mididocs:seq:beginners_guide:start
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mididocs:seq:beginners_guide:start [2017/04/09 13:20] – [3.1. Trigger layers] jjonas | mididocs:seq:beginners_guide:start [2024/06/27 04:59] (current) – jjonas | ||
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[[beginners_guide|{{3XSEQV4.png}}]] | [[beginners_guide|{{3XSEQV4.png}}]] | ||
- | 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 | + | 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 |
All knobs are called //general purpose knobs//, or GPK for short (also with numbers) with the exception of the big knob in the middle of the panel, which is called the datawheel. The displays are called the left LCD and right LCD. | All knobs are called //general purpose knobs//, or GPK for short (also with numbers) with the exception of the big knob in the middle of the panel, which is called the datawheel. The displays are called the left LCD and right LCD. | ||
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//A pattern// is a collection of musical and other //data on four tracks//. Each group always has one //active pattern// in it. Because there are four groups, you will always have four simultaneous active patterns. (Whether or not all the active patterns have any practical data in them is another matter.) Groups and patterns overlap in the sense that a pattern in Group 1 will always be made up of tracks 1–4, a pattern in Group 4 will always be made up of tracks 13–16, etc. But the group is just an organisational concept, a receptacle, and the pattern is the content that fills it. The same pattern can be played in any of the groups. | //A pattern// is a collection of musical and other //data on four tracks//. Each group always has one //active pattern// in it. Because there are four groups, you will always have four simultaneous active patterns. (Whether or not all the active patterns have any practical data in them is another matter.) Groups and patterns overlap in the sense that a pattern in Group 1 will always be made up of tracks 1–4, a pattern in Group 4 will always be made up of tracks 13–16, etc. But the group is just an organisational concept, a receptacle, and the pattern is the content that fills it. The same pattern can be played in any of the groups. | ||
- | 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 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 // | + | Patterns can be chained to form //songs//. Songs are several patterns played one after the other in an automated fashion. A maximum of four patterns can play in parallel (one in each group). It is not possible to put // |
A totality of tracks, patterns, songs and settings (and a few other things like groove patterns and mixer maps) is called a // | A totality of tracks, patterns, songs and settings (and a few other things like groove patterns and mixer maps) is called a // | ||
- | >>>// | + | >>>// |
----- | ----- | ||
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Initialising the track erases all data in the track' | Initialising the track erases all data in the track' | ||
- | By default, initialisation switches the gates ' | + | 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. | 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. | ||
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>>>// | >>>// | ||
>>> | >>> | ||
- | >>>// | + | >>>// |
\\ | \\ | ||
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The setting Sustain on the MODE page is good to keep in mind when setting up a track to play chords (whether transposed or not). Sustain holds each note/chord until another one is played, and this spares you the trouble of having to set the length of each individual note/chord. | The setting Sustain on the MODE page is good to keep in mind when setting up a track to play chords (whether transposed or not). Sustain holds each note/chord until another one is played, and this spares you the trouble of having to set the length of each individual note/chord. | ||
- | Given the disadvantages | + | Given the complexities |
\\ | \\ | ||
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>>>// | >>>// | ||
- | Back on the EVENT page, in addition to the Def. (or ' | + | Back on the EVENT page, in addition to the Def. (or ' |
MIDI Channel (Chn.) defines the MIDI channel on which the track' | MIDI Channel (Chn.) defines the MIDI channel on which the track' | ||
- | >>>// | + | >>>// |
\\ | \\ | ||
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[[beginners_guide|{{ trkinst1.gif }}]] | [[beginners_guide|{{ trkinst1.gif }}]] | ||
- | >>>// | + | >>>// |
- | 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 | + | 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 |
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 // | 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 // | ||
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The DIVIDER page offers two ways to change the divider value: either by changing it directly with GPK2 (and GPK3 for normal/ | 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. | + | 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 " | 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 " | ||
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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 // | 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/ | + | It is probably a good idea to limit divider/ |
- | >>>// | + | >>>// |
>>>// | >>>// | ||
>>>// | >>>// | ||
