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 information for the Octatrack DPS-1 Carefully read these instructions and save them for future reference. Warning To reduce the risk of fire, electrical shock or product damage: • Do not expose the apparatus to rain, moisture, dripping or splashing and also avoid placing objects filled with liquid, such as vases, on the apparatus. • Only use accessories recommended by the manufacturer. • Do not unmount the enclosure. There are no user repairable parts inside.
Elektron machines are sold with a three year limited warranty, starting from the date of the original purchase. Being able to prove the date of the original purchase with an invoice or a receipt is necessary if you require warranty service. If the machine should need a repair during the warranty period no charges will be applied for parts or labor. This warranty is transferable to other owners should the Elektron machine be resold during the warranty period.
INTRODUCTION.............................................................................................................. 1 CONVENTIONS IN THIS MANUAL........................................................................................................ 1 THE BACKGROUND OF THE OCTATRACK ................................................................. 2 SUGGESTED APPLICATIONS OF THE OCTATRACK.......................................................................... 2 LOOPER DEVICE .......................
MOUNTING A SET .......................................................................................................................... 17 LOADING A PROJECT.................................................................................................................... 18 LOADING SAMPLES ............................................................................................................................ 19 ASSIGNING A MACHINE TO A TRACK ...........................................................
TRACKS ........................................................................................................................ 64 THE DIFFERENCE BETWEEN FLEX AND STATIC MACHINES ........................................................ 64 ASSIGNING MACHINES TO TRACKS ................................................................................................ 64 ASSIGNING MACHINES IN THE QUICK ASSIGN MENU .............................................................
TRACK COPY.................................................................................................................................. 85 TRACK CLEAR................................................................................................................................ 85 TRACK PAGE COPY....................................................................................................................... 85 TRACK PAGE CLEAR ......................................................................
CTRL 1 SETUP ..............................................................................................................................116 CTRL 2 MAIN .................................................................................................................................116 CTRL 2 SETUP ..............................................................................................................................117 OCTATRACK SETUP EXAMPLES .......................................................
FLEX SETUP ..................................................................................................................................... 2 STATIC MACHINE .................................................................................................................................. 3 STATIC MAIN..................................................................................................................................... 3 STATIC SETUP..........................................................
DARK REVERB .................................................................................................................................... 15 DARK REVERB MAIN ..................................................................................................................... 15 DARK REVERB SETUP .................................................................................................................. 15 APPENDIX C: MIDI CONTROL REFERENCE NOTE MAPPING .........................................
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INTRODUCTION INTRODUCTION Thank you for choosing the Octatrack DPS-1. The Octatrack is a dynamic performance sampler ideal for real-time sampling, remixing and audio manipulation. It features the improved Elektron step sequencer which makes it easy to bend and process samples in new and unique ways. To make the most of the machine, we would recommend you to carefully read this manual. Tutorial videos, found on the Elektron website, are also available.
THE BACKGROUND OF THE OCTATRACK THE BACKGROUND OF THE OCTATRACK The first relatively affordable samplers were released in the 1980’s and made a huge impact on the music scene of that time. Sonic elements, taken from completely new sources, could suddenly form a vital part of a composition. This resulted in the birth and evolution of several genres, for example hip hop. The concept of the sampler has since then branched off in several directions.
THE BACKGROUND OF THE OCTATRACK BACKING TRACK MACHINE Each of the eight stereo tracks can stream gigabyte-large samples. Despite the large size of the samples they can still be subject to timestretch. Change the tempo of the Octatrack and the backing track samples can be timestretched accordingly. On top of this you can treat the samples with the Octatrack effects and sequencer tricks.
PANEL LAYOUT AND CONNECTORS PANEL LAYOUT AND CONNECTORS FRONT PANEL The Octatrack front panel. For a more comprehensive list of key combinations, please see “SUMMARY OF BUTTON COMBINATIONS” on page 142. 1. HEADPHONES VOLUME CONTROL sets the volume for the stereo headphones jack. 2. [AUDIO RECORD] buttons are used for real-time sampling through the external inputs.
PANEL LAYOUT AND CONNECTORS 10. [MIXER] opens up a menu where settings for the in- and outputs can be made. Tracks can also be muted and solo:ed here. Pressing [FUNCTION] + [MIXER] opens the PROJECT menu. 11. Pressing the [MIDI] button activates the MIDI sequencer mode. A lit LED indi- cates the MIDI sequencer is active. When in the RECORD SETUP menu this LED indicates both the signal strength of the internal sample source and the internal source selection for recorder trigs.
PANEL LAYOUT AND CONNECTORS 26.[PATTERN PAGE] selects the active pattern page when GRID RECORDING mode is active. Above the [PATTERN PAGE] key four LEDs are found. They are used for indicating the pattern page currently being played or edited. If for example 64 steps, or four pattern pages, are used in a pattern, all four LEDs will be lit. For scale lengths up to 16 steps, the <1:4> LED will stay lit and pressing [PATTERN PAGE] will have no effect.
PANEL LAYOUT AND CONNECTORS OCTATRACK ACCESSORIES RACK MOUNT KIT The Octatrack can be rack mounted in a standard 19” rack, using the Octatrack rack mount kit which can be ordered separately. When rack mounted, the Octatrack occupies four standard height units plus additional space, usually about 1 HE, which is needed to accommodate cables plugged into the unit. When assembling the rack mount kit, make sure that you have a Philips screwdriver of the right size.
PANEL LAYOUT AND CONNECTORS • The USB connection may inject computer noise in the outputs of the Octatrack. Should this occur, use balanced cables or use a battery operated computer. Do not remove the safety grounding of your computer. It is there to protect against electric shocks. CARE INSTRUCTIONS To ensure many years of trouble free operation, please follow the advice below: • Never use any aggressive cleaners on the casing or the LCD overlay. Remove dust, dirt and fingerprints with a soft dry cloth.
OVERVIEW OF THE OCTATRACK STRUCTURE OVERVIEW OF THE OCTATRACK STRUCTURE The Octatrack is organized in a hierarchical way. The image below outlines the data structure of the Octatrack. SETS A set is the top level structure of the Octatrack. It can contain a near unlimited amount of projects plus one audio pool. The amount of samples in the audio pool as well as the amount of projects are limited only by the size of the Compact Flash card.
OVERVIEW OF THE OCTATRACK STRUCTURE recorder buffers, 128 sample slots dedicated to Flex machines, 128 slots dedicated to Static machines, various project specific settings and the BPM setting for all the patterns of the project. A project can therefore be regarded as a collection of compositions. The samples used to fill the Flex and Static sample slots are fetched from the audio pool of the set. The samples used by a project can also be collected and saved in the project folder.
OVERVIEW OF THE OCTATRACK STRUCTURE MACHINES Machines are assigned to the eight audio tracks. Each machine fills a different purpose. Read more about the various machine types in “Appendix A: MACHINE REFERENCE“. How machines are assigned to tracks is covered in “ASSIGNING MACHINES TO TRACKS” on page 64. Flex machines process samples. They offer instant control over samples since Flex samples are loaded to the RAM memory of the Octatrack.
THE USER INTERFACE THE USER INTERFACE The center of Octatrack editing is the LCD display. The main interface screen is shown below: 1. Track icons showing the machine assignments and status of the tracks. The active track is highlighted. Track assignments are abbreviated. “F” = Flex machine, “S” = Static machine, “T” = Thru machine, “N” = Neighbor machine, “P” = Pickup machine, “M” = Master track. Beneath the track assignment symbols the status of the track is shown.
THE USER INTERFACE MENUS AND WINDOWS When a menu or window is opened the function of certain buttons and/or knobs will change. When a window has functions mapped to certain interface controls, icons representing these controls will be visible in the opened window. The icons are: The [ARROW] buttons The [TRIG] keys The [FUNCTION] key The LEVEL knob • All windows can be closed using the [EXIT/NO] key. • Buttons or knobs not used by an active menu retain their original function.
THE USER INTERFACE [FUNCTION] + [STOP]. A clear operation is performed by pressing [FUNCTION] + [PLAY]. Paste and clear operations can be undone by repeating the button press combination. See the different sections in the manual for more information about where these commands are available. THE NAMING MENU The naming procedure is identical for the various naming menus that exist. The [LEFT] and [RIGHT] arrow keys are used to navigate between the letters.
THE USER INTERFACE • Copy, paste and clear commands are available in the naming menus. If you instead of pressing [FUNCTION] press [CUE] when performing the commands, the pop-up menu won’t open.
QUICK START QUICK START This quick start will guide you through some of the basic operations to allow you to start using the Octatrack right away. First connect it as described in section “CONNECTING THE UNIT”, on page 7. DEMO MODE While in this mode the Octatrack will be able to play back a set of 16 demo patterns without needing to have a Compact Flash card inserted. Demo mode is a great way to get acquainted with the basics of the Octatrack.
QUICK START RECORDING A PATTERN USING GRID RECORDING Use GRID RECORDING mode to input sample trigs to the sequencer. Sample trigs trig the machines and samples of the tracks. In depth information about this mode is found in section “GRID RECORDING MODE” on page 77. 1. Press the [REC] key to enter GRID RECORDING mode. The LED will light up, indicating the mode is now active. 2. Select the track to which you want to input sample trigs by pressing the relevant [TRACK] button. 3.
