can do it the way that was already described in section 4.2.1., but there' | + | |
- | + | ||
- | 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 ' | + | |
- | + | ||
- | 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/ | + | |
- | + | ||
- | If you have an idea for a song which has a recurring pattern structure and settings, you can copy the first "seed pattern" | + | |
- | + | ||
- | \\ | + | |
- | + | ||
- | ==== 5.4. Measure ==== | + | |
- | + | ||
- | In sheet music, a measure (or bar) is a delimited sequence with a defined length in beats. A common measure is 4/4, which means its length is four quarter notes (which, timewise, is as long as eight 8th notes, or sixteen 16th notes). On MBSEQv4 the length of measure is set in the Options menu (UTILITY 🡪 Opt., Option #1, 'Steps per Measure' | + | |
- | + | ||
- | Measure is relative to the tempo (BPM), and they are always in sync, no matter what the divider settings etc. of individual tracks are. The bind between measure length and tempo is reflected in the pulse of the LED above the datawheel. With measure set to 16, the LED flashes every quarter note, but if you set measure to 17, the LED will flash every quarter note //and// every time the measure starts a new countdown from 1. | + | |
- | + | ||
- | The measure setting affects three things: | + | |
- | + | ||
- | 1. How the metronome sounds. (The Metronome settings page can be found in the main page menu.) The metronome settings allow you to set a distinctive sound for the first beat of each measure as opposed to the the other beats;\\ | + | |
- | 2. The song position displayed on the SONG page (left LCD, top row). However, this is overridden by the Guide Track function in song mode (see sections 5.4.2. and 5.5.); and, most importantly, | + | |
- | 3. The Sync to Measure function, which can be set ' | + | |
- | + | ||
- | Whether or not any track is sync'd to measure, every time you start the sequencer, it will start keeping track of the measure count. If the length of measure is set to 16 steps (UTILITY 🡪 Opt., Option #1), the sequencer will start counting from 1 to 16, and after reaching the end of the 16th step, it will be //reset//, i.e. started from 1 again. It's like you yourself might be counting quarter notes: one two three four, one two three four, etc. in a steady rhythm, with the difference that measure is counting 16th notes. This recurring count continues until the sequencer is stopped. | + | |
- | + | ||
- | Sync' | + | |
- | + | ||
- | \\ | + | |
- | + | ||
- | === 5.4.1. Sync to Measure in phrase mode === | + | |
- | + | ||
- | By default the tracks are not sync'd to measure, so the setting has to be enabled separately for each track on the DIVIDER page (GPK5–7 for ' | + | |
- | + | ||
- | Fiddling with the divider/ | + | |
- | + | ||
- | >>>// | + | |
- | + | ||
- | Naturally sync' | + | |
- | + | ||
- | It's also possible to sync tracks to measure manually on the MENU + MANUAL page. Pressing SELECT on this page will sync the selected tracks to measure. Tracks can be selected either with the group and track selection buttons (top left of the frontpanel) or on the Track Selection page (for details, see section 5.6.). | + | |
- | + | ||
- | \\ | + | |
- | + | ||
- | === 5.4.2 Sync to Measure in song mode === | + | |
- | + | ||
- | The 'Sync to Measure' | + | |
- | + | ||
- | It is possible to disable the Guide Track function by setting it to " | + | |
- | + | ||
- | \\ | + | |
- | + | ||
- | ==== 5.5. Guide Track ==== | + | |
- | + | ||
- | 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. | + | |
- | + | ||
- | 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). | + | |
- | + | ||
- | 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. | + | |
- | + | ||
- | 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. | + | |
- | + | ||
- | The Guide Track function overrides any sync to measure settings (made on the DIVIDER page for each track), and will also override the SONG page song position counter (right LCD, top row). Instead of following Measure (UTILITY 🡪 Opt., Option #1), the counter will follow the length of the track selected as guide track. | + | |
- | + | ||
