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mididocs:seq:beginners_guide:start [2016/04/03 11:40]
jjonas [4.2. Working on the EDIT page]
mididocs:seq:beginners_guide:start [2020/06/30 05:44] (current)
latigid_on
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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 //​directly//​ with GPK2, as by default the tracks won't sync automatically when you've reached the right divider value. For ways to fix this asynchrony, apart from simply stopping the sequencer and then pressing PLAY again, see section 5.4. on Measure. 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 //​directly//​ with GPK2, as by default the tracks won't sync automatically when you've reached the right divider value. For ways to fix this asynchrony, apart from simply stopping the sequencer and then pressing PLAY again, see section 5.4. on Measure.
  
-It is probably a good idea to limit divider/​timebase changes to a limited ​number of tracks, otherwise you won't remember which ones were playing a custom timebase (and which custom one).+It is probably a good idea to limit divider/​timebase changes to a small number of tracks, otherwise you won't remember which ones were playing a custom timebase (and which custom one).
  
 >>>//​Two cases where changing the divider/​timebase value is useful are 1) fast melody tracks and 2) slow chord tracks.//\\ >>>//​Two cases where changing the divider/​timebase value is useful are 1) fast melody tracks and 2) slow chord tracks.//\\
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 Note that sending Program Change messages simultaneously from the Track Instrument page (see section 2.1.3.) and the Program Change parameter layer may lead to conflicting commands! Note that sending Program Change messages simultaneously from the Track Instrument page (see section 2.1.3.) and the Program Change parameter layer may lead to conflicting commands!
  
-The Program Change parameter layer sends a new Program Change message only if the value changes.+The default value for every step on a new Program Change parameter ​layer is 0. The layer sends a new Program Change message only if the value changes ​from one step to the next, so a 16 step layer filled with "​0"​ send the command only once. If you don't want the track to send anything, use the ALL button & function (see section 4.2.3.) and turn the GP knob all the way to the right: the last value (---) will have the step send nothing.
  
 \\ \\
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 \\ \\
  
 +=== 3.2.12. Root ===
 +
 +The Root parameter layer allows for the selection of a root note locally. The default value is "​Glb",​ which means that for the selected step, the root note is the same as the global root note (set in MENU + FX -> Scale with GPK3; see section 6.2. Force To Scale for details). While in the FX page's Scale menu it is possible to select "​Keyb"​ for entering a root note via a keyboard, on a Root track only absolute values (from C to B) are allowed.
 +
 +The setting on the Root layer overrides the global root setting for each step in the track where the value is other than "​Glb"​.
 +
 +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.
 +
 +\\
 +
 +=== 3.2.12. Scale ===
 +
 +The Scale parameter layer allows for the selection of scale locally. The default value is "​Glb",​ which means that for the selected step, the scale is the global scale (set in MENU + FX -> Scale with GPK4–8; see section 6.2. Force To Scale for details).
 +
 +The setting on the Scale layer overrides the global scale setting for each step where the value is other than "​Glb"​.
 +
 +The list of available scales, with ordinal numbers, is on the FX -> Scale page; thus the major scale is number 0 ("​0:​Major"​ on the display), and harmonic minor is number 1 ("​1:​Harmonic Minor" on the display). However, the limited notation on the Scale track only allows for the use of the ordinal numbers for scales, so you have to remember that number 0 denotes the major scale, number 16 the mixolydian scale etc.
 +
 +The list of the available 166 (!) scales with their ordinal numbers and names is available in pdf form [[http://​ucapps.de/​midibox_seq/​scalesMidiboxSeqv4.pdf|here]].
 +
 +\\
 +
 +=== 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 "​0"​.
 +
 +\\
 ==== 3.3. Drum tracks ==== ==== 3.3. Drum tracks ====
  