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With parameter layer selection buttons, button A selects the first parameter layer and B selects the second parameter layer. If your track has only four parameter layers, button C alternates between parameter layers C and D. If you have more than four parameter layers, button C brings up a page where you can use a GP button to choose one of the available parameter layers. (Drum tracks have only 1–2 parameter layers, for these see section 3.3.) | With parameter layer selection buttons, button A selects the first parameter layer and B selects the second parameter layer. If your track has only four parameter layers, button C alternates between parameter layers C and D. If you have more than four parameter layers, button C brings up a page where you can use a GP button to choose one of the available parameter layers. (Drum tracks have only 1–2 parameter layers, for these see section 3.3.) | ||
- | Trigger and parameter layers hold most of the data that makes up your music, such as gates, notes, note lengths, CC values etc. In order to understand what recording a note actually does, it is necessary to first say something about these two kinds of layers. | + | Trigger and parameter layers hold most of the data that makes up your music, such as gates, notes, note lengths, CC values etc. In order to understand what recording a note actually does, first it is necessary to say something about these two kinds of layers. |
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 " | 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 " | ||
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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 ' | 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 ' | ||
- | >>>// | + | >>>// |
>>>// | >>>// | ||
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=== 3.1.4. Glide === | === 3.1.4. Glide === | ||
- | If the Glide trigger is ' | + | If the Glide trigger is ' |
- | Note that the operation of this function depends on your synthesizer' | + | Note that the operation of this function depends on your synthesizer' |
>>>// | >>>// | ||
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=== 3.1.5. Skip === | === 3.1.5. Skip === | ||
- | If the Skip trigger is ' | + | If the Skip trigger is ' |
\\ | \\ | ||
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\\ | \\ | ||
- | === 3.2 Parameter layers === | + | ==== 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. | 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. | ||
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The parameter layer to be edited is selected with the parameter layer selection buttons (lower left corner of the front panel). Button A selects the first parameter layer (which is a note layer in a newly initialised Note type track), button B selects the second parameter layer, and button C brings up a menu where you can choose any available parameter layer with the GP buttons. (Or, if you have only four parameter layers, button C alternates between the 3rd and the 4th layer.) | The parameter layer to be edited is selected with the parameter layer selection buttons (lower left corner of the front panel). Button A selects the first parameter layer (which is a note layer in a newly initialised Note type track), button B selects the second parameter layer, and button C brings up a menu where you can choose any available parameter layer with the GP buttons. (Or, if you have only four parameter layers, button C alternates between the 3rd and the 4th layer.) | ||
- | 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 ' | + | 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 ' |
\\ | \\ | ||
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Note layers contain the notes which the sequencer is going to play. If you have several note layers, you can use them to play several notes at once, e.g. for chords. (See section 4.) | Note layers contain the notes which the sequencer is going to play. If you have several note layers, you can use them to play several notes at once, e.g. for chords. (See section 4.) | ||
- | 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 " | + | 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 " |
>>>// | >>>// | ||
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=== 3.2.3. Length === | === 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 " | + | 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 " |
- | >>>// | + | >>>// |
[[beginners_guide|{{glide.gif}}]] | [[beginners_guide|{{glide.gif}}]] | ||
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Roll controls the number of hits per step and their intensity curve, whereas Roll2 controls the number or hits per step and the hits' distance from each other. Rolls are most often used for percussion sounds (particularly in drum tracks), but in principle they work with any type of track or sound. | Roll controls the number of hits per step and their intensity curve, whereas Roll2 controls the number or hits per step and the hits' distance from each other. Rolls are most often used for percussion sounds (particularly in drum tracks), but in principle they work with any type of track or sound. | ||
- | Roll parameter is a more refined version of the Roll trigger. With the Roll parameter you can set the number of notes played within the step, their intensity (range 0-15) and whether the intensity is ascending or descending (D for descending, U for ascending). For example, setting 3D03 means the note in the step will be played three times in quick succession, the first hit being played at a higher velocity than the second and third. 3D15 means the same, except all three hits will be played at equal velocity. | + | The Roll parameter is a more refined version of the Roll trigger. With the Roll parameter you can set the number of notes played within the step, their intensity (range 0-15) and whether the intensity is ascending or descending (D for descending, U for ascending). For example, setting 3D03 means the note in the step will be played three times in quick succession, the first hit being played at a higher velocity than the second and third. 3D15 means the same, except all three hits will be played at equal velocity. |
