Digitone Keys 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 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 1.1 CONVENTIONS IN THIS MANUAL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 2. THE DIGITONE KEYS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 3. PANEL LAYOUT AND CONNECTORS. .
TABLE OF CONTENTS 8.6.1 CHROMATIC MODE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 8.6.2 MUTE MODE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 8.6.3 USER MODE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
TABLE OF CONTENTS 10.7.4 SAVE TO PROJ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 10.7.5 RELOAD FROM PROJ. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 10.7.6 IMPORT/EXPORT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
TABLE OF CONTENTS 14.1.2 SAVE PROJECT AS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63 14.1.3 MANAGE PROJECTS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63 14.2 SOUNDS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
TABLE OF CONTENTS APPENDIX A: THE DIGITONE KEYS FM SYNTHESIS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86 A.1 OVERVIEW. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86 A.2 THE OPERATORS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86 A.3 ALGORITHMS . . . . . . . . . . . . .
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 KEYS 2. THE DIGITONE KEYS 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. MASTER VOLUME sets the volume for the main outputs and the headphone output. 2. PITCH WHEEL applies pitch bend and other assignable modulations. 3. MOD WHEEL applies assignable modulations. 4. [MIDI] activates the MIDI editing mode where you can edit the MIDI tracks. A lit [MIDI] key indicates the MIDI editing mode is active. The secondary function opens the MIDI CONFIG menu. 5. [FUNC] key.
3. PANEL LAYOUT AND CONNECTORS 16. [PARAMETER] keys access the PARAMETER pages of the active track. The color of the keys indicates if the page is active (red/turquoise) or inactive (off). • [TRIG PARAMETERS] accesses parameters such as NOTE, VELOCITY, and other trig related parameters. The secondary function accesses the SOUND SETUP menu. • [SYN1] accesses the SYN1 page. Here you can find parameters related to the FM engine. For MIDI tracks this page has parameters such as CHANNEL, BANK and PROGRAM.
3. PANEL LAYOUT AND CONNECTORS 30 30 31 31 32 32 34 33 33 35 34 35 36 37 36 37 30. [HOLD] toggles the Hold function on/off. The secondary function toggles the Portamento function on/off. The LED indicates the portamento’s on/off status. 31. [ARPEGGIATOR] TOR menu. toggles the arpeggiator on and off. The secondary function opens the ARPEGGIA- 32. [MULTI MAP] toggles the MULTI MAP mode on and off. The secondary function opens the MULTI MAP menu. 33.
3. PANEL LAYOUT AND CONNECTORS 5. MIDI OUT/SYNC A, MIDI data output. Can also be configured to send DIN sync to legacy instruments. Use a standard MIDI cable to connect to MIDI IN of an external MIDI device. 6. MIDI IN, MIDI data input. Use a standard MIDI cable to connect to MIDI OUT of an external MIDI device. 7. CONTROL IN Inputs for sustain/expression pedals, footswitches, or CV. Use 1/4” mono phone plugs for CV signals. 8. INPUT L/R Audio inputs. Use a 1/4” mono phone plug (unbalanced connection). 9.
4. DIGITONE KEYS SOUND ARCHITECTURE 4. DIGITONE KEYS SOUND ARCHITECTURE The illustrations below show the Digitone Keys’s sound architecture, with its eight audio voices, three send effects (chorus, delay, and reverb) and master effect (overdrive). 4.
5. OVERVIEW OF THE DIGITONE KEYS DATA STRUCTURE 5. OVERVIEW OF THE DIGITONE KEYS DATA STRUCTURE The illustration below outlines the Digitone Keys’s data structure. +DRIVE Projects, Sounds PROJECT SOUND POOL 128 PATTERNS 4 SYNTH TRACKS (per pattern) 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. OVERVIEW OF THE DIGITONE KEYS DATA STRUCTURE 5.3.2 THE MIDI TRACKS The Digitone Keys also has four MIDI tracks. They are used to control external MIDI equipped gear. Each MIDI track can trigger a chord of up to eight notes with adjustable parameters such as velocity and length, control pitch bend and aftertouch, as well as eight freely assignable MIDI control change parameters (MIDI CCs). For more information, please see “12. MIDI TRACK PARAMETERS” on page 55.
6. THE USER INTERFACE 6. THE USER INTERFACE The screen shows all the information needed for real-time interaction and editing on the Digitone Keys. The eight DATA ENTRY knob parameters shown vary 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 6.2.2 CONTROL ALL If you press and hold [MIDI] and change a parameter setting, this change affects this parameter in all the synth tracks in the pattern. Press [NO] before you release [MIDI] to revert the parameter changes. 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.
6. THE USER INTERFACE 6.6 HOLD The hold functionality lets you keep a Sound sustained or keep an arpeggio running without the need to press a key on the [KEYBOARD] or the [TRIG] keys. Every track has a separate hold state. MIDI CONTROLLER mode also has a separate hold state. Press [HOLD] to toggle hold on/off. 6.7 OVERBRIDGE The Overbridge software suite enables a tight integration between the Digitone Keys and a computer DAW software.