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 >>>//​Let'​s say you want to record live a sequence where the notes come down on steps 1, 5, 9 and 13. If Quantize is set to 0% and during live recording you press the keys for the second and third notes just a bit too early, the sequencer shows no mercy and the notes will be recorded in steps 1, 4, 8 and 13, instead of step 1, 5, 9 and 13 like you wanted. (The first note will always be on time if you start live recording with the first key press.) Quantize allows you to "​cheat"​ a bit, and by increasing the setting you can have these "a bit too early" notes recorded into the next step instead. The percentage controls the definition of "a bit too early"​.//​ >>>//​Let'​s say you want to record live a sequence where the notes come down on steps 1, 5, 9 and 13. If Quantize is set to 0% and during live recording you press the keys for the second and third notes just a bit too early, the sequencer shows no mercy and the notes will be recorded in steps 1, 4, 8 and 13, instead of step 1, 5, 9 and 13 like you wanted. (The first note will always be on time if you start live recording with the first key press.) Quantize allows you to "​cheat"​ a bit, and by increasing the setting you can have these "a bit too early" notes recorded into the next step instead. The percentage controls the definition of "a bit too early"​.//​
 +
 +\\
 +
 +== 4.1.4.1. Follow Mode ==
 +
 +When you record notes live, the sequencer doesn'​t follow the running cursor position by default. The sequencer will jump to the current 16-step section of the track every time you record a note, but if you don't record notes for some time, the cursor will soon leave the screen. If you want to follow the running cursor position when the sequencer is running – whether it's during live recording or just playback – you can enable the Follow Mode with MENU + EXIT. (The same combination also disables the mode.)
 +
 +Switching the Follow Mode '​on'​ will result the sequencer always displaying the 16-step section where the running cursor is at; when the running cursor leaves the screen, the display is changed to the next 16-step section or, if the track ends, back the beginning of the track. However, in this case you cannot use the datawheel to scroll from one 16-step section to another, when the sequencer is stopped. You have to switch Follow Mode '​off'​ to do that.
  
 \\ \\
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 Besides commands to play a pattern 1–16 times, the possible song operations are: 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 '​End'​ also in the middle of a song, e.g. to jam over the looped song position as long as you like, and then press a GP button to continue with the preprogrammed song. As the GP buttons can only be used to select eight different song positions (A1, B1, C1 etc., up to P1), you have to make sure to start the "​post-jamming"​ sequences at those song positions; otherwise they won't be selectable. Also, make sure that the "​-:​--"​ entries are not messing up which pattern gets played after manual song position change! Another option is to select the next song position with GPK2 and then press PLAY to instantly jump to the selected song position.\\ +- **End**. Loops the previously played song position with patterns in it until the sequencer is stopped manually or another song position is selected with the GP buttons (turning GPK2 on the SONG page won't switch patterns). This means you can use '​End'​ also in the middle of a song, e.g. to jam over the looped song position as long as you like, and then press a GP button to continue with the preprogrammed song. As the GP buttons can only be used to select eight different song positions (A1, B1, C1 etc., up to P1), you have to make sure to start the "​post-jamming"​ sequences at those song positions; otherwise they won't be selectable. Also, make sure that the "​-:​--"​ entries are not messing up which pattern gets played after manual song position change! Another option is to select the next song position with GPK2 and then press PLAY to instantly jump to the selected song position.\\ 
-– 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 ​(scroll for all the possible combinations). "​o"​ signifies an unmuted track, "​*"​ signifies a muted track.\\ +- **Mutes**. Mute/unmute the specified tracks. "​o"​ signifies an unmuted track, "​*"​ signifies a muted track. You can either scroll a GP knob under the entry for all the possible combinations for each group, or press a Group/Track button and then use the 16 GP buttons to switch mutes on/off for individual tracks (GPB1–4 control mutes in tracks 1–4 etc.); while the action is "​Mutes",​ the GP LEDs indicate whether a track is to be muted or not).\\ 
-– 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'​ with GPB13–14. This will copy the four selected patterns into the current song position on the SONG page, overwriting what was previously in that position. 'Save & Take over Patterns' ​does the same, but saves the patterns ​as well.+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'​ with GPB13–14. This will copy the four selected patterns into the current song position on the SONG page, overwriting what was previously in that position. ​Note that 'Take over Patterns' ​doesn'​t save the patterns!
  