QUICK START PLEASE MOUNT ONE.” may appear. Press [ENTER/YES] and the menu where sets are mounted and created will automatically be opened. Otherwise, proceed to step 2. 2. Press [FUNCTION] + [MIXER] to open the PROJECT menu. Select PROJECT and press [ENTER/YES] or the [RIGHT] arrow key. Scroll down the list and select CHANGE, located in the SET section. 3. Press [ENTER/YES] to open the menu where sets are mounted and created.
QUICK START 1. Press [FUNCTION] + [MIXER] to open the PROJECT menu. Select PROJECT and press [ENTER/YES] or the [RIGHT] arrow key. Select CHANGE, located in the PROJECT section. 2. Press [ENTER/YES] to open the menu. 3. If the bundled Compact Flash card is inserted, and the set called “PRESETS” has been mounted, select the project “PRESETS” and press [ENTER/YES]. The project will be loaded. If a new Compact Flash is used select and press [ENTER/YES].
QUICK START 3. Select the machine you want to assign from the list of machines. Press [ENTER/YES] to assign it to the track. Note that only Flex and Static machines can play samples. Press the [RIGHT] arrow button to enter the sample slot list for the assigned machine. ASSIGNING A SAMPLE TO A MACHINE 1. Make sure a set with an audio pool containing samples is mounted. The audio pool belonging to the “PRESETS” set found on the bundled Compact Flash card is full of samples.
QUICK START back one step in the folder hierarchy. Localize the sample that should be loaded to the sample slot. Press [ENTER/YES] to load the sample to the sample slot list. • Press [FUNCTION] + [ENTER/YES] to preview samples from the main outputs. Press [CUE] + [ENTER/YES] to preview from the cue outputs.
SETS SETS A set is the top layer of the Octatrack hierarchy. Sets are completely self contained. Sets contain: • An amount of projects only limited by the size of the Compact Flash card. • An audio pool, where the samples shared by the projects of the set are stored. A set needs to be mounted in order for the Octatrack to be able to load a project belonging to the set. A mounted set and a loaded project is required for the Octatrack to work as intended.
SETS CREATING AND MOUNTING A SET Sets are created and mounted in the PROJECT menu. Press [FUNCTION] + [MIXER] to open this menu. Select PROJECT and press the right [ARROW] key or [ENTER/YES] to access the sub-menu options. Then select CHANGE, located in the SET section. Press [ENTER/YES]. The active project will automatically be synced to the Compact Flash card, storing all settings and assignments, before the menu where sets are changed is opened.
SETS • The content of an audio pool is exclusive to a set. If you want to use the same sample in two sets, the sample needs to be copied to both audio pools. ADDING CONTENT TO THE AUDIO POOL To add content to the audio pool the Octatrack should preferably be connected to a computer. 1. Connect the Octatrack to a computer using a USB cable. 2. Open the PROJECT menu, select SYSTEM and then USB DISK MODE. Press [ENTER/ YES] to make the Compact Flash card appear as a mass storage device in the computer.
PROJECTS PROJECTS Each set can contain an amount of projects only limited by the size of the Compact Flash card. A project contains: • • • • • • • 16 banks. 8 arrangements. 128 Flex sample slots and their associated Flex samples. 128 Static sample slots and their associated Static samples. 8 track recorders and their recorder buffers. A BPM setting controlling the tempo of the patterns. PROJECT menu settings. Projects can be regarded as a collection of compositions.
PROJECTS The opposite also applies, meaning Flex RAM memory can be increased at the cost of track recorder memory. The track recorders also can use Flex RAM when sampling. Read more on how to allocate RAM memory on page 39. LOADING AND CREATING A PROJECT Before loading a project, a set needs to be mounted. Read more about how to create and mount sets in section “CREATING AND MOUNTING A SET” on page 23. Projects are loaded in the PROJECT menu. Press [FUNCTION] + [MIXER] to open this menu.
PROJECTS Flex and Static machines in section “ASSIGNING FLEX AND STATIC SAMPLES TO MACHINES” on page 66. • To load samples to the sample slots the audio pool must contain samples. Read more about how to fill the audio pool with content in the section “AUDIO POOL” on page 23. LOADING FROM THE QUICK ASSIGN MENU The quickest method to load samples to the sample slots is to quickly double press a [TRACK] button. The QUICK ASSIGN menu for that track will appear.
PROJECTS • At the top of the Flex sample slot list the amount of RAM memory available to the project is shown. If Flex samples are present in the list their BPM and size in MB are also displayed. • Samples can be previewed in the sample slot lists. Select a sample and press [FUNCTION] + [ENTER/YES] to do so. This will preview the sample from the main outputs. Press [CUE] + [ENTER/YES] to preview from the cue outputs.
PROJECTS FILE BROWSER The file browser is used when locating samples that should be loaded to the Flex and Static sample slots. It is a representation of the audio pool of the set. Folders are indicated by a “(D)”. Open folders by selecting them and pressing the [RIGHT] arrow key or [ENTER/YES]. If an opened folder contains more files or folders than the menu list can show, two arrows pointing downwards will be visible in the lower right part of the screen.
PROJECTS the AUDIO folder the project folders will appear as empty when exploring them using the file browser. THE PROJECT MENU In the PROJECT menu various project related settings can be made. Press [FUNCTION] + [MIXER] to open the menu. Four main menus are located to the left. To access their submenus and setting options, select a main menu and press either [ENTER/YES] or the [RIGHT] arrow key. At the top of the menu the names of the currently active set and project are visible.
PROJECTS SAVE TO NEW saves a copy of the active project under a new name. After selecting this option a naming window will appear. If the currently mounted set contains no projects it is advised to save the current settings and sample assignments to a new project. EXPORT TO SET allows the currently active project to be exported to a different set. All samples located in the Flex and Static sample slot lists of the active project will be copied to the destination set.
PROJECTS • Use the USB connection to back up sets to a computer hard disk. OS UPGRADE is an alternative to the EARLY STARTUP menu method of OS upgrading. When upgrading the OS in this way an Octatrack OS file, with the file extension .bin, needs to be placed in the root of the Compact Flash card. Select OS UPGRADE and press [ENTER/YES]. A prompt will appear asking if you want to continue with the OS upgrade. Press [ENTER/YES] to upgrade the OS. Press [EXIT/NO] to cancel the operation.
PROJECTS CUE MUTES TRACK will when checked combine the cue and mute functions. When a track is being cued it will at the same time automatically be muted. DISABLE FUNCTION + ENCODER will when checked disable all functions that normally occur when [FUNCTION] is held and an encoder turned. DISABLE YES/NO ARM will when checked disable the one shot trig arming and disarming when simply pressing [ENTER/YES] or [EXIT/NO].
PROJECTS CARD TOOLS offers tools for managing the Compact Flash card. The card can be formatted and files copied, erased, renamed etc. FILE MANAGER is where files on the Compact Flash card are handled. It exists as an alternative to handling files and folders with a computer. When entering the FILE MANAGER mode, sequencer playback will be stopped and the project synced to card. Navigate in the file manager using the [ARROW] keys. At the top of the screen a folder path is visible.
PROJECTS PASTE will paste a copied file or folder. CUT is accessed when holding [FUNCTION]. Will cut a selected file or folder. • Be very careful when working within the file manager. If the wrong files are accidentally deleted or renamed projects can be ruined. • By copying a bank file to another project you can create a project featuring your favorite banks. Note that only sequencer data, parts, scenes and parameter settings will be copied when copying a bank file.
PROJECTS AUDIO controls the behavior of the outputs and selects whether track 8 should be used as a master track or not. Activate and deactivate settings by pressing [ENTER/YES] TRACK 8 offers two settings. Only one setting can be activated at a time. • MASTER will when active turn track 8 into a master track. The track effects of track 8 will then affect all the other tracks as well as any audio coming from the external inputs. • NORMAL will make track 8 function like all the other tracks.
PROJECTS NOISE GATE CD sets the dB level of the noise gate for input pair CD. The threshold is set with the LEVEL knob. Any signal below the threshold will be cut. An -INF setting deactivates the noise gate. DELAY COMPENSATE will when activated introduce a very short delay to the audio signal listened to via the DIR setting. If for example an audio signal is listened to through both the DIR input and a Thru machine/Pickup machine, both signals will then be in sync.
PROJECTS MIDI SEQUENCER contains the CC direct connect setting. CC DIRECT CONNECT is activated/deactivated by pressing [ENTER/YES]. Two settings exist. • ON will, when the Octatrack MIDI mode is activated, route MIDI CC messages straight to the MIDI output port. When MIDI mode is enabled and LIVE RECORDING mode is active, specified CCs in the CTRL 1 and CTRL 2 SETUP pages can also be recorded by the sequencer. Other CCs will not be recorded by the Octatrack, but still routed to the MIDI output port.
PROJECTS MEMORY contains settings related to sample bit depth and the track recorder memory distribution. Use the LEVEL knob or the [LEFT]/[RIGHT] arrow keys to change the settings. The total amount of RAM memory available to a project is 85,5 MB. This memory is shared by Flex RAM, which is used when loading Flex samples, and track recorder memory, which is used when sampling. In this menu the distribution of Flex RAM and track recorder memory can be set.
PROJECTS will have not have any track recorder memory allocated, making it impossible for them to sample unless DYNAMIC RECORDERS is set to YES. These track recorders will then use the Flex RAM memory when sampling. • NONE will add all track recorder memory to the Flex RAM memory, making the total amount of available RAM, which is 85.5 MB, consist of only Flex RAM. As no track recorder memory will be available to the track recorders, sampling will be not be possible unless DYNAMIC RECORDERS is set to YES.
