Digitone Master of the digital method User Manual
FCC compliance statement This device complies with part 15 of the FCC rules. Operation is subject to the following two conditions: (1) This device may not cause harmful interference, and (2) this device must accept any interference received, including interference that may cause undesired operation. NOTE: This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the FCC Rules.
IMPORTANT SAFETY AND MAINTENANCE INSTRUCTIONS Please read these instructions carefully and adhere to the operating advice. 1. Do not use this unit near water. 2. Never use aggressive cleaners on the casing or on the screen. Remove dust, dirt and fingerprints with a soft, dry and non-abrasive cloth. More persistent dirt can be removed with a slightly damp cloth using only water. Disconnect all cables while doing this. Only reconnect them when the product is safely dry. 3.
TABLE OF CONTENTS TABLE OF CONTENTS 1. INTRODUCTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 1.1 CONVENTIONS IN THIS MANUAL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 2. THE DIGITONE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 3.
TABLE OF CONTENTS 9. PATTERNS AND SOUNDS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 9.1 THE +DRIVE SOUND LIBRARY AND THE SOUND POOL. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 9.2 PLAYING A SOUND . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 9.3 EDITING A SOUND. . . . . . . . . . . . . . . . . . . . . . .
TABLE OF CONTENTS 10.10.2 SOUND LOCKS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 10.10.3 CONDITIONAL LOCKS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 10.10.4 FILL MODE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
TABLE OF CONTENTS 14.4 SYSTEM. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63 14.4.1 OS UPGRADE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63 14.4.2 FORMAT +DRIVE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
1. INTRODUCTION 1. INTRODUCTION 1.1 CONVENTIONS IN THIS MANUAL We use the following text formatting conventions throughout the manual: • KEY NAMES Uppercase, bold style and within brackets. For instance, the key labeled “FUNC” on the main panel is called [FUNC]. • KNOBS Uppercase, bold, italic letters. For instance, the knob “Level/Data” is called LEVEL/DATA. • LED INDICATORS Uppercase letters with angle brackets. For instance, the Pattern page LEDs are called: .
2. THE DIGITONE 2. THE DIGITONE FM synthesis is a very powerful synthesis method, discovered and pioneered by John Chowning in the late 1960’s. The metallic, yet oddly natural sounds generated by this new method quickly became popular, and just a little bit more than a decade after Chowning’s discovery, they could be heard all over the Billboard charts. FM sounds elevated songs by Michael Jackson, Lionel Richie, the Cure, Queen, too many to mention really. It was the sound of the times.
3. PANEL LAYOUT AND CONNECTORS 3. PANEL LAYOUT AND CONNECTORS 3.1 FRONT PANEL 1 2 3 4 5 Polyphonic Digital Synthesizer 25 Digitone 6 24 16 17 18 19 7 8 23 20 21 22 15 14 9 10 13 11 12 1. MASTER VOLUME sets the volume for the main outputs and the headphones output. 2. Screen. 3. [NO] key. Used for exiting an active menu, backing one step and negating. The secondary function is a temporary reload of the active pattern. 4. [YES] key. Used for entering sub-menus, selecting and confirming.
3. PANEL LAYOUT AND CONNECTORS 8. LEDs indicate how many pattern pages the active pattern consists of and which pattern page is currently active. The LED flashes on the pattern page that is currently playing. 9. [PAGE] selects the active pattern page, if the pattern has more than 16 steps. The LEDs indicate how many pattern pages the active pattern consists of and which pattern page is currently active. The LED flashes on the pattern page currently playing.
3. PANEL LAYOUT AND CONNECTORS 3.2 REAR CONNECTORS 1 2 3 4 5 6 7 8 9 1. POWER Switch for turning the unit on and off. 2. DC In Input for power supply. Use the included PSU-3b power adapter, connected to a power outlet. 3. USB For connecting the unit to a computer. For MIDI-control or Overbridge use. Use the included A to B USB 2.0 connector cable to connect to a computer host. 4. MIDI THRU/SYNC B, Forwards data from MIDI IN. Can also be configured to send DIN sync to legacy instruments.
O 4. DIGITONE SOUND ARCHITECTURE The illustrations below show the Digitone sound architecture, with its eight audio voices, three send effects (chorus, delay, and reverb) and master effect (overdrive). 4.
5. OVERVIEW OF THE DIGITONE DATA STRUCTURE 5. OVERVIEW OF THE DIGITONE DATA STRUCTURE The image below outlines the data structure of the Digitone. +DRIVE PROJECTS, SOUNDS PROJECT 128 PATTERNS 4 SYNTH TRACKS (per pattern) SOUND POOL 128 SOUNDS 4 MIDI TRACKS (per pattern) 5.1 +DRIVE The +Drive is a non-volatile memory capable of storing up to 128 projects. The +Drive also holds +Drive Sound library, with the capacity of storing 2048 Sounds. Every project has access to these Sounds. 5.