- | If the Guide Track function is disabled (i.e. set to " | + | |
- | + | ||
- | \\ | + | |
- | + | ||
- | ==== 5.6. Track selection, Solo and Mute ==== | + | |
- | + | ||
- | Track selection is possible by two means. First, you can select several tracks //within the same group// by pressing the track selection buttons (on the upper left of the frontpanel). If you press & hold one track selection button, you can select and unselect other tracks within the selected group as long as you keep pressing & holding one button (it doesn' | + | |
- | + | ||
- | If you need to select tracks in several groups, you have to use the Track Selection page. The page is available only as a customised F1–F4 button (see Appendix 1) or as a saved bookmark (see Appendix 2). On the track selection page you can press & hold a GP button, and while you keep pressing it, you can select or unselect any combination of tracks. The selected tracks are indicated with > < angle brackets. | + | |
- | + | ||
- | The solo mode is activated by pressing the SOLO button. When solo mode is active, only the selected track(s) will be played, and all the others muted. It is possible to select one or more tracks either with the track selection buttons, or by using the track selection page. | + | |
- | + | ||
- | The mute page can be accessed by pressing the MUTE button. While on the page, you can press the GP buttons to toggle mutes for each track in any combination you like. The mutes and umutes set on this page can also be sync'd to measure in UTILITY 🡪 Opt. 🡪 Option #6 (sync mutes) and #7 (sync unmutes). If sync mutes/ | + | |
- | + | ||
- | Mutes from sources //other than the MUTE page// (from bookmarks, with CCs etc.) are not affected by options #6 and #7, but happen instantaneously. Sync' | + | |
- | + | ||
- | It is possible to mute individual parameter layers for Note, Chord or CC type tracks by pressing & holding the MUTE button and selecting layers with the GP buttons. With Drum tracks, you can mute individual drum instrument layers similarly. | + | |
- | + | ||
- | While on the MUTE page, the ALL and FAST buttons have special functions. First, if you have sync'd mutes/ | + | |
- | + | ||
- | 1. Mute all tracks;\\ | + | |
- | 2. Mute the active track' | + | |
- | 3. Mute all tracks and all layers;\\ | + | |
- | 4. Unmute all tracks;\\ | + | |
- | 5. Unmute the active track' | + | |
- | 6. Unmute all tracks and all layers. | + | |
- | + | ||
- | Note that unmuting //a track// and unmuting a // | + | |
- | + | ||
- | If a complete track is muted, the track' | + | |
- | + | ||
- | A quick muting and unmuting of all tracks (instantly) is also available on the UTILITY page (GPB15 and GPB16). | + | |
- | + | ||
- | Finally, the bookmark page (see Appendix 2) can be used to effect customised mutes/ | + | |
- | ----- | + | |
- | + | ||
- | ===== 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' | + | |
- | + | ||
- | Transpose is relative. 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' | + | |
- | + | ||
- | Second, it is possible to use the //chord data// of the sending track to control the // | + | |
- | + | ||
- | 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, | + | |
- | + | ||
- | 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// | + | |
- | + | ||
- | \\ | + | |
- | + | ||
- | === 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), | + | |
- | + | ||
- | If the track mode is Transpose or Arpeggiator, | + | |
- | + | ||
- | If the track mode is Arpeggiator, | + | |
- | + | ||
- | If Sustain is set ' | + | |
- | + | ||
- | If Restart is ' | + | |
- | + | ||
- | 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' | + | |
- | + | ||
- | Except for the sent data, 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: ' | + | |
- | + | ||
- | If, on the sending track' | + | |
- | + | ||
- | Note that the moment you switch the port setting to a bus on a track' | + | |
- | + | ||
- | 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 ' | + | |
- | + | ||
- | Transpose and Arpeggiator modes work differently, | + | |
- | + | ||
- | \\ | + | |
- | + | ||
- | === 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. 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' | + | |