PROJECTS PREROLL controls for how many bars the metronome will sound before the sequencer starts playing. This setting only affects the start of the sequencer when LIVE RECORDING mode is initiated. CUE VOLUME controls the metronome volume sent to the cue outputs. MAIN VOLUME controls the metronome volume sent to the main outputs. TONAL will when active give the click track a tonal character. When deactivated the click track will be constituted of short atonal impulses.
PROJECTS notes will affect the audio tracks, meaning tracks or machines can’t be trigged externally. AUDIO NOTE OUT sets what MIDI information the [TRIG] keys transmit. This setting contains three options. Select between the options by pressing the [LEFT] or [RIGHT] arrow keys or by pressing [ENTER/YES]. • INT will make [TRIG] key presses affect only internal machines or tracks. [TRIG] keys will not send out any MIDI notes, unless pressed when being on a MIDI track.
PROJECTS PROG CH RECEIVE will when checked make the Octatrack listen and react to incoming program change messages. Which channel the messages will be received on is dictated by the setting below. CHANNEL sets which channel the Octatrack will receive program change messages on. If set to AUTO any channel specified in the CHANNELS menu will be used. The auto channel is set in the CHANNELS menu. More info about this menu is found in the heading below.
PROJECTS • To avoid unwanted MIDI conflicts when controlling external instruments with the Octatrack MIDI sequencer, the MIDI channels assigned to the audio tracks should preferably not be the same as those assigned to the MIDI tracks. Read more about this matter in section “HOW MIDI IS ROUTED” on page 110. • Parameter locks and scene locks can be entered via the auto channel. This is done by holding down a [TRIG] key or a [SCENE] key and sending the corresponding CC message.
PROJECTS MAIN/CUE OUT sets the final output level of the main and cue outputs respectively. A zero setting will neither gain nor attenuate the signal. A +63 setting will boost the signal by 12 dB. AB/CD DIR offers parameters that will make the Octatrack act like a very basic mixer. It simply routes audio coming from the A/B and C/D inputs to the main outputs. An AB/CD DIR setting of 0 will not send any incoming audio to the main outputs.
PROJECTS • If track 8 has been turned into a master track it won’t be affected by mutes. • If Neighbor machines are used the track or tracks preceding the last Neighbor machine can not be muted. To mute the chain, mute the last Neighbor machine. • It is possible to mute a track without entering the MIXER menu. Just press [FUNCTION] + the [TRACK] key corresponding to the track you want to mute. Track solo’ing is only possible in the MIXER menu though. • The
PROJECTS • In the ARRANGER menu, patterns can be assigned individual tempo settings. Read more in the section “THE ARRANGER” on page 106.
TRACK RECORDERS AND PICKUP MACHINES TRACK RECORDERS AND PICKUP MACHINES There are two ways to sample with the Octatrack. Either by using track recorder sampling, which can be performed manually or by using recorder trigs, or by using specialized machines called Pickup machines, which essentially work like loopers. Read more about track recorder sampling in the section “TRACK RECORDER SAMPLING METHODS” on page 52. Pickup machine sampling is covered in section “PICKUP MACHINE SAMPLING” on page 54.
TRACK RECORDERS AND PICKUP MACHINES • Captured samples can be saved either directly in the audio pool or in the project folder. The setting controlling this is found in the PERSONALIZE menu. Read more on page 33. • Recorded samples can immediately be time stretched or time compressed to match the BPM of the Octatrack. Note that TSTR in the PLAYBACK SETUP menu must be set to either AUTO, NORM or BEAT for this to function. If set to AUTO, make sure time stretch is activated for the recorder buffer.
TRACK RECORDERS AND PICKUP MACHINES GO TO MEMORY CONFIG will open the MEMORY menu, where the allocation of the RAM memory can be set. Read more about this menu on page 39. RECORDING SETUP 1 MENU Enter RECORDING SETUP 1 menu by pressing [FUNCTION] + [AUDIO REC AB]. The bar at the bottom of the window indicates track recorder sampling and playback. It represents the length (or projected length) of the recorder buffer.
TRACK RECORDERS AND PICKUP MACHINES • D will make the recorder sample from input D. The captured sample will be in stereo even though only one input is used. • C+D will make the recorder capture a stereo file in which the signals from input C and input D are summed. RLEN sets the duration of the recording once the track recorder starts to sample. This setting is dependent of the BPM of the sequencer but disregards any scale settings of the track.
TRACK RECORDERS AND PICKUP MACHINES LOOP sets whether the captured sample will loop or not when played. • If a source is set to “-” and you try to sample from it, only silence will be recorded. RECORDING SETUP 2 MENU Enter RECORDING SETUP 2 menu by pressing [FUNCTION] + [AUDIO REC CD]. FIN applies a fade in when starting the recording. The value is expressed in sequencer steps. Applying a very short fade in can be used to avoid clicks that otherwise might occur when a recorded sample loops.
TRACK RECORDERS AND PICKUP MACHINES the track recorder is opened in the audio editor. Read more on in the section “ATTRIBUTES” on page 102. • OFF will make the recorder buffer immediately play back audio once it is trigged. This is the default option. • PLEN will, once the recorder buffer has been trigged, start playback once the pattern has played its full length. • 1... will time the start playback of the recorder buffer according to the set amount of sequencer steps.
TRACK RECORDERS AND PICKUP MACHINES enough to make the track recorder of the active track start sampling. Read more about RECORD QUICK MODE on page 33. • The QREC parameter is very useful when manually sampling external gear synced to the Octatrack. Perfect loops are then easy to capture. When manually trigging the loops, use QPL to ensure they are played in perfect sync with the Octatrack pattern.
TRACK RECORDERS AND PICKUP MACHINES A recorder buffer thus functions just like a Flex sample and needs, just like a regular Flex sample, to be assigned to a Flex machine before it can be trigged by the sequencer. However, when sampling with a Pickup machine, no buffer needs to be assigned since Pickup machines are hard-linked to the track recorders and recorder buffers. Read more how to assign samples to machines in section “ASSIGNING FLEX AND STATIC SAMPLES TO MACHINES” on page 66.
TRACK RECORDERS AND PICKUP MACHINES loop length, expressed in sequencer steps, are shown instead. To the right of the loop length, information about which trig mode that has been chosen for the Pickup machine is shown. One block equals ONE, two blocks equal ONE2, a standing block equals HOLD. MASTER AND SLAVE PICKUP MACHINES The first Pickup machine that records a loop acts as the master. The BPM of the Octatrack will automatically change according to the calculated BPM of the recorded loop.
TRACK RECORDERS AND PICKUP MACHINES When HOLD is selected, sampling is made by pressing and holding [AUDIO REC AB]. When the key is released, the Pickup machine will start playing the loop. To make overdubs, just press and hold [AUDIO REC AB] again while the loop is playing. Replacing is not possible in this mode, but you can achieve the same results by setting the GAIN parameter of the PICKUP MAIN menu to -INF, given OP, found in the same menu, is set to DUB.
TRACK RECORDERS AND PICKUP MACHINES • If the Octatrack seqencer is playing, use the QPL setting, found in the RECORDING SETUP 2 menu, to start playing the Pickup machines in sync with the pattern.
TRACK RECORDERS AND PICKUP MACHINES [AUDIO RECORD] KEYS FUNCTIONALITY FOR VARIOUS PICKUP MACHINE TRIG SETTINGS [AB]1 RECORDING [AB]1 STOPPED NO BUTTON 3 [CD]3 [CD] OVERDUBBING [AB] REPLACING [AB] [CD] [CD] PLAYING ONE2 RECORDING [AB]1 STOPPED [AB]2 [CD] [CD] OVERDUBBING [AB] REPLACING [AB] [CD] [CD] PLAYING HOLD RECORDING OVERDUBBING È— BUTTON PRESSED Ç— BUTTON RELEASED [AB]2 Ç [AB]1 È STOPPED 1) THE OLD RECORDING IS ERASED [AB]È [CD] [AB]Ç PLAYING 2) IF THE BUTTON IS NOT P
BANKS, PARTS AND SCENES BANKS, PARTS AND SCENES Each project contains up to 16 banks. Banks contain: • 16 patterns. • 4 parts. Each part contains: • • • • • Information about which machines are assigned to the tracks. Information about which Flex and Static samples are assigned to the machines. Track effects assignments. Track parameter settings. 16 scenes. Scenes contain: • Scene parameter locks. BANKS An Octatrack project consists of up to 16 banks. Each bank hosts up to 16 patterns.
BANKS, PARTS AND SCENES All patterns of a bank default to using part 1. If you for example want the machines of patterns A01 and A02 to use different samples or have different settings, it is important these patterns are linked to different parts. PART QUICK SELECT To link a part to the active pattern, press [FUNCTION] + [MIDI]. The PART QUICK SELECT menu will appear. The part currently linked to the pattern is shown with inverted graphics.
BANKS, PARTS AND SCENES • This command is great in a live setting if a lot of parameters has been tweaked and you want the part to sound as it originally did. SCENES Each part contains 16 scenes. A scene is a set of locked parameter values that can be assigned to the two scene slots of the crossfader. Scene locks function much like parameter locks, which are covered in “PARAMETER LOCKS” on page 80.
BANKS, PARTS AND SCENES on top of the LEVEL, VOL and DIR parameters. The difference lies in the way they handle volume fades. Locking them accordingly will make the crossfader fade between the volume of the tracks or inputs in an equal energy fashion. This way of locking volumes is suitable when wanting to avoid the volume dip that otherwise would occur when the crossfader is used to fade between two tracks and reaches the center position.