-Note once again that changing patterns on the PATTERN page will erase any unsaved changes!+Remember ​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. 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'​s another function available on the SONG page while pressing & holding the SONG (or SELECT) button: 'Save & Take over Patterns'​. The function is more than a little different from the 'Take over Patterns'​ function despite the similar name.
 +
 +Here's how 'Save & Take over Patterns'​ can be utilised in making songs. When you create a new Session, you start with the four initial patterns 1:A1, 2:A1, 3:A1 and 4:A1. You change the track settings to your liking and punch in some notes. Once you have something that you like, you can save all four patterns and automatically make song position entries for them by using the 'Save & Take over Patterns'​ (=S&​ToP).
 +
 +After selecting '​S&​ToP',​ you now get a chance to select one of 16 slots (A–P). These letters refer to song positions (available on the SONG page, GPK2), of which there are 128 (from A1–A8 to P1–P8). ​ Each letter might have an asterisk next to it, which means something has already been '​S&​ToP'​d into that slot previously. You may overwrite it if you wish by selecting it again.
 +
 +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 '​S&​ToP'​.
 +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 '​S&​ToP'​.
 +Position A4: command to jump back to Position A3 (i.e. loop the said set of patterns).
 +
 +<​code>​
 +Pos Actn G1 G2 G3 G4
 +A1 Mutes o*** o*o* o*** **oo
 +A2 Mixer Map 1
 +A3 x1 1:​A1 2:​A1 3:​A1 4:​A1
 +A4 Jump 🡪 Pos. A3
 +</​code>​
 +
 +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 "​empty",​ i.e. unaffected by the '​S&​ToP'​ function.)
 +
 +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,​ you can use the GP buttons to quick-select a song position. For example, if the current song position is A3, you can push GPB6 to switch to F1. The GP buttons allow for the direct selection of 16 positions, from A1 to P1 (the selected position is always the first one within the eight that are grouped under each letter).
 +
 +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: '​S&​ToP'​ allows you to start with four patterns (e.g. 1:A1, 2:A1, 3:A1, 4:A1), jam to your heart'​s content, and when you have something you like, to save them quickly and have the song position entries made automatically. Then you can change to the PATTERN page, turn the knobs to change over to the next empty pattern set (e.g. 1:A2, 2:A2, 3:A2, 4:A2), to the next Mixer Map on the MIXER page, and keep jamming. Then you can '​S&​ToP'​ again, and on and on, until you have several pattern sets. Now you can keep changing back and forth between the maximum of 16 pattern sets while on the SONG page with a single push of a GP button. Each pattern set might have each track full of stuff, but the set would start with lots of mutes, which you could then slowly unmute and build the current theme up before changing to another set with a GP button.
 +
 +\\
 ==== 5.3. Copying Patterns ==== ==== 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'​s another way. Press UTILITY 🡪 Disk to enter the import/​export page, and then press GPK1–2 to select either '​Import'​ or '​Export'​ under the '​Sessions'​ title. 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'​s another way. Press UTILITY 🡪 Disk to enter the import/​export page, and then press GPK1–2 to select either '​Import'​ or '​Export'​ under the '​Sessions'​ title.
  