- | + | ||
- | The receiving transpose track must be set to listen to the sending track' | + | |
- | + | ||
- | If there' | + | |
- | + | ||
- | 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. Regardless of 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 receiving arpeggiator track must be set to listen to the sending track' | + | |
- | + | ||
- | 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' | + | |
- | + | ||
- | 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' | + | |
- | + | ||
- | 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' | + | |
- | + | ||
- | 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 to ' | + | |
- | + | ||
- | For an arpeggiator track, you can use the Sort option on the MODE page to sort the notes you play into an ascending order. The Sort option has no effect except in Arpeggiator mode. | + | |
- | + | ||
- | \\ | + | |
- | + | ||
- | === 6.1.6. Sending internal CCs over a bus to control track settings === | + | |
- | + | ||
- | It is possible to send internal CC data over a bus to change a track' | + | |
- | + | ||
- | The final setting you need to make is the //sending track' | + | |
- | + | ||
- | It is important to note that sending internal CCs over a bus to control another track // | + | |
- | + | ||
- | The full list of MBSEQv4 CC implementation is available in Appendix 4. | + | |
- | + | ||
- | \\ | + | |
- | + | ||
- | ==== 6.2. Force To Scale ==== | + | |
- | + | ||
- | By default the sequencer is playing on a 12-notes-per-octave chromatic scale. If you want that all the notes in a track are in a certain key and mode, 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' | + | |
- | + | ||
- | There is a Force To Scale related setting also on the Jam page's Misc. menu, which takes the scale setting from the FX 🡪 Scale page. On the Misc. page, FTS (force to scale) can be turned ' | + | |
- | + | ||
- | The scale that each track can individually be forced to is set on the FX page (MENU + FX 🡪 GPB10 for ' | + | |
- | + | ||
- | The Root setting sets the root note of the scale. The Root setting is a note (C–B), and the right LCD will display the allowed notes, in the chosen scale. If you set the root to ' | + | |
- | + | ||
- | If a track is Forced To Scale, the EDIT page displays the notes that the track is // | + | |
- | + | ||
- | If Root is set to ' | + | |
- | + | ||
- | \\ | + | |
- | + | ||
- | ==== 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, TrgB 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 to each layer. If you have more than four parameter layers available (depends on track initialisation), | + | |
- | + | ||
- | Parameter layers are randomised by setting the intensity of the randomisation. Randomisation starts from parameter 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 " | + | |
- | + | ||
- | For trigger layers, the randomiser value denotes the likelihood of the trigger getting turned ' | + | |
- | + | ||
- | Randomising drum instrument layers works the same way as randomising trigger layers. | + | |
- | + | ||
- | You can randomise any number of a track' | + | |
- | + | ||
- | Note, Velocity and CC parameter layers, and Gate, Accent and Roll trigger layers are obvious targets for randomisation, | + | |
- | + | ||
- | 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. | + | |
- | + | ||
- | \\ | + | |
- | + | ||
- | ==== 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, | + | |
- | + | ||
- | 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 or in the main menu. | + | |
- | + | ||
- | \\ | + | |
- | + | ||
- | === 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' | + | |
- | + | ||
- | Along with the loop length setting, there' | + | |
- | + | ||
- | 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 from the beginning of the loop still, 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 ' | + | |
- | + | ||
- | The main difference to Drum type tracks is that you can change the Note type track' | + | |
- | + | ||
- | 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. | + | |
- | + | ||
- | 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 ' | + | |