BANKS, PARTS AND SCENES SCENE CLEAR It is possible to clear all scene parameter lock data from a scene. Hold a [SCENE] button and press [PLAY]. A window saying “CLEAR SCENE” will appear. The scene assigned to the scene slot will be cleared. The clear scene operation can be undone by performing the operation one more time. The message “UNDO SCENE” will be shown in the display.
TRACKS TRACKS The Octatrack sequencer can control 8 audio stereo tracks and 8 MIDI tracks at the same time. This chapter will deal with the audio tracks. For an explanation of the MIDI tracks, see the section “THE MIDI SEQUENCER” on page 110. For a track to be able to process or affect sound a machine needs to be assigned to it. Flex and Static machines are used to process samples. Thru and Neighbor machines offer various audio routing options. Pickup machines act as looper devices.
TRACKS ASSIGNING MACHINES IN THE QUICK ASSIGN MENU Open the QUICK ASSIGN menu by quickly double pressing the [TRACK] button of the track you wish to assign a machine to. If the track contained a Flex machine the Flex sample slot list will be opened. If the track contained a Static machine the Static sample slot list will be opened. Press the [LEFT] arrow key to access the machine list. In all other cases the machine list will be accessed directly when opening the QUICK ASSIGN menu.
TRACKS • After assigning a Flex or Static machine, pressing the [RIGHT] arrow key will access the sample slot list of the selected machine. ASSIGNING FLEX AND STATIC SAMPLES TO MACHINES Once samples have been loaded to the sample slot lists they can be assigned to the Flex and Static machines of the tracks. If no samples have been loaded, read how to do so in section “LOADING SAMPLES TO THE SAMPLE SLOTS” on page 26. Both the QUICK ASSIGN menu and the PLAYBACK SETUP menu can be used when assigning samples.
TRACKS TRACK PARAMETER PAGES The five TRACK PARAMETER pages contain parameters that affect the assigned machine and effects. Each TRACK PARAMETER page is divided in two sub-pages. MAIN pages are accessed by simply pressing the [TRACK PARAMETER] keys and offer parameters that are possible to parameter lock, assign to scenes and modulate with the LFOs. Parameters located in the SETUP menus are accessed by either pressing [FUNCTION] + [TRACK PARAMETER] or by quickly double tapping a [TRACK PARAMETER] button.
TRACKS the procedure of loading samples to sample slots is described. For more information how to assign machines to tracks and samples to machines, see page 64. AMP MAIN Access the AMP MAIN page by pressing [AMP]. Here settings affecting the amplitude and the stereo positioning of the track are found. ATK sets the time it will take for the amplitude envelope to reach its full level. HOLD sets the hold time of the amplitude envelope.
TRACKS • ANLG will not necessarily make the envelope start from zero once a sample is being trigged. Instead, when a sample is trigged the envelope attack will start from the current envelope level. • RTRG will make the amplitude envelope start from zero every time a sample is being trigged. • R+T will make the amplitude envelope start from zero every time a sample trig or a trigless trig is activated by the sequencer.
TRACKS LFO MAIN Here the speed and depth settings of the three track LFOs are found. LFOs are always synced to the tempo of the Octatrack. Press the [LFO] button to access this page. SPD1 sets the speed of LFO1. The higher the value the faster the LFO runs. For LFO speed synchronised to straight beats, try settings of 16, 32 or 64. Note that the MULT settings in the LFO SETUP menu affect the LFO speed settings. The SPD1 setting is reflected by the SPD setting found in the LFO1 page of the LFO SETUP menu.
TRACKS • If you use an LFO to modulate the speed and depth of the two other LFOs, note that an LFO only can modulate LFOs with a lower number. This means LFO 3 can modulate the speed and depth of LFO 1 and 2 while LFO 2 only can modulate the speed and depth of LFO 1. WAVE selects the waveform shape of the LFO. Eleven basic waveforms plus eight LFO designer waveforms are available. MULT multiplies the SPD parameter by the selected value. TRIG sets how the LFO should react when a sample is trigged.
TRACKS menu. They are represented by small visualizations of their waveform shapes and are labeled T1-T8. Access the LFO designer by navigating to the DESIGNER menu in the leftside column. A custom LFO waveform consists of 16 steps where each step can have a unique value. The steps can either be stepped or interpolated. All changes made to the waveform are instantly visualized by the LFO waveform representation in the center of the LCD screen.
TRACKS EFFECT 1 AND EFFECT 2 Each track features two assignable effects. The selectable effects differ between the two effect pages. For a complete listing of all the effects and their main and setup parameters, see “Appendix B: EFFECTS REFERENCE“.
TRACKS DIRECT TRACK MUTING To directly mute a track, press [FUNCTION] + the [TRACK] button of the track that should be muted. The
TRACKS • By enabling the STUDIO mode, the default main and cue output routing behavior can be changed. STUDIO mode is handy when wanting to use the cue outputs as a pair of assignable outputs. Read more about this mode on page 36. • If a cued track is muted it will only be audible from the cue outputs. • When the CUE MUTES TRACK setting, found in the PERSONALIZE menu, is activated a track being cued will be muted at the same. Read more in the section “SYSTEM” on page 31.
PATTERNS PATTERNS The sequencer of the Octatrack shares a lot of similarities with the Machinedrum and Monomachine sequencers but have been considerably improved. It is incredibly powerful and plays an extremely important role in processing sounds and samples. The sequencer stores information in patterns. Patterns consist of information about how the eight audio tracks and eight MIDI tracks should be played back. All adjustments made to patterns are automatically saved.
PATTERNS Select a pattern from another bank by first selecting the bank by using the [BANK] + [TRIG] keys. After the “CHOOSE PATTERN” prompt appears, press one of the [TRIG] keys to select a pattern located in the chosen bank. PATTERN CONTROL Pressing [PLAY] will start the playback of a pattern. Pressing [STOP] will stop the playback of all tracks, except tracks containing Thru machines.
PATTERNS • All trigs of a track can be shifted forwards or backwards on the sequencer. While in GRID RECORDING mode, hold down [FUNCTION] while pressing the [LEFT] or [RIGHT] arrow keys to perform the trig shift. LIVE RECORDING MODE LIVE RECORDING mode is the second method of adding trigs to the tracks. In this recording mode, the [TRIG] keys can be played in real time to input trigs. It is also possible to enter parameter locks in real time.
PATTERNS SAMPLE TRIGS Sample trigs trig the machine of the track, making the sample assigned to the machine play. Enter by simply pressing a [TRIG] key. Sample trigs are indicated by red LEDs. TRIGLESS LOCKS Trigless locks do not trig machines, LFOs or FX envelopes. Enter them by pressing [FUNCTION] + [TRIG]. Trigless locks are indicated by half-bright green LEDs. Already existing sample trigs can be turned to trigless locks by pressing [TRIG] + [EXIT/NO] twice.
PATTERNS Pressing [TRACK] + [ENTER/YES] will also re-arm all one shot recorder trigs of a track. The one shot recorder trigs will keep re-arming for as long as the key combination is held. Pressing [TRACK] + [EXIT/NO] will disarm all one shot recorder trigs of a track. These operations can be performed even if GRID RECORDING mode is not active. Nor do the RECORDING SETUP menus or the TRACK TRIG EDIT menu have to be open.
PATTERNS To apply parameter locks, GRID RECORDING mode should be active. Add locks to a trig by pressing and holding the [TRIG] key of the trig. Adjust the parameters you want to lock using the DATA ENTRY knobs. The graphics in LCD will become inverted for the locked parameter and the locked parameter value will be displayed. The LED of the locked trig will begin to flash rapidly, indicating the trig now contains a parameter lock.
PATTERNS mode. The track corresponding to the [TRIG] key pressed will be affected. This is good when wanting to for example trig the filter or the LFO but not the sample. While in LIVE RECORDING mode it is possible to real-time record [TRIG] key presses to place sample trigs on the sequencer. Trigless trigs, instead of sample trigs, can be recorded if [FUNCTION] is held while pressing the [TRIG] keys. CHROMATIC This mode enables chromatic playback of samples.
PATTERNS presses to make different samples play back on the same track. Trigged samples will then be entered as sample locks on the active track. The sample slots are divided in 4 rows and each row represents 16 sample slots. Sample slots containing samples are indicated by small white squares. Sample slots not containing any samples are greyed out. Press the [PATTERN PAGE] to move between the rows.
PATTERNS DELAY CONTROL When in this mode the TIME parameters of any Echo Freeze Delay effects can quickly be set. Green lit LEDs above the [TRIG] keys 9-16 indicate which tracks that contain the Echo Freeze Delay effect. Select one or more of these tracks by pressing and holding the corresponding [TRIG] keys. When doing so the eight [TRIG] keys to the left will adjust the TIME parameter of the selected delays. The lower the [TRIG] key number, the lower the TIME value.
PATTERNS • The part assigned to the pattern won’t be copied when performing a pattern copy command. Should you paste the copied pattern to another bank and want the same part assigned, the part needs to be copied and pasted separately. PATTERN CLEAR Clearing a pattern will remove all trigs from all tracks. Before performing a pattern clear operation, make sure you are not in GRID RECORDING mode. If this mode is activated, press [REC] to deactivate it. Select the pattern you want to clear.
PATTERNS performing a track page copy operation, make sure you are in GRID RECORDING mode. If not, press [REC]. Select the track containing the data you want to copy, then select the track page you want to copy by pressing the [PATTERN PAGE] key. Hold the [PATTERN PAGE] key and press [REC] to copy the track page. A message saying “COPY PAGE” page will appear. Select the track page you want to paste the copied page to by pressing the [PATTERN PAGE] key.