5. OVERVIEW OF THE DIGITONE DATA STRUCTURE 5.3 ABOUT THE TRACKS 5.3.1 THE SYNTH TRACKS The Digitone has four synth tracks. Each synth track holds one Sound. The Sound contains the settings in the PARAMETER pages (SYN1, SYN2, FLTR, AMP, and LFO) together with the settings in the SOUND SETUP menu and the ARPEGGIATOR menu. Press one of the [TRACK 1–4] keys to select which synth track to edit. 5.3.2 THE MIDI TRACKS The Digitone also has four MIDI tracks. They are used to control external MIDI equipped gear.
6. THE USER INTERFACE 6. THE USER INTERFACE The screen shows all the information needed for real-time interaction and editing on the Digitone. The eight DATA ENTRY knob parameters shown varies depending on which parameter page you have selected. Below is the main interface screen of the SYN1 page. 1 2 3 4 8 5 7 6 1. 2. 3. 4. 5. Bank and pattern. Pattern name. Pattern/Track transpose. Tempo. Eight track parameters.
6. THE USER INTERFACE 6.2.3 [FUNC] KEY PRESS COMBINATIONS The standard way to use the [FUNC] key in combination with other keys, is to press and hold [FUNC] and then press the second key in the combination. For some key combinations, it is also possible to access a sub-menu by pressing and holding [FUNC] + second key for a second. 6.3 QUICK SCROLLING Scroll through menus using the LEVEL/DATA knob. Quick scrolling is possible on many menus.
6. THE USER INTERFACE 6.6 OVERBRIDGE Polyphonic Digital Synthesizer Digitone USB The Overbridge software suite enables a tight integration between the Digitone and a computer DAW software. When using Overbridge, the user interface for the Digitone presents itself as a plug-in window in your DAW. Access, edit and automate parameters for sound shaping on screen.
7. QUICK START 7. QUICK START This quick start guides you through some of the basic operations to start using the Digitone right away. First, connect it as described in section “3.3 SETTING UP AND STARTING THE DIGITONE” on page 12. 7.1 PLAYING THE FACTORY PRESET PATTERNS You can find a number of preset patterns, sounds, and samples in the Digitone. Follow the instructions below to get started exploring your new instrument. 1. Press [BANK] and then press [TRIG 9] key to select bank A.
7. QUICK START To tap a tempo setting, press and hold the [FUNCTION] key and tap the [TEMPO] key in a steady rhythm. The average tempo of the taps calculates after four consecutive taps. By continuing tapping, the average tempo keeps on updating. Nudging the tempo is very handy when manually syncing Digitone to a turntable or an external sound source. Note that you do not need to be in the TEMPO menu to perform tempo nudging. 7.6 EDITING PARAMETERS Each track has six PARAMETER pages.
8. DIGITONE CONTROLS 8. DIGITONE CONTROLS 8.1 TRIG KEYS The [TRIG] keys have several uses, including, playing the active synth track sound chromatically (not in GRID RECORDING or MUTE mode). The [TRIG] keys also place trigs in GRID RECORDING mode. When pressed in combination with the [PTN] and [BANK] keys, they select patterns and banks. The [TRIG] keys light up to indicate the position of placed trigs and to indicate the selected bank and track. 8.
8. DIGITONE CONTROLS There are two different versions of MUTE mode on the Digitone: • GLOBAL MUTE MODE In GLOBAL MUTE mode, the muted tracks are muted in all patterns, and the trig [TRACK] keys are lit red. If tracks are muted in PATTERN MUTE mode, the tracks keys are lit red when the pattern plays. Press [FUNC] + [BANK] to enter GLOBAL MUTE mode. Press [FUNC] + [BANK] to exit GLOBAL MUTE mode.
9. PATTERNS AND SOUNDS 9. PATTERNS AND SOUNDS The patterns are the primary data container for the Digitone. Sixteen patterns are available for each of the eight banks, which means that 128 patterns are available for each project. A pattern contains up to eight sounds (one for each synth track), sequencer data like trigs and parameter locks. It also contains the default settings on the TRIG page and BPM, length, swing and time signature settings.
9. PATTERNS AND SOUNDS 9.4 SOUND SETUP MENU Press [FUNC] + [TRIG PARAMETERS] to open the SOUND SETUP menu. Here you can set a number of Sound related parameters. Use the [UP] and [DOWN] arrow keys to move between the options. Press [YES] to confirm your selection. Press [NO] to exit the menu. 9.4.1 KEY SCALING A Key scaling sets the level of how much the modulation output from operator A is affected by what note you play on the keyboard.