- | + | ||
- | 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' | + | |
- | + | ||
- | 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 (" | + | |
- | 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) | + | |
- | + | ||
- | The freely assignable CCs for pages 9–12 are the standard MIDI CCs. | + | |
- | + | ||
- | While on the MIXER place, pressing & holding SELECT brings up a utility menu. GPB2 and GPB4 (' | + | |
- | + | ||
- | 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 ' | + | |
- | + | ||
- | The fourth way to send mixer map values is on the SONG page, as a song position action (' | + | |
- | ----- | + | |
- | + | ||
- | ===== Appendix 1. Customising some button functions ===== | + | |
- | + | ||
- | ==== Function buttons F1–F4 ==== | + | |
- | + | ||
- | 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: | + | |
- | + | ||
- | F1: Quick access to the Track Selection page\\ | + | |
- | F2: Quick on/ | + | |
- | F3: Quick on/off toggle of recording (Rec)\\ | + | |
- | F4: Save the complete session | + | |
- | + | ||
- | In the HW setup file they appear like this: | + | |
- | + | ||
- | < | + | |
- | # F1 is located at SR M3 Pin 3 | + | |
- | # F2 is located at SR M2 Pin 2 | + | |
- | # F3 is located at SR M2 Pin 3 | + | |
- | # F4 is located at SR M1 Pin 2 | + | |
- | + | ||
- | # SR Pin <-- this line begins with a #, so it's " | + | |
- | BUTTON_TRACK_SEL | + | |
- | BUTTON_LIVE | + | |
- | BUTTON_REC | + | |
- | BUTTON_SAVE_ALL | + | |
- | </ | + | |
- | + | ||
- | If you want to change the default functions, all you need to do is keep the " | + | |
- | + | ||
- | < | + | |
- | # | + | |
- | BUTTON_STOP | + | |
- | BUTTON_PAUSE | + | |
- | BUTTON_PLAY | + | |
- | BUTTON_MUTE_ALL_TRACKS | + | |
- | BUTTON_MUTE_TRACK_LAYERS | + | |
- | BUTTON_MUTE_ALL_TRACKS_AND_LAYERS | + | |
- | BUTTON_UNMUTE_ALL_TRACKS | + | |
- | BUTTON_UNMUTE_TRACK_LAYERS | + | |
- | BUTTON_UNMUTE_ALL_TRACKS_AND_LAYERS | + | |
- | </ | + | |
- | + | ||
- | Lines that have a non-zero entry for the SR and Pin columns are already assigned somewhere (like stop, pause and play above), so there is no need to assign them to another button. However, entries with zeros in the SR and Pin columns (like "mute all tracks" | + | |
- | + | ||
- | It is important to note that if you enable e.g. "mute all tracks" | + | |
- | + | ||
- | < | + | |
- | BUTTON_MUTE_ALL_TRACKS | + | |
- | </ | + | |
- | + | ||
- | becomes | + | |
- | + | ||
- | < | + | |
- | # | + | |
- | </ | + | |
- | + | ||
- | \\ | + | |
- | + | ||
- | ==== Button behaviour | + | |
- | + | ||
- | In the HW setup file it is possible to change the behaviour of a number of buttons, so that they do their function while the button is pressed & held, or the button function is toggled ' | + | |
- | + | ||
- | This is the relevant section of the HW setup file for configuring button behaviour: | + | |
- | + | ||
- | < | + | |
- | ################################################## | + | |
- | # Button behaviour | + | |
- | # 0: active mode as long as button pressed | + | |
- | # 1: pressing button toggles the mode | + | |
- | ################################################## | + | |
- | + | ||
- | BUTTON_BEH_FAST | + | |
- | BUTTON_BEH_FAST2 | + | |
- | BUTTON_BEH_ALL | + | |
- | BUTTON_BEH_SOLO | + | |
- | BUTTON_BEH_METRONOME | + | |
- | BUTTON_BEH_LOOP | + | |
- | BUTTON_BEH_FOLLOW | + | |
- | BUTTON_BEH_SCRUB | + | |
- | BUTTON_BEH_MENU | + | |
- | BUTTON_BEH_BOOKMARK | + | |
- | BUTTON_BEH_STEP_VIEW | + | |
- | BUTTON_BEH_TRG_LAYER | + | |
- | BUTTON_BEH_PAR_LAYER | + | |
- | BUTTON_BEH_TRACK_SEL | + | |
- | BUTTON_BEH_TEMPO_PRESET 0 | + | |
- | </ | + | |
- | + | ||
- | \\ | + | |
- | + | ||
- | ===== Appendix 2. Bookmarks ===== | + | |
- | + | ||
- | The Bookmarks menu is available in the main menu (press EXIT once or a few times, depending on where you are), or by pressing MENU + SELECT. | + | |
- | + | ||
- | Bookmarks allow you to store frequently used pages and settings to be recalled at the push of a button. There are two kinds of bookmarks: global and local (session dependent) bookmarks, eight each. In the Bookmarks menu the global bookmarks are available in the left LCD, and the local ones in the right LCD. Global bookmarks are available in all sessions, while local bookmarks are particular to each session. | + | |