The Roll speed is relative to tempo. A slow tempo (e.g. 30bpm) is useful in evaluating the effect of different intensity settings. | The Roll speed is relative to tempo. A slow tempo (e.g. 30bpm) is useful in evaluating the effect of different intensity settings. | ||
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=== 3.2.10. Program Change === | === 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. | + | Program Change parameter layer (PrgCh) allows you to send Program Change messages to your MIDI equipment. This is useful if you want to change patches in the middle of a track. However, this requires that your MIDI equipment can effect patch changes quickly enough. On the other hand, if your MIDI equipment cannot handle the Program Change commands set on the Track Instrument page (see section 2.1.3.) quickly enough, Program Change parameter layer offers a solution: if you want your next pattern to play with a changed patch, you could use the Program Change parameter layer to effect the patch change during the current pattern, early enough so that the patch is ready when the next pattern starts. |
Note that sending Program Change messages simultaneously from the Track Instrument page (see section 2.1.3.) and the Program Change parameter layer may lead to conflicting commands! | Note that sending Program Change messages simultaneously from the Track Instrument page (see section 2.1.3.) and the Program Change parameter layer may lead to conflicting commands! | ||
- | The default value for every step on a new Program Change parameter layer is 0. The layer sends a new Program Change message only if the value changes from one step to the next, so a 16 step layer filled with " | + | The default value for every step on a new Program Change parameter layer is 0. The layer sends a new Program Change message only if the value changes from one step to the next, so a 16 step layer filled with " |
\\ | \\ | ||
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Parameter layers Nth1 and Nth2 allow you to create long variant patterns which change based on mathematical rules. Nth1 will trigger the specified action the first time and then each nth bar, while Nth2 will start triggering only after n bars, and then each nth bar. | Parameter layers Nth1 and Nth2 allow you to create long variant patterns which change based on mathematical rules. Nth1 will trigger the specified action the first time and then each nth bar, while Nth2 will start triggering only after n bars, and then each nth bar. | ||
- | The possible actions are: | + | 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 | + | |
The first selectable " | The first selectable " | ||
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The track using a Root layer must be in Normal mode, not in Transpose or Arpeggiator mode (MENU + MODE). | The track using a Root layer must be in Normal mode, not in Transpose or Arpeggiator mode (MENU + MODE). | ||
- | Using a Root parameter layer in a track makes it easier to use the Chord and Chord2 layers on the same track, because there is no need to set up a controlling track to control the root note of another track (see section 6.1. Using a bus to control a track for the details on this). For example, you could use only one type of chord, a major chord, on the chord layer of a track, and control whether it is a C major, F major or G major with the Root note track. | + | Using a Root parameter layer in a track makes it easier to use the Chord and Chord2 layers on the same track, because there is no need to set up a controlling track to control the root note of another track (see section |
\\ | \\ | ||
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\\ | \\ | ||
+ | === 3.2.13. Aftertouch === | ||
+ | |||
+ | The Aftertouch parameter layer allows for the sending (and recording) of channel aftertouch events. The default value for a new Aftertouch layer is " | ||
+ | |||
+ | \\ | ||
==== 3.3. Drum tracks ==== | ==== 3.3. Drum tracks ==== | ||
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1) Mode sets which of the two functions, Jam or T&A (Transpose & Arpeggiator), | 1) Mode sets which of the two functions, Jam or T&A (Transpose & Arpeggiator), | ||
- | 2) Port can be set to allow messages | + | 2) Port can be set to allow input from all input ports (' |
- | 3) Chn. can be set to allow messages | + | 3) Chn. can be set to allow input from all MIDI channels (' |
- | 4) Lower/Upper can be set to allow messages | + | 4) Lower/Upper can be set to allow input across the whole keyboard ('- - - G-8'), or from a narrower range. ' |
[[beginners_guide|{{jam-bus-block-chart.png? | [[beginners_guide|{{jam-bus-block-chart.png? | ||
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Quantize can be set from 0% to 99%, and it controls the tolerance with which " | 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 ' | + | Note that when note forwarding (Fwd) on the Jam page is ' |
>>>// | >>>// | ||
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>>>// | >>>// | ||
- | The live patterns can be edited live while you're on the Live Patterns page. Press & hold SELECT to enter the edit mode (" | + | 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 (' | While on the Live Patterns page, you can copy the current live pattern either with GPB15 (' | ||
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==== 4.2. Working on the EDIT page ==== | ==== 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 | + | 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 |