PATTERNS Press and hold the trig you want to copy and press the [REC] key. A window saying “COPY TRIG” will appear. Hold the [TRIG] key corresponding to the location you want to paste the trig to and press the [STOP] key to complete the paste operation. A window showing “PASTE TRIG” will be shown. TRIG LOCK CLEAR Instead of removing parameter locks one by one from a trig you can use the clear trig locks command. First make sure you are in GRID RECORDING mode. If not, press [REC].
PATTERNS Pressing [ENTER/YES] while in this menu can be used to quantize trigs to approximately 50 percent of their original micro timing value. Use this operation when you want to tighten up a track where micro timing has been used, but not fully quantize it. Quickly perform the operation 6 times in a row to have the micro timing cleared for all trigs. Read more about micro timing in the section “MICRO TIMING” on page 91.
PATTERNS the sequencer. When pressing and holding a recorder trig, the source or sources the recorder trig samples from are indicated by lit
PATTERNS SCALE MODE PER TRACK allows every track in a pattern to have unique length and time signature settings. Complex poly rhythms are easy to obtain when this mode is active. For more information how to set individual track lengths and time signatures, see section “SCALE SETUP” on page 92. USE PAT SET. CHAIN BEHAVIOR specifies for how long the active pattern will play before a cued pattern will start playing. To be able to change this setting, the USE PRJ SET. setting below must be unchecked.
PATTERNS To start the playback of for example audio track 1, it needs to be trigged manually by pressing the first [TRIG] key. To trig MIDI track 1, press [TRIG] key 9 while in MIDI mode. Disconnected tracks will be stopped when [STOP] is pressed. Read more about track trigging in the section “TRACK” on page 81. ONESHOT TRACK controls whether the track will loop or not. When the setting is activated the track, once it has started playing, will stop after it has reached its full length.
PATTERNS holding the [TRIG] key of the trig you want to micro edit, then press either the left or right [ARROW] button. TRIG COUNT sets the number of times the sample trig should be repeated. Adjust this setting with the up and down [ARROW] keys. TRIG OFFSET controls where the trig should be placed on the 1/384 step resolution micro timing grid. Move the trig on the grid by pressing the left and right [ARROW] buttons.
PATTERNS pattern, the [PATTERN PAGE] key is while in GRID RECORDING mode used to toggle the focus between the different pattern pages. TEMPO MULTIPLIER offers seven possible settings, 1/8X, 1/4X, 1/2X, 3/4X, 1X, 3/2X and 2X. A setting of 1/8X will play back the pattern at one eighth of the original tempo. 3/4X plays the pattern back at three quarters of the global tempo. 3/2X will play back the pattern twice as fast as the 3/4X setting. 2X will make the pattern play at twice the BPM.
PATTERNS MASTER SCALE sets the general time signature of the pattern. This setting is completely independent of the individual track tempo multiplier settings. It is used to define the overall time signature of the pattern, which affects MIDI clock if sent out by the Octatrack. When an Octatrack arrangement is being controlled from an external MIDI device, the song pointer position will be affected as well. • Press the [PATTERN PAGE] key for quickly changing the total length of the track.
THE AUDIO EDITOR THE AUDIO EDITOR The audio editor is where editing of imported or recorded samples takes place. A number of tasks can be carried out here. ACCESSING THE AUDIO EDITOR The audio editor can be accessed in numerous ways. ACCESS FROM THE QUICK ASSIGN MENU Open the QUICK ASSIGN menu by double-clicking a [TRACK] key. In the Flex or Static sample slot list, select the sample you wish to edit and press [FUNCTION] + [BANK] to open it in the audio editor.
THE AUDIO EDITOR Trim and loop point settings are by default not linked to samples per se, but to sample slots. It is possible to load the same sample to two separate slots and trim them completely differently. Any trim and loop point information will, unless linked to the sample using the save commands found in the FILE menu, be lost when assigning a new sample to the sample slot location of the active sample. Navigate in the waveform using the LEVEL knob or the [LEFT]/[RIGHT] keys.
THE AUDIO EDITOR • RESET TO DEFAULT resets the start, end and loop points to their default positions. The start and loop points will be located at the absolute beginning of the sample, the end point at the absolute end of the sample. • CHANGE VIEW changes the waveform visualization if a stereo sample is used. It is possible to visualize the left, right or both the left and right waveforms simultaneously.
THE AUDIO EDITOR • DELETE SLICE will delete the selected slice. This alternative only appears when the waveform marker is positioned on a slice. • REVERSE SLICE will reverse the audio content of the selected slice. • NORMALIZE SLICE will apply normalization to the selected slice. • DELETE ALL SLICES will delete all slices. • CREATE SLICE GRID will create a number of slices spread out between the start and end points set in the TRIM menu.
THE AUDIO EDITOR • STRT values exceeding the amount of slices will select the last slice. If the sample contains for example 16 slices, STRT values ranging from SL17 - SL64 will select slice 16. • Hold [FUNCTION] while moving the waveform, loop, start or end markers to snap the selected marker to a zero amplitude crossing. Zero crossings are indicated by a small rectangle in the middle of the marker.
THE AUDIO EDITOR CROP TO SELECTION removes all audio data outside the selection, and resets the trim points so they span across the selected section. Any slices located outside the selection will be moved inside the selection prior to the crop operation. A warning will pop up should this happen. To quickly crop a sample according to the set trim points, simply go from the TRIM menu to the EDIT menu. The trim section will then be pre-selected.
THE AUDIO EDITOR • PASTE 0dB is the default selection. Pasted content will replace the content already present. • PASTE -6dB will attenuate pasted content by 6 dB. • MIX 0dB will mix pasted content with the content already present. • MIX -6dB will mix pasted content with the content already present. The mixed audio will at the same time be attenuated by 6 dB. ROTATE POS TO START rotates the audio data so that the cursor position becomes the new start position of the sample.
THE AUDIO EDITOR • CH R VIEW displays only the right channel of the audio file. • STEREO VIEW displays both the left and the right channels. ATTRIBUTES Access by pressing [EFFECT 1] while in the audio editor. Here general information about the selected or active sample is found. The settings made here can be permanentely linked to a sample using the save commands found in the FILE menu, covered on page 104.
THE AUDIO EDITOR • If the TSTR parameter in the FLEX/STATIC PLAYBACK SETUP menu is set to AUTO, different timestretch settings can be applied to different samples used in a track. ORIGINAL TEMPO displays the calculated BPM of the sample. If it is not correct, it can be changed using the LEVEL knob. This setting will affect the sound of a timestretched sample. For correct results it should be set to match the original BPM of the sample.
THE AUDIO EDITOR • Quantized trigging is a powerful way of keeping manually trigged samples in sync with the other tracks of a pattern. This is especially useful when manually trigging fill-in loops or recorder buffers. FILE This commands in this menu varies depending on if a Flex or a Static sample is being edited. Access by pressing [EFFECT 2] while in the audio editor. LOAD NEW SAMPLE will open the file browser, making it possible to replace the sample currently residing in the sample slot.
THE AUDIO EDITOR • If you want to save a sample captured by a track recorder, open the recorder buffer in the audio editor and use the SAVE TRIM AS NEW SAMPLE or the SAVE TRIM AND AUTO-ASSIGN commands. It is also possible to save recorder buffers from the RECORDING SETUP menus. Press [FUNCTION] + [BANK] to open the RECORDER SETUP EDIT menu, where the save command is found.
THE ARRANGER THE ARRANGER An arrangement is basically a number of patterns played in sequence. Each row in an arrangement can have settings for pattern offset and length, scene assignments, tempo and mute. You can also loop segments of an arrangement or jump between arrangement rows. All this makes for a very powerful way of arranging your patterns. An arrangement can be up to 256 rows of length and each project can host 8 arrangements. Enter ARRANGEMENT mode by pressing [FUNCTION] + [PATTERN].
THE ARRANGER EDIT The arrangement editor is where the arrangement is built. In the ARRANGER menu, choose EDIT and press [ENTER/YES] to open this menu. The two filled arrows on each side of one of the rows are the position pointers. They indicate which arrangement row the sequencer currently is playing. It is possible to start playback from any row position. Move the editing focus to the row you wish to start the playback from and press the [ENTER/YES] button.
THE ARRANGER • REM adds text to the arrangement. This is only a visual cue and will not affect the timing of the arrangement. Turn the LEVEL knob anti-clockwise until the location before pattern A01 is reached. When “HALT:” appears, turn the knob one more step anti-clockwise and “REM:” will be displayed. Press the [RIGHT] arrow key and then press [YES]. The naming window will open. Enter your text here. REP is the column where the amount of times the arrangement row will be repeated is set.
THE ARRANGER ARRANGEMENT menu. An asterisk next to an arrangement means the arrangement contains unsaved settings. CHAIN Will make the arrangement selected in this menu start play immediately after the currently playing arrangement has finished playing. It has a similar function to pattern chaining, with the exception that no more than one arrangement at a time can be chained.
THE MIDI SEQUENCER THE MIDI SEQUENCER The Octatrack MIDI sequencer consists of 8 dedicated MIDI tracks. It is used to control external, MIDI equipped, gear. Each MIDI track can trigger a chord of up to 4 notes with adjustable velocity and length, control pitch bend and aftertouch as well as 10 freely assignable control change parameters. Any MIDI channel can be assigned to the MIDI tracks and several tracks can share the same channel.