7. QUICK START 7. QUICK START This quick start guides you through some of the basic operations to start using the Digitone Keys right away. First, connect it as described in section “3.3 SETTING UP AND STARTING THE DIGITONE KEYS” on page 15. 7.1 PLAYING THE FACTORY PRESET PATTERNS You can find a number of preset patterns, sounds, and samples in the Digitone Keys. Follow the instructions below to start exploring your new instrument. 1. Press [BANK] and then press [TRIG 9] key to select bank A.
7. QUICK START Nudging the tempo is very handy when manually syncing Digitone Keys to a turntable or an external sound source. Note that you do not need to be in the TEMPO menu to perform tempo nudging. 7.5 EDITING PARAMETERS Each track has six PARAMETER pages. Press [PARAMETER] keys TRIG, SYN1, SYN2, FLTR, AMP, and LFO to access the different PARAMETER pages. These parameters affect the sound and signal in various ways. 1. Make sure a pattern is playing. 2.
8. DIGITONE KEYS CONTROLS 8. DIGITONE KEYS 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 pattern. 8.
8. DIGITONE KEYS CONTROLS Press the trig keys to change the chromatic note pitch of the sound. The range from [TRIG 9] key to [TRIG 16] key is one octave. The whole range for both synth tracks and MIDI tracks spans eleven octaves. Press [UP]/[DOWN], to transpose the virtual keyboard up or down one octave. Notes trigged chromatically can be recorded on the sequencer in LIVE RECORDING mode. Find out how this is done in section “10.2.5 LIVE RECORDING MODE” on page 34.
8. DIGITONE KEYS CONTROLS Press and hold [USER MODE] for a second to toggle between USER and DEFAULT parameter assignments. ASSIGNING PARAMETERS TO THE CONTROL KNOBS 1. Press [FUNC] + [USER MODE] to open the USER MODE ASSIGN menu. 2. Use LEVEL/DATA knob or the [UP]/[DOWN] keys to select which knob to assign a parameter to, and then press [YES]. 3. Use LEVEL/DATA knob or the [UP]/[DOWN] keys to select which parameter to assign to the selected knob, and then press [YES]. 4.
9. PATTERNS AND SOUNDS 9. PATTERNS AND SOUNDS The patterns are the primary data container for the Digitone Keys. 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 four 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 Edit a Sound by adjusting the parameters found on the PARAMETER pages. Press the [PARAMETER] page keys to access the PARAMETER pages. Use the DATA ENTRY knobs A-H to change the parameters. For more information, please see “11. SYNTH TRACK PARAMETERS” on page 45. You can always reload the Sound from its last saved state. Press [NO] + [TRACK] to reload the Sound. If you want to export (save) a particular Sound with all its current parameter settings, use the SOUND MANAGER.
9. PATTERNS AND SOUNDS A higher setting decreases the modulation level more and more the higher you play the [KEYBOARD]. A lower level of modulation decreases the complexity of the tone in the higher frequencies, which is a typical behavior in many acoustic instruments. 9.5.2 KEY SCALING B1 Same as KEY SCALING A, but for operator B1 9.5.3 KEY SCALING B2 Same as KEY SCALING A, but for operator B2 9.5.4 FILTER KEYTRACK Keytrack lets the Multimode filter cutoff frequency follow the pitch of the Sound.
9. PATTERNS AND SOUNDS 9.5.8 OCTAVE Sets the base octave of the Sound. This setting makes it easier to play the sound at the “right” octave on the Digitone Keys [KEYBOARD]. It also makes Sound locking more practical since you can control the octave setting on the Sound and minimize the need to transpose the sequencer notes to make two or more Sounds work together. 9.5.9 PITCH BEND Opens a menu where you can assign up to four PARAMETER page parameters to the PITCH WHEEL or pitch bend data from incoming MIDI.
9. PATTERNS AND SOUNDS 9.6.1 MODE Activates the arpeggiator and controls how the arpeggiated notes are sorted. OFF deactivates the arpeggiator. TRUE plays the notes in the same order as they are inserted. UP plays the notes in ascending order, from the lowest note to the highest, on a per octave basis. DOWN plays the notes in descending order, from the highest note to the lowest, on a per octave basis. CYCL plays the notes first in ascending order, then in descending order. 9.6.
10. THE SEQUENCER 10. THE SEQUENCER The sequencer store its information in patterns. A pattern controls the playback of the synth and 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 37. A pattern contains: • • • • • • • • • The four track [T1–4] Sounds.
10. THE SEQUENCER Red [TRIG] keys indicates note trigs and yellow [TRIG] keys indicates lock trigs. Unlit [TRIG] keys indicate steps that do not contain any trigs. Trigs are added differently in the sequencer, depending on whether GRID RECORDING or LIVE RECORDING mode is active. For how to add Lock trigs, please see “10.10.1 PARAMETER LOCKS” on page 40. 10.2.2 GRID RECORDING MODE GRID RECORDING is a method of composing where you use the [KEYBOARD] and [TRIG] keys to add trigs. 1.