-On the Session import and export pages you can copy patterns, songs, mixer maps, grooves, track configurations and bookmarks from one session to another, or within the same session. (Scroll through the '​Type'​ options with GPK9–10.) Exporting means copying something //from the current session// to somewhere else, and importing means copying something //to the current session// from somewhere else. However, if you just want to copy something //within the same session// (such as patterns), it's irrelevant whether you use exporting or importing to do it; the one end of either is always the current session, and if you set the other end (source or destination session) to be the current session as well, they will lead to the same outcome. In other words, if you want to use import or export to copy a pattern //within the same session//, you always select the current session on the left LCD. Use the knobs below the left LCD to scroll through the saved sessions and the GP buttons to choose the source/​destination session. If you don't remember your current session'​s name, press EXIT until you reach the main page. The current session'​s name is displayed in the right LCD, top row.+On the Session import and export pages you can copy patterns, songs, mixer maps, grooves, track configurations and bookmarks from one session to another, or within the same session. (Scroll through the '​Type'​ options with GPK9–10.) Exporting means copying something //from the current session// to somewhere else, and importing means copying something //to the current session// from somewhere else. However, if you just want to copy something //within the same session// (such as patterns), it's irrelevant whether you use exporting or importing to do it; the one end of either is always the current session, and if you set the other end (source or destination session) to be the current session as well, they will lead to the same outcome. 
 + 
 +In other words, if you want to use import or export to copy a pattern //within the same session//, you always select the current session on the left LCD. Use the knobs below the left LCD to scroll through the saved sessions and the GP buttons to choose the source/​destination session. If you don't remember your current session'​s name, press EXIT until you reach the main page. The current session'​s name is displayed in the right LCD, top row.
  
 In addition to session selection, you need to determine the source pattern in the source session and destination pattern in the target session, whether the source/​target session is the current session or not. First make sure that the Type to be copied is '​Patterns',​ then use GPK11 to select the first pattern to be copied, and GPK12 to select the last one to be copied ­­– this means you can copy several subsequent patterns in one go. Then turn GPK13–14 to select where you want to copy the selected patterns to. If you selected several patterns to be copied, the destination setting changes automatically to cover equal number of pattern slots. Confirm your selection with GPB15 ('​IMPORT'​ or '​EXPORT'​). In addition to session selection, you need to determine the source pattern in the source session and destination pattern in the target session, whether the source/​target session is the current session or not. First make sure that the Type to be copied is '​Patterns',​ then use GPK11 to select the first pattern to be copied, and GPK12 to select the last one to be copied ­­– this means you can copy several subsequent patterns in one go. Then turn GPK13–14 to select where you want to copy the selected patterns to. If you selected several patterns to be copied, the destination setting changes automatically to cover equal number of pattern slots. Confirm your selection with GPB15 ('​IMPORT'​ or '​EXPORT'​).
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 The measure setting affects three things: 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;\\+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 '​on'​ or '​off'​ on each track'​s DIVIDER page (default: '​off'​). 3. The Sync to Measure function, which can be set '​on'​ or '​off'​ on each track'​s DIVIDER page (default: '​off'​).
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 If the track mode is Transpose or Arpeggiator,​ and Hold is set to '​on',​ the sequencer will hold the last note(s) received on a '​T&​A'​ bus //from a MIDI controller//​ (see section 4.1.1. for details). In other words, Hold will have no effect if the controlling data is coming in from a track. If Hold is set to '​off'​ and no keys are held on the MIDI controller, the track will play nothing. (However, if the Sustain setting is '​on',​ it //will// hold the previously played note(s) until something else is played.) Hold works in Transpose and Arpeggiator modes, but has no effect if track mode is '​Normal'​ (or '​off',​ for that matter :-) If the track mode is Transpose or Arpeggiator,​ and Hold is set to '​on',​ the sequencer will hold the last note(s) received on a '​T&​A'​ bus //from a MIDI controller//​ (see section 4.1.1. for details). In other words, Hold will have no effect if the controlling data is coming in from a track. If Hold is set to '​off'​ and no keys are held on the MIDI controller, the track will play nothing. (However, if the Sustain setting is '​on',​ it //will// hold the previously played note(s) until something else is played.) Hold works in Transpose and Arpeggiator modes, but has no effect if track mode is '​Normal'​ (or '​off',​ for that matter :-)
  