9. PATTERNS AND SOUNDS 9.4.9 VELOCITY MOD Opens a menu where you can assign up to four PARAMETER page parameters to the velocity parameter. Both the VEL parameter on the TRIG menu and the velocity of incoming MIDI notes sent to the Digitone from external devices affects the assigned parameters. Press [YES] to open the menu. Setting up the parameters works in the same way as for PITCH BEND. 9.4.
9. PATTERNS AND SOUNDS 9.5.3 RNG Range sets the octave range of the arpeggiator. After each completed arpeggiator cycle, the arpeggiated notes are transposed one octave up. When the notes have reached the octave offset specified by the RNG setting the notes are reset to their initial values. From there the octave transpose is started all over again. 9.5.4 LEN Length controls the length of the arpeggiated notes. 9.7.5 ARP LENGTH Turn DATA ENTRY knob F to elect the length of the arpeggio.
10. THE SEQUENCER 10. THE SEQUENCER The sequencer store its information in patterns. A pattern controls the playback of the synth tracks, the MIDI tracks and various pattern-specific aspects of the tracks. Each of the eight banks, A to H, contains 16 patterns, which means 128 patterns are available for each project. For more information, please see “10.7 PATTERN MENU” on page 32. A pattern contains: • • • • • • • • • The parameter settings on the TRIG page (root note, velocity, length et cetera).
10. THE SEQUENCER cate steps that do not contain any trigs. Read more about parameter locks in section “10.10.1 PARAMETER LOCKS” on page 34. The two types of trigs are added differently in the sequencer, depending on whether GRID RECORDING or LIVE RECORDING mode is active. 10.2.2 GRID RECORDING MODE GRID RECORDING is a method of composing where you use the [TRIG] keys to add trigs. 1. Press [TRACK 1–4] to select the track to which you want to add trigs. A green [TRACK] key light indicates the active track.
10. THE SEQUENCER 10.2.4 GRID RECORDING USING QUICK NOTE METHOD This is yet another alternative way to enter note trigs in GRID RECORDING mode that gives you better control over what note values you want to add to a specific step in the sequencer. 1. Press [TRACK 1–4] to select the track to which you want to add note trigs and additional notes. A green [TRACK] key light indicates the active track. 2. Press [RECORD] to enter GRID RECORDING mode.
10. THE SEQUENCER • You can use an external MIDI controller such as a keyboard, to input NOTE, TRIG VELOCITY, and TRIG LENGTH data in LIVE RECORDING mode. Just play the notes on the keyboard and the sequencer records them. You can add up to a eight-note chord to every trig. The first note sets the TRIG VELOCITY value for all notes on the trig. The last note that is released sets the TRIG LENGTH for all notes on the trig.
10. THE SEQUENCER VOICE STEALING The Digitone has eight voice polyphony. VOICE STEALING sets the rules for how voices are stolen (which voice is taken when you play a new note) when you use more than eight voices at the same time. Press [LEFT]/[RIGHT] to select voice stealing mode. CYCLE The first played note is stolen first. TRACK Track priority. Notes played on track 1 has priority over notes played on track 2, 3, and 4. Track 2 notes over track 3, 4 Track 3 notes over track 4.
10. THE SEQUENCER 10.7 PATTERN MENU Use the PATTERN menu to perform pattern management. Press [PATTERN MENU] to open the menu. Use the [UP] and [DOWN] arrow keys to move between the options. Press [YES] to confirm your selection. Press [NO] to exit the menu. 10.7.1 QUANTIZE Affects all micro timed trigs on the sequencers tracks. Change settings with DATA ENTRY knob E and F. TRK. affects all micro-timed trigs of the active track in real time.
10. THE SEQUENCER 10.7.5 RELOAD FROM PROJ You must have saved the pattern at least once before you can reload pattern information. WHOLE PATTERN Reloads the active pattern’s sequence data and four Sounds from the +Drive. A prompt appears when you select this option. Press [YES] to reload, or [NO] to cancel the operation. SOUNDS DATA Reloads the active pattern’s four Sounds from the +Drive. A prompt appears when you select this option. Press [YES] to reload, or [NO] to cancel the operation.
10. THE SEQUENCER LENGTH controls the step length of the pattern. The leftmost number displays the number of steps in the pattern. The total length, displayed by the second number, determines the maximum number of steps available in the pattern. This setting can be either 16, 32, 48 or 64 steps. If you use 17 steps or more in a pattern, the [PAGE] key is (while in GRID RECORDING mode) used to toggle between the different pattern pages. SCALE controls the time signature of the pattern.