THE MIDI SEQUENCER receiving data. In the PROJECT menu you can see which MIDI channels are assigned to which audio tracks. Read more in the section “MIDI” on page 41. In MIDI mode, notes received on the auto channel or the MIDI channel of the active track are mixed with the MIDI data sent by the track. Incoming notes will also be arpeggiated according to any arpeggiator settings made to the MIDI track. Depending on the CC DIRECT CONNECT setting, incoming MIDI messages will be handled differently.
THE MIDI SEQUENCER • When CC DIRECT CONNECT is enabled the Octatrack can record and play back knob tweaks made directly on an external MIDI device. Connect for example a synthesizer, which preferably has been set to local off, to both the MIDI IN and OUT ports of the Octatrack. Make sure the synth knobs send CCs and that those CC messages are sent either to the auto channel or to the MIDI channel of the active track.
THE MIDI SEQUENCER NOT2-NOT4 will add more notes, offset from the root note by the selected values, to a note trig. This makes it possible for a MIDI track to send out chords consisting of up to 4 notes. If the root note is changed the offset notes will transpose accordingly. When a [TRIG] key is pressed and held the added notes can be seen on the mini-keyboard. A value of 0 will remove an offset note. NOTE SETUP Here the MIDI channel that the MIDI track should send data to is specified.
THE MIDI SEQUENCER • OFF will send out a MIDI note off message before the start of each arpeggiated note. MODE activates the arpeggiator and controls how the arpeggiated notes will be sorted. • OFF will deactivate the arpeggiator. • TRUE will play the notes in the same order as they were inserted. • UP will play the notes in an ascending order, from the lowest note to the highest, on a per octave basis.
THE MIDI SEQUENCER simultaneously it is possible to adjust the note offset values of more than one arpeggiator step at a time. Arpeggiated notes and any note offsets can be forced to play according to a given key scale. The F knob sets the key scale. When set to OFF all notes and note offsets will play according to the set notes.
THE MIDI SEQUENCER Parameter values can then be set as usual by using the DATA ENTRY knobs. Disable the parameters again by repeating the enabling procedure. PB controls the pitch bend setting. AT controls the after touch setting. CC1-CC4 controls the values that should be sent for the CC commands specified in the CTRL 1 SETUP page. CTRL 1 SETUP Here the CC commands whose values are controlled in the CTRL 1 MAIN page are selected.
THE MIDI SEQUENCER can then be set as usual by using the DATA ENTRY knobs. Disable the parameters again by repeating the enabling procedure. CC5-CC10 controls the values that should be sent for the CC commands specified in the CTRL 2 SETUP page. CTRL 2 SETUP Here the CC commands whose values are controlled in the CTRL 2 MAIN page are selected. Settings in this menu are adjusted just like when in CTRL 1 SETUP. CC5-CC10 specifies the CC commands that will be controlled on the CTRL 2 MAIN page.
OCTATRACK SETUP EXAMPLES OCTATRACK SETUP EXAMPLES The flexibility of the routing of the Octatrack makes it easy to integrate the machine in a lot of various studio and live setups. Here are a few examples of how it can interact with external audio sources. OCTATRACK AS A PERFORMANCE HUB fig. 1. Fig 1. A Machinedrum and a Monomachine are MIDI slaved and connected to the two input pairs of the Octatrack. The Octatrack acts like a super mixer.
OCTATRACK SETUP EXAMPLES Machinedrum and Monomachine will now be slaved to the BPM and the sequencer transport controls of the Octatrack. 4. Open the MIXER menu by pressing [MIXER]. Make sure DIR for both AB and CD is set to 127. This will route the incoming sound to the Octatrack main outputs at full volume. 5. Press [PLAY] on the Octatrack. The other Machines should start playing as well and their audio will be heard through the Octatrack main outputs.
OCTATRACK SETUP EXAMPLES 3. Open the PROJECT menu by pressing [FUNCTION] + [MIXER]. Select MIDI and then MIDI. Press [ENTER/YES]. Enable both TRANSPORT SEND and CLOCK SEND. 4. Open the MIXER menu by pressing [MIXER]. Make sure DIR for AB and CD is set to 0. This will make incoming sound available to only Thru machines. 5. Assign a Thru machine to track 1. Set INAB to A B. This will make the machine listen to input A/B, which is the input pair the Machinedrum is connected to.
OCTATRACK SETUP EXAMPLES OCTATRACK WITH EXTERNAL EFFECTS fig. 2. Fig 2. The Octatrack output pair is connected to an external effects device. The outputs of the external effects are connected to input pair AB. The input pair is routed to the Octatrack main out. Cueing a track will send it to the external effects and the affected signal can then be treated further by the Octatrack. The two Sidstations are ready to be sampled and processed.
OCTATRACK SETUP EXAMPLES 5. Assign a Thru machine to track 3. Set INCD to C. This will make the machine listen to input C, which is the input the first Sidstation is connected to. Assign a Thru machine to track 4. Set INCD to D. This will make the machine listen to input D, which is the input the second Sidstation is connected to. 6. Assign recorder buffer 1 to track 1 and recorder buffer 2 to track 2. These buffers will play back the sampled audio from the Sidstations. 7.
OCTATRACK SETUP EXAMPLES OCTATRACK PROCESSING LIVE INSTRUMENTS fig. 3. 40* 40* 40* 40* 40* 40* 40* 40* 40* 40* 40* 40* 40* 40* 40* 40* :;,9,6 6<; 40* 3 9 3 3 3 3 9 9 9 9 3 3 9 3 9 3 05:,9; 05:,9; 05:,9; .(05 .(05 .(05 .(05 .(05 .(05 .(05 .(05 .(05 .
OCTATRACK SETUP EXAMPLES 5. Assign recorder buffer 1 to track 1. Assign recorder buffer 2 to track 2. Do likewise for tracks 3 and 4. Now guitar, bass, synth and vocals can be sampled and immediately played back. 6. You can now listen to the incoming sounds using a pair of headphones connected to the Octatrack headphones output. The incoming sounds will not be heard on the main outputs as they are cued.
OCTATRACK SETUP EXAMPLES 3. Open the MIXER menu by pressing [MIXER]. Make sure DIR for both AB and CD is set to 127. This will route the incoming sound to the Octatrack main outputs at full volume. 4. Press and hold [SCENE A]. Note how the DIR parameters change to XDIR. While keep- ing [SCENE A] pressed, turn knob B so XDIR AB is set to MAX. Then turn knob E so XDIR CD says MIN. Release [SCENE A] and press and hold [SCENE B]. Turn knob B so XDIR AB is set to MIN. Then turn knob E so XDIR CD says MAX.
OCTATRACK SETUP EXAMPLES 5. Select track 1 and press and hold [SCENE A]. Note how the LEV parameter changes to XLV. While keeping [SCENE A] pressed, turn the LEVEL knob so XLV is set to MAX. Release [SCENE A] and press and hold [SCENE B]. Turn the LEVEL knob so XLV is set to MIN. 6. Select track 5 and press and hold [SCENE A]. While keeping [SCENE A] pressed, turn the LEVEL knob so XLV is set to MIN. Release [SCENE A] and press and hold [SCENE B]. Turn the LEVEL knob so XLV is set to MAX.
OCTATRACK SETUP EXAMPLES OCTATRACK AS A MIDI CONTROL CENTER fig. 5. A 1 2 3 4 5 6 7 B C D E F 8 Fig 5. The MIDI OUT of an external synthesizer is connected to the Octatrack MIDI IN. The Octatrack MIDI OUT is connected to the MIDI IN of the synthesizer. A synth module is connected to the MIDI THRU of the synthesizer. The Octatrack can MIDI control both the synthesizer and the synth module.
OCTATRACK SETUP EXAMPLES 3. Make sure CC DIRECT CONNECT is activated. 4. Exit the menu and open the PROJECT -> MIDI -> CHANNELS menu. Set the auto chan- nel to 16. Now the active track, regardless if it is an audio or MIDI track, will always respond to messages sent on this channel. 5. Press [MIDI] to access the MIDI mode of the Octatrack. 6. Select track 1 and either double-tap the [PLAYBACK] key or press [FUNCTION] + [PLAYBACK] to open te NOTE SETUP page. Turn knob A to set CHAN to 1.
OCTATRACK SETUP EXAMPLES course also possible to sequence the cutoff knob by turning the C knob when the CTRL 1 MAIN page is active. To control the cutoff parameter of the synth module, select MIDI track 2, make the CTRL 1 page active and turn the C knob. The keyboard of the synthesizer can now control both the audio tracks of the Octatrack as well as play melodies on both the synthesizer itself and the synth module. To make the synthesizer play itself, simply make MIDI track 1 active.
OCTATRACK TUTORIALS OCTATRACK TUTORIALS The Octatrack is capable of many things. Here a few tutorials highlighting the most prominent features are presented. For video tutorials, please see www.elektron.se. TRACK RECORDER SAMPLING With the Octatrack two main methods of track recorder sampling exist. Manual sampling is performed by manually pressing buttons, while recorder trig sampling samples using recorder trigs.