- | + | ||
- | However, it is possible to copy local bookmarks across sessions in the Sessions Import/ | + | |
- | + | ||
- | A bookmark can be recalled by going to the Bookmark page and pressing a button to select the bookmark you want. | + | |
- | + | ||
- | A bookmark can be stored by going to the Bookmarks page and pressing & holding a GP button for 3 seconds. The page that was selected before entering the Bookmarks page is stored, along with a number of settings. (See the example below.) | + | |
- | + | ||
- | Bookmark names can be changed only by editing the global or local bookmark files, both called MBSEQ_BM.V4. The maximum length for a name is five characters. If you absolutely must have more than five characters for the name, you could save the same bookmark on two adjacent slots and edit their names in the bookmark file so that the one on the left in the pair has five characters and the one the the right has up to four characters. | + | |
- | + | ||
- | The global bookmarks file is at the root of the SD card, and the local ones are in the same folder as the session which the bookmarks belong to. | + | |
- | + | ||
- | Besides the bookmark name, it is possible to edit also the other bookmark parameters by hand in the bookmark files. The example below also lists the settings which are stored in a bookmark. | + | |
- | + | ||
- | < | + | |
- | #################### | + | |
- | Slot 1 <- slot name, do not edit! Slots 1-8 = global bookmarks, 9-16 local bookmarks | + | |
- | Name Def. < | + | |
- | #################### | + | |
- | +Page EDIT < | + | |
- | +Group 1 <- selected group number, 1–4 | + | |
- | +Tracks 1000000000000000 < | + | |
- | +Mutes 0000000000000000 < | + | |
- | +ParLayer A <- selected parameter layer, A-P | + | |
- | +TrgLayer A <- selected trigger layer, A-G | + | |
- | +Instrument 1 <- selected instrument (useful only for drum tracks) | + | |
- | +StepView 1 <- Step View mode on or off | + | |
- | +Step 1 <- selected step (cursor position) | + | |
- | +EditView 0 <- Edit view mode, 0 = step view, 1 = layer view, 2 = trigger view, 3 = 303 view | + | |
- | +Solo 0 <- solo button mode on or off | + | |
- | +All 0 <- ALL button mode on or off | + | |
- | +Fast 0 <- FAST button mode on or off | + | |
- | +Metronome 0 <- metronome on or off | + | |
- | +LoopMode 0 <- loop mode on of off | + | |
- | +FollowMode 0 <- follow mode on or off | + | |
- | </ | + | |
- | + | ||
- | The plus or minus sign in the beginning of each line can be used to prevent the setting from being overwritten by a bookmark, when you store it on the bookmark page. Plus allows overwriting, | + | |
- | + | ||
- | < | + | |
- | -Tracks 1111000000000000 | + | |
- | </ | + | |
- | + | ||
- | would mean that if you save a bookmark in the same location, the track selection won't be stored, but it will always be what's written in the bookmark file – in this case, this bookmark will always select tracks 1–4, no matter what the track selection status happens to be at the moment you save the bookmark in this slot. | + | |
- | + | ||
- | \\ | + | |
- | + | ||
- | ===== Appendix 3. The MIDI Router ===== | + | |
- | + | ||
- | You can access the MIDI Router page from the main menu, or with MENU + MIDI 🡪 MIDI Router (GPB5–6). The MIDI Router allows you to route incoming MIDI messages from any of the input ports to any of the output ports. //It is independent from the other MIDI settings of the sequencer//, | + | |
- | + | ||
- | The router has a maximum 16 nodes, each of which governs the routing from //one input port to one output port//, with further optional channel limitations. All the nodes are in effect simultaneously. On the input side, GPK9 selects the node to be edited, GPK10 selects the physical input port on which the messages are coming in, and GPK11 selects the MIDI channel that is allowed through. The channel setting (GPK11) can be: | + | |
- | + | ||
- | a) 1 to 16, for allowing messages on single MIDI channel; | + | |
- | b) ' | + | |