10. THE SEQUENCER the locked parameter values are displayed. The [TRIG] key of the locked trig blinks red (for note trigs) or yellow (for lock trigs) to indicate the trig now contains a parameter lock. Remove a single parameter lock by holding [TRIG] + pressing the DATA ENTRY knob of the locked parameter. You can erase all parameter locks from a trig if you remove the note trig and then enter it again.
10. THE SEQUENCER X% is a probability condition. There is an X% chance that the trig will be active. A:B A sets how many times the pattern plays before the trig condition is true. B sets how many times the pattern plays before the count is reset and starts over again. This cycle then repeats indefinitely. For example: With the setting 1:2, the trig condition is true the first time the pattern plays and then the third, the fifth, and so on.
10. THE SEQUENCER Trigs, complete with all parameter lock settings, can also be copied, pasted and cleared. GRID RECORDING mode needs to be active to access this functionality. Press and hold a trig and press [RECORD] to perform the copy operation. Paste by holding another [TRIG] key and pressing [STOP]. It is also possible to copy more than one trig. Hold several trigs and press [RECORD]. The trig first pressed acts as the starting point.
10. THE SEQUENCER 1. Press [BANK] + [TRIG 9–16] key to select bank. 2. Press and hold [PTN] and then press a [TRIG 1–16] key to select the first pattern in the chain. 3. Release the [PTN] key and then press [TRIG 1–16] keys in the same order as you want the chained patterns to play. Keep the previous [TRIG] key pressed while you press the next one, the one after that and so on so that the sequencer can recognize that you are building a chain and not just switching patterns.
11. SYNTH TRACK PARAMETERS 11. SYNTH TRACK PARAMETERS Here follows a description of all of the parameters that are available on the synth tracks PARAMETER pages. The parameters on the TRIG page are saved with the pattern, and not with the sound. You can lock the synth track parameters to other settings on any step of the pattern by first pressing and holding a [TRIG] key, then changing the parameters’ settings with the DATA ENTRY knobs. For more information, please see “10.10.1 PARAMETER LOCKS” on page 34.
11. SYNTH TRACK PARAMETERS Press [SYN1] once to access this parameter page. 11.3.1 ALGO Algorithm selects the set structure of how the four operators are connected to each other. (1–8) For more information, please see “A.3 ALGORITHMS” on page 72. 11.3.2 RATIO C Sets the frequency ratio for operator C. (0.25–16.0) For more information, please see “A.4 FM RATIOS” on page 72. 11.3.3 RATIO A Sets the frequency ratio for operator A. (0.25–16.0) For more information, please see “A.4 FM RATIOS” on page 72. 11.3.
11. SYNTH TRACK PARAMETERS 11.4.1 ATK A Attack Time sets the length of the attack phase of the modulation envelope for operator A. (0–127) 11.4.2 DEC A Decay Time sets the length of the decay phase of the modulation envelope for operator A. (0–127) 11.4.3 END A End Level sets the end level of the modulation envelope for operator A. (0–127) 11.4.4 LEV A Level sets the modulation amount from operator A. (0–127) 11.4.
11. SYNTH TRACK PARAMETERS 11.5.1 ADEL Envelope delay sets the time before attack phase of the modulation envelope for operator A starts. (0–127) Delay Attack Decay End level 11.5.2 ATRG Envelope trig sets the trig behavious of the operator envelops- The envelopes can be either triggered or gated - making it either an ADE (Attack Decay End) or an ASDE (Attack Sustain Decay End) envelope. The sustain phase does not have an adjustable envelope level.
11. SYNTH TRACK PARAMETERS Reset on Reset on Trig Trig Reset off Reset off (ARST/BRST OFF) Trig Trig Reset off Trig Trig Trig Trig 11.5.4 PHRT Phase reset sets if the operators phase are reset to start at 0 or not when they are trigged. OFF do not reset any operators ALL resets all operators C resets operator C A+B resets operator A, B1, and B2 A+B2 resets operator A and B2 11.5.5 BDEL Same as ADEL but for operator group B (B1 and B2). 11.5.
11. SYNTH TRACK PARAMETERS 11.6.3 SUS Sustain Level sets the sustain level of the filter envelope. (0–127) 11.6.4 REL Release Time sets the length of the release phase of the filter envelope. (0–126, INF) 11.6.5 FREQ Frequency sets the cutoff frequency of the multimode filter. (0.00–127.00) 11.6.6 RESO Resonance sets the resonance behavior of the filter. Resonance introduces a peak in the spectrum at the cutoff frequency. (0.00–127.00) 11.7.7 TYPE Filter Type selects the type of filter.