Pressing & holding EDIT brings up a menu where you can select three alternative views for the EDIT page: | Pressing & holding EDIT brings up a menu where you can select three alternative views for the EDIT page: | ||
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[[beginners_guide|{{util1.gif}}]] | [[beginners_guide|{{util1.gif}}]] | ||
- | Pressing COPY copies the active track into the buffer, and can then be pasted into another track; you can change sessions in between copying and pasting if you like. Note that COPY copies the //set length// (from the LENGTH page) of the track. For example, if the set length is 16/128, pressing COPY will copy only the first 16 steps into the buffer. Also, note that if track set length is e.g. 8, the COPY function will copy the section of 8 steps where the cursor position happens to be. For example, if the cursor is in step 1, COPY will copy the first 8 steps (probably what you intend most of the time), but if the cursor is in step 12, COPY will copy steps 8-16 instead. | + | Pressing COPY copies the active track into the buffer, and it can then be pasted into another track; you can change sessions in between copying and pasting if you like. Note that COPY copies the //set length// (from the LENGTH page) of the track. For example, if the set length is 16/128, pressing COPY will copy only the first 16 steps into the buffer. Also, note that if track set length is e.g. 8, the COPY function will copy the section of 8 steps where the cursor position happens to be. For example, if the cursor is in step 1, COPY will copy the first 8 steps (probably what you intend most of the time), but if the cursor is in step 12, COPY will copy steps 8-16 instead. |
It is possible to copy and paste an individual parameter layer. On the source track, choose the parameter layer you want to copy, and press COPY. Then go to the target track and select the parameter layer where you want to paste the individual parameter layer. Press SELECT + PASTE to copy the parameter layer into the active parameter layer. This will overwrite the active parameter layer, including its type. | It is possible to copy and paste an individual parameter layer. On the source track, choose the parameter layer you want to copy, and press COPY. Then go to the target track and select the parameter layer where you want to paste the individual parameter layer. Press SELECT + PASTE to copy the parameter layer into the active parameter layer. This will overwrite the active parameter layer, including its type. | ||
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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' | 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 | + | 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 |
It is possible to duplicate a track by pressing & holding COPY and then pressing PASTE. If your track is 16/128 steps long, this operation will copy the first 16 steps of the track and paste them immediately after it, starting from step 17. The track length is changed automatically to match the new duplicated length (e.g. from 16/128 to 32/128). The cursor position will jump to the beginning of the newly duplicated sequence (e.g. step 17). You won't be able to duplicate a track that is too long to be duplicated (e.g. a track with a length of 64/128 can be duplicated once, but a track with a length of 128/128 cannot be duplicated.) | It is possible to duplicate a track by pressing & holding COPY and then pressing PASTE. If your track is 16/128 steps long, this operation will copy the first 16 steps of the track and paste them immediately after it, starting from step 17. The track length is changed automatically to match the new duplicated length (e.g. from 16/128 to 32/128). The cursor position will jump to the beginning of the newly duplicated sequence (e.g. step 17). You won't be able to duplicate a track that is too long to be duplicated (e.g. a track with a length of 64/128 can be duplicated once, but a track with a length of 128/128 cannot be duplicated.) | ||
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CLEAR clears all layers of all steps in the selected track, even if they' | CLEAR clears all layers of all steps in the selected track, even if they' | ||
- | ' | + | Even ' |
Move allows you to move // | Move allows you to move // | ||
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When working with several patterns and in song mode, it is important to save often so as not to lose by accident the changes you've made to the parameter and trigger layers and other settings of the four tracks in a pattern. MBSEQv4 will not save anything automatically (every five minutes or whatever), but instead you have to //choose// to save the changes yourself. | When working with several patterns and in song mode, it is important to save often so as not to lose by accident the changes you've made to the parameter and trigger layers and other settings of the four tracks in a pattern. MBSEQv4 will not save anything automatically (every five minutes or whatever), but instead you have to //choose// to save the changes yourself. | ||
- | 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' | + | 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' | 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 | + | You can choose to save only one pattern, or to save all active patterns. A single pattern can be saved with MENU + SAVE (GPB14). The source pattern to be saved is always one of the four active patterns (each group has one active pattern). With GPK1–4 you can choose the source group whose active pattern you want to save, and with GPK6 you can choose the target bank to save the pattern into. Finally, with GPK7 you can choose which location within the selected bank the pattern is to be saved into. There are 64 locations per bank to choose from (from A1–A8 to H1–H8). |