OCTATRACK TUTORIALS SAMPLING USING RECORDER TRIGS The use of recorder trigs offers a considerably more powerful method of sampling. They offer automated sampling. To use recorder trigs when sampling, please follow these steps. 1. If you are sampling from the external inputs, make sure audio from an external device is being sent to the Octatrack inputs. The
OCTATRACK TUTORIALS 2. Any recorder buffer can be assigned to any track. To make it easier to remember the recorder buffer track assignments, it is recommended to assign the recorder buffer to the track whose track recorder will be used when sampling. For example, if the track recorder 1 should be used, assign recorder buffer 1 to track 1. PICKUP MACHINE SAMPLING Pickup machine sampling are conducted by using Pickup machines.
OCTATRACK TUTORIALS 8. Press the [TRACK 1] key to access the PLAYBACK MAIN menu of the Pickup machine assigned to track 1. Set PTCH to 0, DIR to FWD, GAIN to 0 and OP to DUB. As this Pickup machine will be used to capture the master loop, the LEN parameter fill no function and can thus be set to any value, preferably to OFF. 9. Play the synth. 10.Press [AUDIO REC AB] to start sampling with the Pickup machine of track 1. Press [AUDIO REC CD] to stop recording. The recorded sample will start to loop.
OCTATRACK TUTORIALS 6. Open the RECORDING SETUP 2 menu [FUNCTION] + [AUDIO REC CD]. Set FIN to 0.063, FOUT to 0.063, AB to 127, QREC to OFF, QPL to OFF and CD to 0. 7. Make the same settings for the Pickup machine on track 2. 8. On the foot controller, five pedals are going to be used. Set pedal 1 so it transmits MIDI note 60, a C note. This will initiate the combo recording, meaning the Pickup machine will sample from both input pairs as well as the internal source.
OCTATRACK TUTORIALS LOOP REMIXING USING SLICES 1. Make sure pattern A01 is loaded. Mute all tracks except track 1, containing the Flex sample ACDRUM. Select track 1 by pressing the corresponding [TRACK] key. 2. Press [FUNCTION] + [PATTERN PAGE] to open the SCALE SETUP menu. Set the track length to 16/16. 3. Activate the GRID RECORDING mode by pressing [REC]. Make sure the LED lights up. Then press [FUNCTION] + [PLAY] to clear all trigs of the track. 4.
OCTATRACK TUTORIALS 5. Double press the [PLAYBACK] key to open the PLAYBACK SETUP menu. Set SLIC to ON. This will make the STRT parameter select between any available slices. 6. Press [TRACK 1] + [BANK] to open the sample in the audio editor. Open the SLICE menu by pressing the [AMP] key. 7. Press [ENTER/YES] to open the slice open the SLICE EDIT menu. Select CREATE SLICE GRID and press [ENTER/YES]. Select 16 SLICES and press [ENTER/YES]. The drum loop will be divided in 16 slices. 8.
OCTATRACK TUTORIALS with the knob A. A good position would be right before the downbeat. Press [FUNCTION] + [ENTER/YES] to preview the sample from the start point. 6. Press [PLAY] to start the sequencer of the Octatrack. 7. Press [TEMPO] to open the TEMPO menu. Turn the LEVEL knob to adjust the tempo. Once the sample loops seamlessly you know that this BPM is the original tempo of the sample. 8. Exit the TEMPO menu by pressing [EXIT/NO].
OCTATRACK TUTORIALS 3. Double-click either [TRACK 1] or [TRACK 5] to open the Static sample slot list. Select an empty sample slot and press [ENTER/YES] to open the file browser. Select a long sample, preferably a complete song, and press [ENTER/YES] to load it to the sample slot. Load three or four songs to the Static sample slot list. 4. Prepare the songs as described in the tutorial “PREPARING LOOPS AND SAMPLES” on page 136.
OCTATRACK TUTORIALS THE OCTATRACK AS AN EFFECTS PROCESSOR The Neighbor machines offer the possibility to chain tracks. As the sound from the first track in the chain will be routed through the rest of the chained tracks and their respective track effects, very powerful effects chains can be formed. In this example an external sound source will be affected by up to eight track effects. 1. Connect an external sound source to input pair AB of the Octatrack.
EARLY STARTUP MENU EARLY STARTUP MENU To access this menu, hold down the [FUNCTION] key while powering up the Octatrack. From here you can perform a variety of tasks. To choose the different alternatives, press the corresponding [TRIG] key. TEST MODE To enter this mode, press the first [TRIG] key. If you have any trouble with your Octatrack and suspect it may be due to a hardware problem, perform this self test. Everything should come up as shown below.
EARLY STARTUP MENU SEND UPGRADE With this option you can send the OS installed in your Octatrack to a friend’s unit. 1. Connect the MIDI OUT on the Octatrack with the latest OS to the MIDI IN on the Octa- track that is going to be upgraded. Enter the EARLY STARTUP menus on both machines. 2. Enter the MIDI UPGRADE mode in the Octatrack that is supposed to be upgraded by pressing the third [TRIG KEY]. Make sure you see the message “READY TO RECEIVE MIDI UPGRADE…” on the screen. 3.
SUMMARY OF BUTTON COMBINATIONS SUMMARY OF BUTTON COMBINATIONS [AUDIO RECORD AB/CD] + [BANK] will open the recorder buffer, corresponding to the active track, in the audio editor. [BANK] + [TRIG] will select the active bank. [CUE] + [ENTER/YES] will preview the selected sample through the cue outputs while in the audio editor, the Flex or Static sample slot lists or the file browser. [CUE] + [AUDIO RECORD AB/CD] will cue the chosen audio input. [CUE] + [TRACK] will cue the chosen track.
SUMMARY OF BUTTON COMBINATIONS [FUNCTION] + [TRIG 9..16] will when no RECORDING mode is activated manually trig trigless trigs instead of sample trigs. This is only relevant when TRACKS or CHROMATIC trig mode is active. [FUNCTION] + [TEMPO] makes it possible, through repeating [TEMPO] button presses, to tap the BPM of the sequencer. [FUNCTION] + [REC] will perform a copy command. The content that will be copied depends on the currently active menu or mode of the Octatrack.
SUMMARY OF BUTTON COMBINATIONS [TRACK] + [EXIT/NO] will disarm any one shot recorder trigs of the track whose [TRACK] key was pressed. [TRACK] + [LEFT]/[RIGHT] will nudge the BPM of the sample of the track. [TRACK PARAMETER] + [REC] will copy the parameter settings of a TRACK PARAMETER page. [TRACK PARAMETER] + [STOP] will paste the copied parameter settings of a TRACK PARAMETER page. [TRACK PARAMETER] + [PLAY] will initialize the settings of a TRACK PARAMETER page.
TECHNICAL INFORMATION TECHNICAL INFORMATION SPECIFICATIONS THE SEQUENCER ELECTRICAL SPECIFICATIONS 8 audio tracks 8 MIDI tracks 16 banks per project 256 patterns per project 8 arrangements per project 4 parts per bank 16 scenes per part Supports swing and slide Full realtime control Impedance balanced audio outputs: SOUND PROCESSING SYSTEM 5 machine types 2 track effect assignments per track TRACK EFFECTS 12/24dB Multi Mode Filter 2-band Parametric EQ DJ-style Kill EQ 2-10 Stage Phaser Flanger 2-10 tap
CREDITS CREDITS PRODUCT DESIGN AND DEVELOPMENT Magnus Forsell Anders Gärder Jimmy Myhrman Jon Mårtensson David Revelj Daniel Troberg ADDITIONAL DESIGN Thomas Ekelund Jesper Kouthoofd FACTORY DEFAULT SOUND DESIGN Filip Leyman Daniel Troberg USER’S MANUAL Thomas Ekelund Jon Mårtensson CONTACT INFORMATION ELEKTRON WEBSITE http://www.elektron.
Appendix A: MACHINE REFERENCE In this appendix, the Octatrack machines are explained. The individual machine parameters are presented for reference. THRU MACHINE Thru machines are utility machines, very handy in live setups when using the Octatrack to re-route and affect external audio signals. Thru tracks need to be trigged for them to start passing through sound. Thru machine playback can be stopped by pressing [TRACK] + [STOP]. THRU MAIN INAB sets how input pair AB should be listened to.
FLEX MACHINE Flex machines offer the most extensive sound manipulation possibilities. A sample used by a Flex machine is loaded to the RAM memory of the Octatrack. From there it can be twisted, stretched and reassembled in multiple ways. Flex machines are unbeatable sound processors. FLEX MAIN FLEX SETUP PTCH adjusts the pitch of the sample. The max setting pitches the sample up an octave, a min setting pitches the sample down an octave. Integer changes are equivalent to semitones.
STATIC MACHINE Static machines are perfect for handling extremely large samples. Samples assigned to Static machines are streamed from the Compact Flash card, thus their size can be in the order of gigabytes. They can of course still be time stretched and pitch scaled as needed. STATIC MAIN STATIC SETUP PTCH adjusts the pitch of the sample. The max setting pitches the sample up an octave, a min setting pitches the sample down an octave. Integer changes are equivalent to semitones.
NEIGHBOR MACHINE Neighbor machines listen to the output of the preceding track. Multiple tracks with Neighbor machines can form extremely powerful effects chains. Neighbor machines cannot be assigned to track 1 or 5. NEIGHBOR MAIN NEIGHBOR SETUP No main parameters are available. A-4 No setup parameters are available.
PICKUP MACHINE Pickup machines are specialized for recording loops. A Pickup machine is hard-linked to both the track recorder and the recorder buffer of the track it is assigned to. The function of the [AUDIO RECORD] buttons change for tracks to which Pickup machines are assigned. Pickup machine parameters can not be locked. For more info how to work with Pickup machines, see “PICKUP MACHINE SAMPLING” on page 54. PICKUP MAIN PICKUP SETUP PITCH adjusts the pitch of the sample.