11. SYNTH TRACK PARAMETERS 11.8 AMP PAGE 1 The AMP page 1 controls parameters for the amplitude envelope, overdrive, tone, panning and volume. Press [AMP] once to access this parameter page. 11.8.1 ATK Attack Time sets the length of the attack phase of the amp envelope. (0–127) 11.8.2 DEC Decay Time sets the length of the decay phase of the amp envelope. (0–127) 11.8.3 SUS Sustain Level sets the sustain level of the amp envelope. (0–127) 11.8.
11. SYNTH TRACK PARAMETERS 11.9.1 CHR Chorus Send sets the amount of sound sent through to the Chorus effect. For more information, please see “13. FX PARAMETERS” on page 53. (OFF, 0.01–127.00) 11.9.2 DEL Delay Send sets the amount of sound sent through to the Delay effect. For more information, please see “13. FX PARAMETERS” on page 53. (OFF, 0.01–127.00) 11.9.3 REV Reverb Send sets the amount of sound sent through to the Reverb effect. For more information, please see “13. FX PARAMETERS” on page 53.
11. SYNTH TRACK PARAMETERS 11.10.6 WAVE2 Same as WAVE1 but for LFO2. 11.10.7 SPD2 Same as SPD1 but for LFO2. 11.10.8 DEP2 Same as DEP1 but for LFO2. 11.11 LFO PAGE 2 The two Low-Frequency Oscillators can be used to modulate the parameters found on the synth tracks SYN1, SYN2, FLTR, and AMP pages. Customize the low-frequency oscillators speed multiplication, fade, start phase, and mode on this page. Press [LFO] twice to access this parameter page. 11.11.
11. SYNTH TRACK PARAMETERS LFO waveforms and trig modes.
12. MIDI TRACK PARAMETERS 12. MIDI TRACK PARAMETERS Here follows a description of the parameters that are on the MIDI tracks PARAMETER pages. The MIDI tracks parameters are saved together with the pattern. You can press and hold a [TRIG] key, and then change the parameters settings with the DATA ENTRY knobs to lock the parameters to other settings on any step of the pattern. For more information, please see “10.10.1 PARAMETER LOCKS” on page 34. 12.
12. MIDI TRACK PARAMETERS 12.3.1 CHAN Channel sets the MIDI channel the track sends MIDI data to. If you set this parameter to OFF, it turns the MIDI track off. Please note that this parameter cannot be parameter locked. (OFF, 1–16) 12.3.2 BANK Bank is used to send out a bank change message. (OFF, 1–128) 12.3.3 PROG Program change is used for sending out a program change message. (OFF, 1–128) 12.3.4 PB Pitch Bend controls the pitch bend data sent on the MIDI track. (OFF, -128.00–128.00) 12.3.
12. MIDI TRACK PARAMETERS 12.5.1 SEL1-SEL8 CC 1–8 Select specifies the CC commands whose values you control controlled by the parameters on the AMP PAGE 1 (CC VALUE) page. The selectable commands are the standard MIDI Control Change Messages. (0–119) 12.6 LFO PAGE The Low-Frequency Oscillator can be used to interact with the parameters found on the MIDI tracks’ SYN1, and FLTR pages. Customize the low-frequency oscillator behavior, orientation, and depth on this page.
12. MIDI TRACK PARAMETERS ONE makes the LFO start from the beginning when a note is trigged, run for one cycle and then stop. This setting makes the LFO function similar to an envelope. HLF makes the LFO start from the beginning when a note is trigged, run for half a cycle and then stop. For more information about the Trig Modes, please see the illustration at the end of section “11.11 LFO PAGE 2” on page 47. 12.6.8 DEP Depth sets the depth and polarity of the LFO modulation.
13. FX PARAMETERS 13. FX PARAMETERS Here follows a description of the parameters on the CHORUS, DELAY, REVERB, and MASTER PARAMETER pages. 13.1 EDITING THE FX PARAMETERS The Digitone’s Chorus, Delay, and Reverb are send effects and are on a pattern level. It means that all the sounds in a pattern shares the same effect settings but have individual send levels to the effects.
13. FX PARAMETERS 13.3.1 TIME Delay Time sets the delay time. The delay time settings are relative to the current BPM and is measured in 128th notes. (1.00–128.00) TIME setting Divide ratio 128 1 96 1/2. 64 1/2 48 1/4. 32 1/4 24 1/8. 16 1/8 12 1/16. 8 1/16 6 1/32. 4 1/32 3 1/64. 2 1/64 1 1/128 13.3.2 X Pingpong sets the delay signal to alternate across the stereo field. There are two settings: OFF lets you manually set the position of the delay signal in the stereo field.