[[beginners_guide|{{save1.gif}}]] | [[beginners_guide|{{save1.gif}}]] | ||
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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' | 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 | + | If you want to save all active patterns at once, press EXIT until you arrive on the main page, and then press GPB10 for ' |
[[beginners_guide|{{session_main.gif}}]] | [[beginners_guide|{{session_main.gif}}]] | ||
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In song mode you can chain the patterns you've made into a predetermined sequence of four parallel patterns. In addition to just putting the bundles of four patterns one after the other, you can also use song position operations to effect loops, mutes, tempo changes etc. (For details see section 5.2.2.) | In song mode you can chain the patterns you've made into a predetermined sequence of four parallel patterns. In addition to just putting the bundles of four patterns one after the other, you can also use song position operations to effect loops, mutes, tempo changes etc. (For details see section 5.2.2.) | ||
- | In song mode you must remember to save the pattern(s) before starting the sequencer, if you don't want to risk losing | + | In song mode you must remember to save the pattern(s) before starting the sequencer, if you don't want to lose the changes you've made, because in song mode starting the sequencer //will// erase the changes made since the last save. |
You can check whether you're in Song or Phrase mode by pressing SONG. On the right LCD (top row) you can see either " | 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' | + | In addition to the information of the LCD, the LED above the SONG button indicates the mode, no matter which page you' |
\\ | \\ | ||
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If you want to change the pattern bank, in all cases you have to use the GP knobs 3, 7, 11, and 15 to do it. For selecting individual patterns in the banks, there are two ways. Either you can use the GP knobs 4, 8, 12, and 16 to select a pattern within the selected bank, or you can use the GP buttons 1–8 to choose the pattern section A–H and the GP buttons 9–16 to choose the actual pattern 1–8 within the sections A–H. | If you want to change the pattern bank, in all cases you have to use the GP knobs 3, 7, 11, and 15 to do it. For selecting individual patterns in the banks, there are two ways. Either you can use the GP knobs 4, 8, 12, and 16 to select a pattern within the selected bank, or you can use the GP buttons 1–8 to choose the pattern section A–H and the GP buttons 9–16 to choose the actual pattern 1–8 within the sections A–H. | ||
- | Also, on the PATTERN page the group and track selection buttons (on the upper left of the frontpanel) have a special function: you can use them to select the group where you want to change a pattern. Group/track selection button 1 selects the first group, button 2 the second group etc. For a fully equipped frontpanel, this is probably not necessary though, because you can just turn a GP knob to select a pattern within any group, without need to use the group/track selection buttons to select a group for switching first. | + | Also, on the PATTERN page the group and track selection buttons (on the upper left of the frontpanel) have a special function: you can use them to select the group where you want to change a pattern. Group/track selection button 1 selects the first group, button 2 the second group etc. For a fully equipped frontpanel, this is probably not necessary though, because you can just turn a GP knob to select a pattern within any group, without |
\\ | \\ | ||
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In position A5 Group 1 switches to a new pattern (1:A3), as does group 4 (4:A2). Also, now Group 3 starts playing a pattern, 3:A1. After they have played once, the song proceeds to the next song position, A6. There is an operation there, which causes the song to jump immediately to song position A1, i.e. the beginning of the song. Everything will go as before, but this time group 3 will be playing 3:A1 all the way from the beginning. This is because now there is a " | 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: | + | 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 ' | + | - **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.\\ | + | - **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 Pos**. Jump to the specified song position.\\ |
- | – Jump Song. Jump to the beginning of the specified song.\\ | + | - **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.)\\ | + | - **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.\\ | + | - **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. " | + | - **Mutes**. Mute/unmute the specified tracks. " |
- | – G.T. Set a track as Guide Track (for details of Guide Track, see section 5.5.).\\ | + | - **G.T**. Set a track as Guide Track (for details of Guide Track, see section 5.5.).\\ |
- | – UnMte. Unmute all tracks and layers.\\ | + | - **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' | + | 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! | + | Remember |
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. Also, COPY, PASTE and CLEAR buttons have changed functions on the SONG page. Instead of copying, pasting and clearing the active track, they perform the operation on the current //song position//. | 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. Also, COPY, PASTE and CLEAR buttons have changed functions on the SONG page. Instead of copying, pasting and clearing the active track, they perform the operation on the current //song position//. | ||