- | c) ' | + | |
- | + | ||
- | On the output side, GPK12 selects the output port where the node's input port's MIDI messages are routed to. GPK13 selects the MIDI channel which the outgoing message is sent on. The outgoing channel doesn' | + | |
- | + | ||
- | a) 1 to 16 for a single MIDI channel. All incoming MIDI messages, regardless of their original channel, are sent out on this channel; | + | |
- | b) ' | + | |
- | c) two special options: Track and Selected Track (Sel.Trk). | + | |
- | + | ||
- | If the output port/ | + | |
- | + | ||
- | If the output channel option is ' | + | |
- | + | ||
- | The final option on the MIDI Router page is DefaultPort. The tracks' | + | |
- | + | ||
- | Note that the router settings might overlap with the Jam page note live forwarding option (' | + | |
- | + | ||
- | >>>// | + | |
- | >>>// | + | |
- | + | ||
- | < | + | |
- | IN Chn./P OUT Chn./P | + | |
- | Node 1 IN1 All OUT1 All | + | |
- | </ | + | |
- | + | ||
- | >>>// | + | |
- | + | ||
- | < | + | |
- | IN Chn./P OUT Chn./P | + | |
- | Node 2 IN1 All OUT1 All | + | |
- | Node 3 IN1 All OUT2 All | + | |
- | Node 4 IN1 All OUT3 All | + | |
- | Node 5 IN1 All OUT4 All | + | |
- | </ | + | |
- | + | ||
- | >>>// | + | |
- | + | ||
- | >>>// | + | |
- | + | ||
- | < | + | |
- | IN Chn./P OUT Chn./P | + | |
- | Node 2 IN2 # | + | |
- | </ | + | |
- | + | ||
- | >>>// | + | |
- | + | ||
- | \\ | + | |
- | + | ||
- | ===== Appendix 4. MBSEQv4 CC implementation ===== | + | |
- | + | ||
- | The following is a simplified list of what a track' | + | |
- | + | ||
- | – FX settings | + | |
- | – Pattern Bank change commands | + | |
- | – Track MODE settings | + | |
- | – Track TRANSPOSE settings | + | |
- | – Track DIRECTION settings | + | |
- | – Track DIVIDER settings | + | |
- | – Loop points | + | |
- | – Track LENGTH | + | |
- | – GROOVE styles | + | |
- | – MORPH settings | + | |
- | + | ||
- | If you want to use a track to send internal CCs over a bus to change the sequencer' | + | |
- | + | ||
- | o CC#1 (0x01 - Modulation Wheel) | + | |
- | | + | |
- | + | ||
- | o CC#3 (0x03 - Scale) | + | |
- | | + | |
- | + | ||
- | o CC# | + | |
- | | + | |
- | + | ||
- | o CC# | + | |
- | Bank Pattern of Group #1/2/3/4 | + | |
- | + | ||
- | o CC#98 (0x62 - NRPN LSB) | + | |
- | | + | |
- | See list below | + | |
- | + | ||
- | o CC#99 (0x63 - NRPN MSB) | + | |
- | | + | |
- | | + | |
- | All others reserved for future enhancements | + | |
- | + | ||
- | o CC#6 (0x06 - NRPN Value, LSB) | + | |
- | Sets a Sequencer Parameter depending on the preselected track and parameter number | + | |
- | + | ||
- | o CC#123 (0x7b - All Notes Off) | + | |
- | if 0 is received, all transposer/ | + | |
- | | + | |
- | | + | |
- | + | ||
- | + | ||
- | NRPN LSB| | + | |
- | ========+===========+=========+================================================ | + | |
- | 0x00/ 0| - | + | |
- | ... | + | |
- | 0x0f/ 15| | + | |
- | --------+-----------+---------+------------------------------------------------ | + | |
- | 0x10/ 16| 0 - 22 | 0 | LFO Waveform | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | --------+-----------+---------+------------------------------------------------ | + | |
- | 0x11/ 17| 0 - 127 | 64 | LFO Amplitude | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | --------+-----------+---------+------------------------------------------------ | + | |
- | 0x12/ 18| 0 - 99 | 0 | LFO Phase: | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | --------+-----------+---------+------------------------------------------------ | + | |
- | 0x13/ 19| 0 - 127 | 15 | LFO Interval in Steps: | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | --------+-----------+---------+------------------------------------------------ | + | |
- | 0x14/ 20| 0 - 127 | 15 | LFO Interval Reset: | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | --------+-----------+---------+------------------------------------------------ | + | |
- | 0x15/ 21| 0 - 31 | 0 | LFO Flags: | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | --------+-----------+---------+------------------------------------------------ | + | |
- | 0x16/ 22| 0 - 127 | 0 | LFO Extra CC Number | + | |