13. FX PARAMETERS 13.4 REVERB The reverb send effect controls the persistence, and ambient characteristics, of the sound reverberations. It can simulate many different sonic locations, from huge spaces to small rooms. Press [FUNC] + [AMP] to access this parameter page. 13.4.1 PRE Pre-delay sets the pre-delay time of the Reverb. (0.00–127.00) 13.4.2 DEC Decay Time sets the length of the decay phase of the reverberated signal, essentially setting the size of the acoustic space. (1–127, INF) 13.4.
13. FX PARAMETERS 13.5.3 LPAN Left pan sets the pan of the audio from the INPUT L audio input. (L64–R63) 13.5.4 RPAN Right pan sets the pan of the audio from the INPUT R audio input. (L64–R63) 13.5.5 VOL Pattern volume sets the patterns overall audio level. This parameter basically has the same function as the MASTER VOLUME knob. 13.5.6 CHO Chorus Send sets the amount of sound from the INPUT L/R audio inputs sent through to the chorus effect.
14. GLOBAL SETTINGS MENU 14. GLOBAL SETTINGS MENU The GLOBAL SETTINGS menu offers settings that affect Digitone and are also used to manage Projects. Press [GLOBAL SETTINGS] to access the GLOBAL SETTINGS menu. Scroll the list by using [UP]/ [DOWN] or the LEVEL/DATA knob. Open a highlighted menu by pressing [YES]. 14.1 PROJECT 14.1.1 LOAD PROJECT Load Project opens a project selection screen where you can choose a project to load.
14. GLOBAL SETTINGS MENU 14.2.1 SOUND BROWSER Press [FUNC] + LEVEL/DATA to open the SOUND BROWSER. The SOUND BROWSER is used to preview and load Sounds. This menu shows a list of all sounds in the +Drive Sound library or the Sound pool. Scroll the list by turning the LEVEL/DATA knob or by pressing [UP]/[DOWN]. You can preview a Sound by highlighting it in the list and use the [TRIG] keys to play the Sound chromatically.
14. GLOBAL SETTINGS MENU 14.2.2 SOUND MANAGER Press [GLOBAL SETTINGS] and then select SOUND MANAGER to open the SOUND MANAGER. You use the SOUND MANAGER to manage sounds, for example, import, export, rename, and tag sounds. Select MANAGE SOUNDS and press [YES] to open the SOUND MANAGER. Sounds can be saved, loaded, renamed, tagged et cetera. Opening this menu shows a list of all sounds found in the +Drive Sound library or the Sound pool.
14. GLOBAL SETTINGS MENU COPY TO... Copies the selected Sounds to one of the following: SOUND POOL copies the selected Sounds to the first free slots of the Sound pool. +DRIVE copies the selected Sounds to the first free slots of the +Drive Sound library. +BANK (A–H) copies the selected Sounds to the first free slots of a specific bank inside the +Drive. EXPORT TO HERE exports the active track Sound and saves it to the selected slot. RENAME Opens a screen where you can rename the selected Sound.
14. GLOBAL SETTINGS MENU CLOCK RECEIVE sets whether or not Digitone responds to MIDI clock sent from external devices. CLOCK SEND sets whether or not Digitone transmits MIDI clock. PROG CH RECEIVE sets whether or not Digitone responds to incoming program change messages, which is useful when wanting to select patterns externally. The MIDI channel that listens to incoming program change messages is set in the MIDI CHANNELS menu. For more information, please see “14.3.3 CHANNELS” on page 62.
14. GLOBAL SETTINGS MENU Make sure to use the USB only setting for the INPUT FROM or OUTPUT TO settings on the MIDI PORT CONFIG menu when you send or receive large amounts of data for higher transfer speeds. OUTPUT CH selects whether the knobs sends data on the auto channel or the track channel. PARAM OUTPUT selects what type of MIDI messages the DATA ENTRY knobs sends. For information about which CC/NRPN parameters that are sent, please see “APPENDIX B: MIDI IMPLEMENTATION” on page 77.
14. GLOBAL SETTINGS MENU 14.4 SYSTEM The System menu contains OS UPGRADE and FORMAT +DRIVE options for the Digitone. 14.4.1 OS UPGRADE Use this menu option when you want to upgrade the Digitone OS. Use our free Elektron Transfer software to send the OS syx file. You can download the Elektron Transfer software and the OS syx file from the Elektron website. You must connect the device you use to send the OS syx file to either the MIDI IN or USB port of Digitone for the transfer to be possible.