-If the track mode is Arpeggiator,​ and Sort is set to '​on',​ it will sort the played notes into an ascending order. The setting works only in Arpeggiator mode. If Sort is set to '​off'​ in Arpeggiator mode, the Arpeggiator will use the notes in the //reverse// order they were played ​(i.e. last played ​note is always "​number one")without sorting them.+If the track mode is Arpeggiator,​ and Sort is set to '​on',​ it will sort the played notes into an ascending order. The setting works only in Arpeggiator mode, and it makes sense to have this option on for Arpeggiator mode, so that the Arpeggiator track notation stays more understandable. If Sort is set to '​off'​ in Arpeggiator mode, the Arpeggiator will play the notes in the //reverse// order to how they were played. 
 + 
 +The '​Note'​ setting pertains to the Transposer modeIf the setting is '​First',​ the transposer will use the first note of the controlling chord, and if it's '​Last',​ it will use the last note of the controlling chord. While a single ​note is enough for the transposeryou might want to use the same controlling track to control both the transpose of a track and the arpeggiating of another track, and for the latter you need a chord.
  
 If Sustain is set '​on',​ it will sustain the latest note or chord played on the track until another one is played or the sequencer is stopped. This is useful for tracks that play long notes or chords, so that you don't have to set each note's length individually. Sustain will have effect only on tracks that are sending to a physical output port (set on the EVENT page). In other words, it will have no effect on tracks sending on a bus. If Sustain is set '​on',​ it will sustain the latest note or chord played on the track until another one is played or the sequencer is stopped. This is useful for tracks that play long notes or chords, so that you don't have to set each note's length individually. Sustain will have effect only on tracks that are sending to a physical output port (set on the EVENT page). In other words, it will have no effect on tracks sending on a bus.
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 The final setting you need to make is the //sending track'​s//​ Chn. setting (on the EVENT page) to determine which track you want to control with the internal CCs. Normally the Chn. setting has no effect if Port is set to a bus, but here it does. However, in this case the Chn. setting doesn'​t denote MIDI channel, but the receiving track'​s //ordinal number//. For example, if you want to control track G1T1, which is playing a synthesizer on MIDI channel 5, you set Chn. to '​1'​ (and not '​5'​) on the sending track'​s EVENT page. If you're not controlling //track// settings with CCs, but //​sequencer//​ settings (like CC#03 to set the scale), Chn. setting makes no difference. The final setting you need to make is the //sending track'​s//​ Chn. setting (on the EVENT page) to determine which track you want to control with the internal CCs. Normally the Chn. setting has no effect if Port is set to a bus, but here it does. However, in this case the Chn. setting doesn'​t denote MIDI channel, but the receiving track'​s //ordinal number//. For example, if you want to control track G1T1, which is playing a synthesizer on MIDI channel 5, you set Chn. to '​1'​ (and not '​5'​) on the sending track'​s EVENT page. If you're not controlling //track// settings with CCs, but //​sequencer//​ settings (like CC#03 to set the scale), Chn. setting makes no difference.
  
-It is important to note that sending internal CCs over a bus to control another track //​doesn'​t require any setup in the receiving track//. All the settings are done on the sending track'​s EVENT page.+It is important to note that sending internal CCs over a bus to control another track //​doesn'​t require any setup in the receiving track//. All the settings are done on the sending track'​s EVENT page. (Note, however, that if you're trying to control, say, the LFO settings of the receiving track with CC sent from another track, naturally the LFO effect on the receiving track has to be enabled.)
  
 The full list of MBSEQv4 CC implementation is available in Appendix 4. The full list of MBSEQv4 CC implementation is available in Appendix 4.
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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,​ minus prevents it. For example, the line 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,​ minus prevents it. For example, the line
 +
 +The list of available Pages are is found in [[https://​github.com/​midibox/​mios32/​blob/​master/​apps/​sequencers/​midibox_seq_v4/​core/​seq_ui_pages.h|seq_ui_pages.h]]
  
 <​code>​ <​code>​
mididocs/seq/beginners_guide/start.1459683603.txt.gz · Last modified: 2016/04/03 11:40 (external edit)