A-6 Appendix A: MACHINE REFERENCE
Appendix B: EFFECTS REFERENCE In this appendix, the Octatrack effects are explained. The individual effect parameters are presented for reference. NONE The none effect is a blank effect. Use it if you don’t want to affect the audio of the track whatsoever. NONE MAIN No main parameters are available. NONE SETUP No setup parameters are available.
12/24DB MULTI MODE FILTER The resonant 12/24dB lo/hi/band-pass filter gives control of both the low and high filter cutoffs. Its flexibility can make it function as a variable gap bandpass filter as well. MULTI MODE FILTER MAIN MULTI MODE FILTER SETUP BASE sets the base cutoff frequency of the filter. Sweeping this parameter with WIDTH set to the max value makes the multi mode filter act as a high pass filter. WIDTH controls the distance between the low pass and high pass cutoff frequencies.
2-BAND PARAMETRIC EQ The parametric EQ is useful for shaping the timbre of a sound. Two frequency bands can be attenuated or amplified. PARAMETRIC EQ MAIN PARAMETRIC EQ SETUP FRQ1 sets the center frequency the first band of the EQ will affect. GN1 attenuates or boosts the set frequency. Q1 controls the width of the frequency range the GN1 setting affects. The higher the value the narrower the frequency curve. FRQ2 sets the center frequency the second band of the EQ will affect.
DJ STYLE KILL EQ This EQ variant is somewhat of a cross-breed between a filter and an EQ. It is a three band EQ, capable of completely filtering out the bands. DJ EQ MAIN DJ EQ SETUP LS F sets the frequency of the low shelf filter. No setup parameters are available. HS F sets the frequency of the high shelf filter. LOWG controls the gain of the first band of the EQ. A max setting will boost the signal +12 dB. A min setting will kill the band completely.
2-10 STAGE PHASER The phaser applies sweeping effects to sounds. It can also be used to make sounds appear wider. PHASER MAIN PHASER SETUP CNTR selects the center phase of the phase modulation. NUM selects the number of stages that should be used. DEP sets the depth of the phase modulation. SPD adjusts the speed of the phase depth modulation. FB controls the feedback of the original signal. WID controls the stereo width of the affected signal.
FLANGER A flanger is a modulation effect sharing similarities with the phaser. The main difference is the notches being evenly spread out in the frequency spectrum. FLANGER MAIN FLANGER SETUP DEL controls the amount of delay of the flanged signal. No setup parameters are available. DEP controls the depth of the flanger. SPD adjusts the speed of the flanger. FB controls the feedback of the original signal. WID controls the stereo width of the affected signal.
2-10 TAP CHORUS The variable tap stereo chorus is great for enhancing the stereo image of a sound and for making it appear softer and smoother. CHORUS MAIN CHORUS SETUP DEL controls the delay time of the taps. DEP controls the depth of the modulation of the chorus taps. SPD sets the low frequency modulation speed of the taps. TAPS sets the number of chorus taps that should be used. FBLP controls the low pass filtering of the feedback signal. FB controls the feedback of the delay taps.
SPATIALIZER The spatializer effect is suitable for affecting the stereo image in various ways, for example by widening it. It is also capable of generating a psuedo-stereo image from a mono sample. SPATIALIZER MAIN SPATIALIZER SETUP INP adjusts the gain of the dry signal. DPTH sets the depth of the widened signal. The parameter works in conjunction with the WDTH control. WDTH sets the amount of stereo spread. The parameter works in conjunction with the DPTH control.
COMB FILTER The comb filter introduces metallic sounding, pitch tuned, resonant overtones to sounds and samples. COMB FILTER MAIN COMB FILTER SETUP PTCH controls the resonant frequencies of the comb filter. No setup parameters are available. TUNE changes the pitch by up to 2 semitones up or down. LP controls the cutoff frequency of the low pass filter that is implemented in the feedback signal. FB controls the gain of the feedback signal. MIX controls the dry/wet signal.
DYNAMIX COMPRESSOR The Dynamix processor can be used for increasing the overall sound level of a track or pattern. It can also be used to enhance or reduce transients. COMPRESSOR MAIN COMPRESSOR SETUP ATK sets the attack time from 0.5 ms to 100 ms. REL sets the release time from 50 ms to 5 s. RMS adjusts the way the compressor works. A zero setting makes the compressor look for amplitude peaks and a max setting makes it react to the over-all energy level of the signal.
LO-FI COLLECTION The lo-fi collection consists of several effects dedicated to making sounds grittier and more abrasive. These effects are not for the faint-hearted! LO-FI MAIN LO-FI SETUP DIST controls the signal overload distortion. AMF controls the modulation frequency of the amplitude modulator. The amplitude modulator is essentially a volume control which is controlled by a low frequency oscillator. A high setting makes for extreme changes in the timbre of a sound.
ECHO FREEZE DELAY The delay adds echoes to the affected signal. The special echo freeze functionality makes it possible to repeat a portion of a sound. DELAY MAIN DELAY SETUP TIME controls the delay time of the delay loop. The actual delay time is relative to the current tempo, and it is measured in 256th notes. For instance, for a one beat delay (four 16th notes) delay time should be set to 64. By setting SYNC to off, the delay time will not be relative to the tempo.
GATEBOX PLATE REVERB The Gatebox plate reverb adds reverberation to the signal. The effect has many uses thanks to the implemented gating possibilities. PLATE REVERB MAIN PLATE REVERB SETUP TIME controls the decay time, i.e. how long time the reverberated signal will stay around before dying out. DAMP sets the reverb damping, which is the effect of “soft walls”. The higher the parameter is set the faster the sound will die out. GATE sets the gate time.
SPRING REVERB This effect is based on a classic spring reverb. It adds a grungy and “twangy” reverberation to the incoming signal. SPRING REVERB MAIN SPRING REVERB SETUP TIME sets the decay time of the springs. HP controls the cut off frequency of the high pass filter of the springs. LP controls the cut off frequency of the low pass filter of the springs. TYPE sets the type of spring going from slightly transparent to more springy in three steps.
DARK REVERB The dark reverb provides lush, wide stereo reverberation with long decay times. It is good for adding a spacey ambience to a sound. DARK REVERB MAIN DARK REVERB SETUP TIME sets the decay time of the reverberated signal. PRE adjusts the length of a short delay before the signal reaches the reverberator. SHVG affects the damping of the reverberated signal above the shelving frequency set by the SHVF parameter.
B-16 Appendix B: EFFECTS REFERENCE
Appendix C: MIDI CONTROL REFERENCE All parameters found in the TRACK PARAMETER MAIN pages are controllable by MIDI control change messages. It is also possible to trig tracks, samples and track recorders as well as to play samples chromatically from an external MIDI device. Which tracks responding to which MIDI channels are configured in the PROJECT->MIDI->CHANNELS menu.
CTRL CHANGE MAPPINGS MIDI MODE CTRL CHANGE MAPPINGS +---------+---------------------------------------+-----+-----+ | Hex Dec | Ctrl parameter | Trn | Rec | +----+----+---------------------------------------+-----+-----+ |$07 07 | Track level | | X | |$08 08 | Track balance | | X | | ... | ...
INDEX A Track 85 Track page 85 Track parameter page 86 Trig 86 CUE OUTPUTS 74 ACCESSORIES 7 Carrying bag and protective lid 7 Rack mount kit 7 AMP D DELAY COMPENSATE 36 DISCONNECTING TRACKS 90 Amp main 68 Amp setup 68 E ARRANGER 106 AUDIO EDITOR 95 Attributes 102 Edit 99 File 104 Slice 97 Trim 95 AUDIO POOL 23 AUTO CHANNEL 43 B EARLY START UP MENU 140 EFFECTS Track effects 73 ELECTRICAL SPECIFICATIONS 145 EMPTY RESET 140 F FILE BROWSER 28 G GRID RECORDING MODE 77 BANKS 59 L LFOs C CARD TOOLS
Ctrl 2 main 116 Ctrl 2 setup 117 MIDI LFO main 115 MIDI LFO setup 115 Note main 112 Note setup 113 PROJECT MENU 29 Control 35 MIDI 41 System 31 PROJECTS 25 Change project 30 Collect samples 31 Mixer 44 Project card sync 30 Purge samples 31 RAM memory 25 Reload 30 Tempo 46 Track recorders 47 MIXER 44 MUTE TRACKS Direct mute 74 Mixer mute 45 Trig mode quick mute 83 N NAMING MENU 14 Pop up naming menu 14 Q NOISE GATE 36 QUICK SCROLLING 13 O QUICK START 16 OCTATRACK SETUP EXAMPLES 118 Octatrack as a DJ
SOLO TRACKS 45 SWING TRIGS 88 T TECHNICAL INFORMATION 145 TEMPO 46 Pattern tempo nudge 46 Sample tempo nudge 46 Tap tempo 46 TRACK PARAMETER PAGES 67 Amp main 68 Amp setup 68 Effect 1 + Effect 2 73 LFO main 70 LFO setup 70 Playback main 67 Playback setup 67 TRACK PARAMETERS Cue level 67 Track level 67 TRACK RECORDERS 47 TRACK TRIG EDIT MENU 87 Recorder trigs 88 Slide 88 Swing 88 Trigs 87 TRACKS 64 Direct mute 74 Effects 73 Machine assignment 67 Mixer mute 45 Routing 74 Solo 45 TRIG MODES 81 Chromatic 82
4 INDEX