15. STARTUP MENU 15. STARTUP MENU Press and hold the [FUNC] key while powering up the Digitone to access the STARTUP menu. Here you can perform a variety of tasks. Press the corresponding [TRIG] key to choose the different alternatives. 15.1 TEST MODE Press the [TRIG 1] key to enter TEST mode. For testing purposes, a short sound is sent through all outputs of the unit. You can perform this self-test if you have any trouble with your Digitone and suspect it may be due to a hardware problem.
16. SETUP EXAMPLES 16. SETUP EXAMPLES The Digitone likes to play with other machines. Whether it uses its ability to sync and play with legacy machines, is paired with the Digitone or controls other synthesizers. 16.1 DIGITONE WITH A MONOPHONIC BASS MACHINE MAIN OUT TO MIXER MIDI OUT TO DIN SYNC 24 MONO PHONE TO MIXER The DIN sync capabilities of the Digitone allows you to use gear from yesteryear. In this example, a legacy monophonic bass machine is used alongside the Digitone.
16. SETUP EXAMPLES Digitone works very well together with the Digitakt, and you can, for example, route the audio from the Digitakt through the Digitone and sync the tempo of the sequencers. 1. Use a standard MIDI cable to connect the Digitakt MIDI OUT jack with the Digitone’s MIDI IN jack. 2. Use two TR or TRS cables to connect the OUTPUT L/R from the Digitakt to the INPUT L/R on the Digitone. 3.
16. SETUP EXAMPLES 4. On the main screen, press [MIDI] and then [TRIG 1–4] to select a MIDI track. 5. Press [SYN1] and use the CHAN parameter to select a MIDI channel for the tracks output data. 6. Make sure to set your synthesizer to receive MIDI input in a way that corresponds to the settings you made in the Digitone. You are now ready to use the Digitone sequencer to control your synthesizer. For more information about using the Digitone sequencer, please see “10. THE SEQUENCER” on page 27.
17. USEFUL KEY COMBINATIONS 17. USEFUL KEY COMBINATIONS Use the key combinations below to speed up your workflow. GENERAL [FUNC] + [REC] performs a copy command. The action depends on the currently active page or mode. [FUNC] + [PLAY] performs a clear command. The action depends on the currently active page or mode. [FUNC] + [STOP] performs a paste command. The action depends on the copied content. TRACK/BANK/PATTERN SELECT [TRACK 1–4] keys to select a synth track.
17. USEFUL KEY COMBINATIONS [FUNC] + [PTN] (long press) toggles the metronome on/off. [FUNC] + [TRIG] adds lock trigs (when in GRID RECORDING mode). MUTES [FUNC] + [TRIG] keys mutes/unmutes one or several tracks. UNISON [FUNC] + [VOICE] toggles unison on/off. [VOICE] blinks if unison is not possible due to locked voices on other tracks. MODES [FUNC] + [BANK] enters MUTE mode. [FUNC] + double-press [BANK] toggles between PATTERN MUTE mode and GLOBAL MUTE mode.
18. TECHNICAL INFORMATION 18. TECHNICAL INFORMATION ELECTRICAL SPECIFICATIONS HARDWARE Impedance balanced audio outputs Main outputs level: +22 dBu Output impedance: 440 Ω unbalanced Digital-to-analog S/N ratio: 108 dB (20–20.000 Hz) 128 × 64 pixel OLED screen MIDI In/Out/Thru with DIN Sync out 2 × 1/4” impedance balanced audio out jacks 2 × 1/4” audio in jacks 1 × 1/4” stereo headphone jack 48 kHz, 24-bit D/A and A/D converters Electrically isolated Hi-Speed USB 2.0 port Power inlet: Center positive 5.
APPENDIX A: THE DIGITONE FM SYNTHESIS APPENDIX A: THE DIGITONE FM SYNTHESIS A.1 OVERVIEW At its core, the Digitone is a four operator Frequency Modulation (FM) synth in the style of the classic 80s implementations. However, unlike the early FM synths, the Digitone use its FM engine more like a complex tone generator than a complete synthesizer voice (although it does have this capability too). The Digitone signal path is more similar to a typical subtractive synth than a classic FM voice.
APPENDIX A: THE DIGITONE FM SYNTHESIS In some instances, an operator can be both carrier and modulator. This means that it outputs its result as a tone while also using it to modulate another operator. We have divided the operators into three groups: C, A, and B (B1 and B2) to lessen the complexity and make the Digitone easier to use. Since group B consist of two operators, the parameter controls for B are macro mapped to both operators. A.
APPENDIX A: THE DIGITONE FM SYNTHESIS C which always works like a carrier, is limited mostly to integers since it is generally used for carrying the base note of the sound. For more information, please see “11.3.2 RATIO C” on page 40. A has a more extensive number of ratio values to allow for more inharmonic relationships. For more information, please see “11.3.3 RATIO A” on page 40. B (B1 and B2) controls both operators at the same time. The minimum value for B1 and B2 is .25.