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\\ | \\ | ||
+ | === 5.2.3. Save & Take over Patterns === | ||
+ | |||
+ | There' | ||
+ | |||
+ | Here's how 'Save & Take over Patterns' | ||
+ | |||
+ | After selecting ' | ||
+ | |||
+ | Choosing one of the slots will not only save the active patterns (so that you don't have to save them manually), but will also create four entries in the song position list, based on the current setup. The four entries are: current mutes, mixer map settings, current patterns, jump to previous song position. | ||
+ | |||
+ | Let's assume you chose slot A (with GPB1). What you have now is entries in song positions A1, A2, A3 and A4: | ||
+ | |||
+ | Position A1: the state of your mutes when you activated ' | ||
+ | Position A2: command to dump the settings in Mixer Map 1. | ||
+ | Position A3: command to play the set of patterns that was active when you activated ' | ||
+ | Position A4: command to jump back to Position A3 (i.e. loop the said set of patterns). | ||
+ | |||
+ | < | ||
+ | Pos Actn G1 G2 G3 G4 | ||
+ | A1 Mutes o*** o*o* o*** **oo | ||
+ | A2 Mixer Map 1 | ||
+ | A3 x1 1: | ||
+ | A4 Jump 🡪 Pos. A3 | ||
+ | </ | ||
+ | |||
+ | Had you chosen slot D, the entries would have been made into song positions D1, D2, D3 and D4 (with Mixer Map #4 settings) instead of A1, A2, A3 and A4 (with Mixer Map #1 settings). (This also means that the latter four entries grouped under each letter, e.g. A5, A6, A7 and A8, are left " | ||
+ | |||
+ | Whenever you come to the SONG page, the song position (Pos) entry is highlighted. (You can change which entry is highlighted by turning a GP knob, but Pos is the default when coming to the SONG page.) While Pos is highlighted, | ||
+ | |||
+ | Whether or not the switch to another song position is immediate or takes place only after the current Measure is finished depends on your settings on the Options page (UTIL -> Opt., option 3/17). | ||
+ | |||
+ | In a nutshell: ' | ||
+ | |||
+ | \\ | ||
==== 5.3. Copying Patterns ==== | ==== 5.3. Copying Patterns ==== | ||
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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 ' | 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 other words, if you want to use import or export to copy a pattern //within the same session//, you always select the current session on the left LCD. Use the knobs below the left LCD to scroll through the saved sessions and the GP buttons to choose the source/ | + | In other words, if you want to use import or export to copy a pattern //within the same session//, you always select the current session on the left LCD. Use the knobs below the left LCD to scroll through the saved sessions and the GP buttons to choose the source/ |
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/ | 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" | If you have an idea for a song which has a recurring pattern structure and settings, you can copy the first "seed pattern" | ||
+ | |||
+ | If you want to copy just a single pattern at a time, you can use MENU + SAVE to copy the active pattern to another location. Using this option also allows you to name the new pattern as you copy it, something that's not possible with the mass copy option above. | ||
\\ | \\ | ||
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The measure setting affects three things: | The measure setting affects three things: | ||
- | 1. How the metronome sounds. (The Metronome settings | + | 1. How the metronome sounds. (The Metronome settings can be found in UTILITY -> Opt., Option #12.) 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, | 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 ' | 3. The Sync to Measure function, which can be set ' | ||
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Fiddling with the divider/ | Fiddling with the divider/ | ||
- | >>>// | + | >>>// |
- | Naturally sync' | + | Naturally sync' |
>>>// | >>>// | ||
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==== 5.5. Guide Track ==== | ==== 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. | + | Pressing & holding the SONG button brings up a menu where you can alternate between the song mode and phrase mode (GPB9 or GPK9). In song mode the Guide Track setting is on the right display, and it can be used to choose a single track which the sequencer will follow as a master track, as far as length and changing to another pattern are concerned. (You can change the Guide Track setting in mid-song as well, it's one of possible song position operations on the SONG page; see section 5.2.2.) The Guide Track function is only available in song mode, and won't even be visible or selectable in phrase mode. |
[[beginners_guide|{{song3.gif}}]] | [[beginners_guide|{{song3.gif}}]] | ||
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In phrase mode, all tracks are running independently of each other, and share only the tempo. For song mode, this will not do. The point of the song mode is to chain several patterns together and switch them in an automated way, and you have to determine when to switch to another pattern, even if the tracks have different lengths and end at different times. Guide Track will allow you to determine which track (G1T1–G4T4) triggers the change to the next song position (or to the next loop within the same song position). | In phrase mode, all tracks are running independently of each other, and share only the tempo. For song mode, this will not do. The point of the song mode is to chain several patterns together and switch them in an automated way, and you have to determine when to switch to another pattern, even if the tracks have different lengths and end at different times. Guide Track will allow you to determine which track (G1T1–G4T4) triggers the change to the next song position (or to the next loop within the same song position). | ||