- | --------+-----------+---------+------------------------------------------------ | + | |
- | 0x17/ 23| 0 - 127 | 64 | LFO Extra CC Offset (0..127) | + | |
- | --------+-----------+---------+------------------------------------------------ | + | |
- | 0x18/ 24| 0 - 8 | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | --------+-----------+---------+------------------------------------------------ | + | |
- | 0x19/ 25| - | + | |
- | ... | + | |
- | 0x1c/ 28| | + | |
- | --------+-----------+---------+------------------------------------------------ | + | |
- | 0x1d/ 29| 0 -128 | 0 | Pattern Bank Change (Low-Byte) | + | |
- | | | + | |
- | | | + | |
- | --------+-----------+---------+------------------------------------------------ | + | |
- | 0x1e/ 30| 0 -128 | 0 | Pattern Bank Change (High-Byte) | + | |
- | | | + | |
- | | | + | |
- | --------+-----------+---------+------------------------------------------------ | + | |
- | 0x1f/ 31| 0 -128 | 0 | Pattern Program Change | + | |
- | | | + | |
- | | | + | |
- | --------+-----------+---------+------------------------------------------------ | + | |
- | 0x20/ 32| 0 - 3 | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | --------+-----------+---------+------------------------------------------------ | + | |
- | 0x21/ 33| 0 - 15 | 2 | Track Mode Flags | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | --------+-----------+---------+------------------------------------------------ | + | |
- | 0x22/ 34| 0 - 3 | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | --------+-----------+---------+------------------------------------------------ | + | |
- | 0x23/ 35| 0 - 127 | 0 | Limit Fx: Lower Note Number (0=off) | + | |
- | 0x24/ 36| 0 - 127 | 0 | Limit Fx: Upper Note Number (0=off) | + | |
- | --------+-----------+---------+------------------------------------------------ | + | |
- | 0x25/ 37| 0 - 3 | 0 | Transposer/ | + | |
- | --------+-----------+---------+------------------------------------------------ | + | |
- | 0x26/ 38| 0 - 15 | 0 | MIDI Channel of Track | + | |
- | --------+-----------+---------+------------------------------------------------ | + | |
- | 0x27/ 39| 0 - 127 | 0 | MIDI Port of Track | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | --------+-----------+---------+------------------------------------------------ | + | |
- | 0x28/ 40| 0 - 6 | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | --------+-----------+---------+------------------------------------------------ | + | |
- | 0x29/ 41| 0 - 15 | 0 | Steps Replay: (0..15 = x1..x16) | + | |
- | 0x2a/ 42| 0 - 15 | 0 | Steps Forward (0..15 = 1..16 steps) | + | |
- | 0x2b/ 43| 0 - 15 | 0 | Steps Jump Back (0..15 = 1..16 steps) | + | |
- | --------+-----------+---------+------------------------------------------------ | + | |
- | 0x2c/ 44| 0 - 127 | 15 | Clock Divider (in 384ppqn steps) | + | |
- | --------+-----------+---------+------------------------------------------------ | + | |
- | 0x2d/ 45| 0 - 127 | 15 | Track Length (0..127 = 1..127 steps) | + | |
- | | | + | |
- | --------+-----------+---------+------------------------------------------------ | + | |
- | 0x2e/ 46| 0 - 31 | 0 | Loop Point (0..127 = step 1..128) | + | |
- | | | + | |
- | --------+-----------+---------+------------------------------------------------ | + | |
- | 0x2f/ 47| 0 - 3 | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | --------+-----------+---------+------------------------------------------------ | + | |
- | 0x30/ 48| 0 - 15 | 0 | Transpose Semitones | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | --------+-----------+---------+------------------------------------------------ | + | |
- | 0x31/ 49| 0 - 15 | 0 | Octave Transpose | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | --------+-----------+---------+------------------------------------------------ | + | |
- | 0x32/ 50| 0 - 21 | 0 | Groove Style | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | --------+-----------+---------+------------------------------------------------ | + | |
- | 0x33/ 51| 0 - 15 | 0 | Groove Intensity | + | |
- | --------+-----------+---------+------------------------------------------------ | + | |