APPENDIX A: THE DIGITONE FM SYNTHESIS Reset on (ARST/BRST ON) Reset on on Reset Trig Trig Trig Trig Reset off (ARST/BRST OFF)off Reset Reset off Trig Trig Trig Trig The LEVEL parameters on the SYN2 page controls the amount of modulation from the A and B operators. For more information, please see “11.4.8 LEV B” on page 41. The LEVEL parameter for B is macro mapped to both operator B1 and B2 and control their modulation amount as per this graph: Level 127 0 Parameter value 43 64 85 B1 B2 A.
APPENDIX A: THE DIGITONE FM SYNTHESIS Saw (All partials) Saw reduction Odd/Even Mix Square (Odd partials) Square reduction Bell The Digitone uses a form of additive synthesis to create the harmonic series for the HARM parameter. Additive synthesis is one of the oldest forms of electronic sound generation. It is a quite simple form of synthesis but still very powerful. The basic principle is to add multiple sine waves together to form complex timbres. Each sine wave is called a partial.
APPENDIX A: THE DIGITONE FM SYNTHESIS 76 Ratio C Ratio A Ratio B Harm - Harm + Detune Feedback Mix
APPENDIX B: MIDI IMPLEMENTATION APPENDIX B: MIDI IMPLEMENTATION This appendix lists the CC and NRPN specifications for the Digitone. B.1 TRACK PARAMETERS TRACK Parameter CC MSB NRPN MSB NRPN LSB Mute 94 CC LSB 1 101 Track level 95 1 100 B.2 TRIG PARAMETERS TRIG PARAMETERS Parameter CC MSB NRPN MSB NRPN LSB Root 3 CC LSB 3 0 Velocity 4 3 1 Length 5 3 2 Filter Trig 13 LFO Trig 14 NRPN MSB NRPN LSB B.
APPENDIX B: MIDI IMPLEMENTATION SYN2 Parameter CC MSB B Env Reset Phase Reset CC LSB NRPN MSB NRPN LSB 88 1 22 89 1 8 NRPN MSB NRPN LSB Pitch All 1 23 Pitch 2 and 4 1 24 Ratio All 1 25 AB Level 1 26 AB Attack 1 27 AB Decay 1 28 AB End 1 29 AB Delay 1 30 COMBINED Parameter CC MSB CC LSB B.
APPENDIX B: MIDI IMPLEMENTATION B.
APPENDIX B: MIDI IMPLEMENTATION REVERB Parameter CC MSB Shelving Freq 75 Shelving Gain 22 Highpass Filter Lowpass Filter Mix Volume CC LSB NRPN MSB NRPN LSB 2 22 2 23 76 2 24 77 2 25 23 2 26 54 MASTER 80 Parameter CC MSB CC LSB NRPN MSB NRPN LSB Input L Volume 24 56 2 30 Input R Volume 25 57 2 32 Pan L 78 2 31 Pan R 79 2 33 Chorus Send 26 58 2 34 Delay Send 27 59 2 35 Reverb Send 28 60 2 36 Master Overdrive 29 61 2 37 Pattern Volume 95
INDEX INDEX Symbols K +DRIVE 14, 23 KEY COMBINATIONS 68 KEY SCALING 24 A AFTERTOUCH 25 ARPEGGIATOR 25 B BREATH CONTROLLER 25 C CHAINS 37 CHORUS 53 CHROMATIC MODE 21 CONDITIONAL LOCKS 35 CONNECTORS 12 COPY, PASTE AND CLEAR 36 CREDITS AND CONTACT INFORMATION 70 D DATA STRUCTURE 14 Patterns 14 Project 14 Sounds 14 DELAY 53 F FACTORY RESET 64 FILL MODE 36 FILTER 43 FM SYNTHESIS Algorithms 72 Carrier 71 FM ratios 72 Harmonics 74 Modulator 71 Operator envelopes 73 Operators 71 SYN1 Page 1 parameters over
INDEX Q QUANTIZE 32 QUICK SCROLLING 17 QUICK START 19 R RECORDING MODES Grid recording mode 28 Grid recording using Quick Note method 29 Grid recording using Track Note method 28 Live recording mode 29 REVERB 55 S SAFETY AND MAINTENANCE 3 SCALE 30 SCALE SETUP Length per pattern mode 33 Length per track mode 34 SEQUENCER 27 Conditional locks 35 Editing a pattern 27 Metronome 33 Micro timing 31 Parameter locks 34 Pattern control 27 Scale Menu 33 Selecting a pattern 27 Swing 36 Trig parameters page 30 SETUP
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