- | By default, Guide Track is on, and set to G1T1. If the Guide Track function is active (i.e. has some other value than "- - -"), it will make pattern change dependent on the track set as the guide track. The track selected as the guiding track will allow pattern change only when //it// reaches its end. Shorter tracks will loop back to their beginning and keep playing over and over until the guiding track reaches is end, and if that happens before the other tracks have finished, they will be terminated mid-way. Tracks longer than the guide track will be terminated mid-way as well. | + | By default, Guide Track is 'on', and set to G1T1. If the Guide Track function is active (i.e. has some other value than "- - -"), it will make pattern change dependent on the track set as the guide track. The track selected as the guiding track will allow pattern change only when //it// reaches its end. Shorter tracks will loop back to their beginning and keep playing over and over until the guiding track reaches is end, and if that happens before the other tracks have finished, they will be terminated mid-way. Tracks longer than the guide track will be terminated mid-way as well. |
So, the selected guide track will run to its end, and when it reaches the end, the sequencer switches to the next song position, regardless of where the other, non-guide tracks are at. All the tracks of the next pattern to be played are started from the beginning. | So, the selected guide track will run to its end, and when it reaches the end, the sequencer switches to the next song position, regardless of where the other, non-guide tracks are at. All the tracks of the next pattern to be played are started from the beginning. | ||
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Second, it is possible to use the //chord data// of the sending track to control the // | 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 | + | Whether the input is in chord or note layers, the arpeggiator takes the last four played notes as input. If you play more than four notes simultaneously, |
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// | 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// | ||
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[[beginners_guide|{{trkmode1.gif}}]] | [[beginners_guide|{{trkmode1.gif}}]] | ||
- | If the track mode is Transpose or Arpeggiator, | + | If the track mode is Transpose or Arpeggiator, |
- | If the track mode is Arpeggiator, | + | If the track mode is Arpeggiator, |
+ | |||
+ | The ' | ||
If Sustain is set ' | If Sustain is set ' | ||
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Note that the moment you switch the port setting to a bus on a 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 ' | + | The receiving track has to be set to listen to a bus. This is done on the receiving track' |
Transpose and Arpeggiator modes work differently, | Transpose and Arpeggiator modes work differently, | ||
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=== 6.1.3. Receiving track mode: Transposer === | === 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 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' | The receiving transpose track must be set to listen to the sending track' | ||
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The receiving arpeggiator track must be set to listen to the sending track' | 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' | + | 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. | See also the options Hold and Sort in section 6.1.1. | ||
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[[beginners_guide|{{trkrnd1.gif}}]] | [[beginners_guide|{{trkrnd1.gif}}]] | ||
- | 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 | + | On the randomiser page you can use GPK9 to scroll through the available layers in the active track. LayA, LayB etc. denote parameter layers, and TrgA, TrgB etc. denote trigger layers. If the active track is a Drum type track, drum instrument names are shown instead. |
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), | 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), | ||
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==== Function buttons F1–F4 ==== | ==== 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: | + | In the root of the SD card there is a file named MBSEQ_HW.V4. This is the hardware setup file. Most of the settings there don't need changing, and are anyway beyond the scope of this guide. However, on the Wilba frontpanel there are four buttons labelled F1, F2, F3 and F4, which can be customised relatively easily (and are meant to be so). The default functions for the buttons are: |
F1: Quick access to the Track Selection page\\ | F1: Quick access to the Track Selection page\\ | ||
- | F2: Quick on/offtoggle | + | F2: Quick on/off toggle |
F3: Quick on/off toggle of recording (Rec)\\ | F3: Quick on/off toggle of recording (Rec)\\ | ||
F4: Save the complete session | F4: Save the complete session | ||
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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, | 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, | ||
+ | |||
+ | The list of available Pages are is found in [[https:// | ||
< | < | ||
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– MORPH settings | – MORPH settings | ||
- | If you want to use a track to send internal CCs over a bus to change the sequencer' | + | If you want to use a track to send internal CCs over a bus to change the sequencer' |
< | < |
mididocs/seq/beginners_guide/start.1491744011.txt.gz · Last modified: 2017/04/09 13:20 by jjonas