- | 0x34/ 52| 0 - 1 | + | |
- | | | + | |
- | | | + | |
- | --------+-----------+---------+------------------------------------------------ | + | |
- | 0x35/ 53| 0 - 128 | 0 | Morph Destination Range | + | |
- | | | + | |
- | | | + | |
- | --------+-----------+---------+------------------------------------------------ | + | |
- | 0x36/ 54| 0 - 127 | 0 | Humanize Mode: Random Intensity | + | |
- | --------+-----------+---------+------------------------------------------------ | + | |
- | 0x37/ 55| 0 - 7 | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | --------+-----------+---------+------------------------------------------------ | + | |
- | 0x38/ 56| 0 - 9 | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | 0x39/ 57| 0 - 9 | + | |
- | --------+-----------+---------+------------------------------------------------ | + | |
- | 0x3a/ 58| - | + | |
- | 0x3b/ 59| - | + | |
- | --------+-----------+---------+------------------------------------------------ | + | |
- | 0x3c/ 60| 0 - 15 | 0 | Steps Repeat (0..16) | + | |
- | 0x3d/ 61| 0 - 15 | 0 | Steps Skip (0..16) | + | |
- | 0x3e/ 62| 0 - 63 | 0 | Steps Interval (0..63 = 1..64 steps) | + | |
- | --------+-----------+---------+------------------------------------------------ | + | |
- | 0x3f/ 64| - | + | |
- | --------+-----------+---------+------------------------------------------------ | + | |
- | 0x40/ 65| 0 - 8 | + | |
- | 0x41/ 66| 0 - 8 | + | |
- | 0x42/ 67| 0 - 8 | + | |
- | 0x43/ 68| 0 - 8 | + | |
- | 0x44/ 69| 0 - 8 | + | |
- | 0x45/ 70| 0 - 8 | + | |
- | 0x46/ 71| 0 - 8 | + | |
- | 0x47/ 72| 0 - 8 | + | |
- | --------+-----------+---------+------------------------------------------------ | + | |
- | 0x48/ 73| - | + | |
- | ... | + | |
- | 0x4f/ 79| | + | |
- | --------+-----------+---------+------------------------------------------------ | + | |
- | 0x50/ 80| 0 - 15 | 0 | Echo Repeats (0..15) | + | |
- | | | + | |
- | --------+-----------+---------+------------------------------------------------ | + | |
- | 0x51/ 81| 0 - 15 | 0 | Echo Delay: | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | --------+-----------+---------+------------------------------------------------ | + | |
- | 0x52/ 82| 0 - 40 | 15 | Initial Velocity Level: | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | --------+-----------+---------+------------------------------------------------ | + | |
- | 0x53/ 83| 0 - 40 | 15 | Feedback Velocity Level: | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | --------+-----------+---------+------------------------------------------------ | + | |
- | 0x54/ 84| 0 - 127 | 64 | Feedback Note Value: | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | --------+-----------+---------+------------------------------------------------ | + | |
- | 0x55/ 85| 0 - 40 | 15 | Feedback Gatelength: | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | --------+-----------+---------+------------------------------------------------ | + | |
- | 0x56/ 86| 0 - 40 | 15 | Feedback Ticks (Delay): | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | --------+-----------+---------+------------------------------------------------ | + | |
- | 0x57/ 87| - | + | |
- | --------+-----------+---------+------------------------------------------------ | + | |
- | 0x58/ 88| 0 - 40 | 0 | Fx MIDI Mode | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | --------+-----------+---------+------------------------------------------------ | + | |
- | 0x59/ 89| 0 - 40 | 0 | Fx MIDI Port | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | | | + | |
- | --------+-----------+---------+------------------------------------------------ | + | |
- | 0x5a/ 90| 0 - 15 | 0 | Fx MIDI Channel | + | |
- | --------+-----------+---------+------------------------------------------------ | + | |
- | 0x5b/ 91| 0 - 15 | 0 | Number of Fx MIDI Channels | + | |
- | --------+-----------+---------+------------------------------------------------ | + | |
- | 0x5c/ 92| - | + | |
- | ... | + | |
- | 0x7f/ | + | |
- | --------+-----------+---------+------------------------------------------------ | + |
jjonas.1458660816.txt.gz · Last modified: 2016/03/22 15:33 by jjonas