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 [T1–4] 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 also 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 an 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 MENU” on page 28. Use the DATA ENTRY knobs to change the settings. Press [NO] to exit the menu. The voice settings are stored in the active pattern. VOICE STEALING The Digitone Keys 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.
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 The quantization affects all micro timed and off grid trigs on the sequencers tracks. Change settings with DATA ENTRY knob E and F. TRK. affects the 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 ACTIVE activates/deactivates the metronome. You can also press [FUNC] + [PTN] and hold for a second to toggle the metronome on and off when you are not in the METRONOME menu. TIME SIG. controls the note and beat measure of the metronome time signature. PREROLL BARS controls for how many bars the metronome sounds before the sequencer starts playing. This setting is only relevant when you are in LIVE RECORDING mode. VOL. controls the volume of the click. 10.
10. THE SEQUENCER The TRACK column sets the step length of the track. It works just like setting the pattern length in LENGTH PER PATTERN mode. The settings only affects the active track. Press the [TRK] keys to select the track whose scale settings you wish to edit. The PATTERN column sets the master length, the master change length and the general time signature of the pattern. M.LEN controls the number of steps the pattern plays before all tracks restart.
10. THE SEQUENCER Up to 80 different parameters can be locked in a pattern. A parameter counts as one (1) locked parameter no matter how many trigs that lock it. If for example the cutoff parameter of the filter is locked on every sequencer step, there are still 79 other parameters that can be locked. 10.10.2 SOUND LOCKS You can change a tracks Sound to another Sound from the Sound pool on any individual sequencer step. These Sound locks are an immensely useful feature for adding variations to a track.
10. THE SEQUENCER • Conditional parameter locks are a great way to add variety to a pattern. To set up a grid of mutually exclusive or conclusive note trigs across any of the synth tracks, and throwing some probability locks in there as well (perhaps, in turn, also sporting an array of logically conditioned trigs), is a neat way to make the most minimal of compositions come alive with randomness. • Note that random or arbitrary variety is not the only way of using conditional trigs.
10. THE SEQUENCER • It is possible to copy, clear and paste one or several patterns without leaving the active pattern. To copy, press and hold [PTN] + [TRIG] key to select the pattern you wish to copy. Then press [RECORD]. Let go of the [TRIG] key and then press and hold the [TRIG] key(s) to where you want to paste the pattern. Finally, press and hold [STOP] until the count down finishes to paste the pattern(s). To clear, press and hold [PTN] + [TRIG] key(s) to select the pattern(s) you wish to clear.
10. THE SEQUENCER 10.11.1 CREATING A CHAIN 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 a previous [TRIG] key pressed while you press the next one, the one after that and so on. You can press the same [TRIG] key again if you wish to add the pattern multiple times in a row.
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 40.
11. SYNTH TRACK PARAMETERS 11.2.8 PORT Portamento turns the portamento on/off (ON, OFF) For more information, please see “9.5.5 PORTAMENTO” on page 29. 11.3 SYN1 PAGE 1 The parameters on the SYN1 page control various aspects of the FM synthesis. You can find more information about the Digitone Keys FM synthesis in “APPENDIX A: THE DIGITONE KEYS FM SYNTHESIS” on page 86 and “A.7 SYN1 PAGE 1 PARAMETERS OVERVIEW” on page 90. Press [SYN1] once to access this parameter page. 11.3.
11. SYNTH TRACK PARAMETERS 11.4 SYN 2 PAGE 1 The parameters on the SYN2 pages control various aspects of the FM synthesis, mainly the amount of frequency modulation together with the operator envelopes and their behavior. The FM engine has two operator envelopes. One is for operator group A, and one is for group B (B1 and B2). The envelopes are essentially expanded AD (Attack Decay) envelopes, but with an added adjustable end level (the amplitude level the sound reaches at the end of the decay stage).
11. SYNTH TRACK PARAMETERS 11.5 SYN2 PAGE 2 The parameters on the SYN2 pages control various aspects of the FM synthesis, mainly the amount of frequency modulation together with the operator envelopes and their behavior. Press [SYN2] twice to access this parameter page. 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 behavior of the operator envelops.
11. SYNTH TRACK PARAMETERS Reset on (ARST/BRST ON) 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 11.6.2 DEC Decay Time sets the length of the decay phase of the filter envelope. (0–127) 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.
11. SYNTH TRACK PARAMETERS 11.7.2 WIDTH Sets the frequency width above the base frequency. (0–127) 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.
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 59. (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 59. (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 59.
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. TRIG FREE TRIG TRIG ONE HOLD TRIG TRIG TRIG TRIG TRIG HALF TRIG TRIG TRI SIN WAVEFORM SQR SAW EXP RMP RND LFO speed (measured in whole note values) generated by combinations of the SPD and MULT settings.
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 40. 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 sends a bank change message on CC 0 MSB. (OFF, 1–128) 12.3.3 SBNK Sub Bank is sends a bank change message on CC 32 LSB. (OFF, 1–128) 12.3.4 PROG Program Change sends a Program Change message. (OFF, 1–128) 12.3.
12. MIDI TRACK PARAMETERS 12.6 AMP PAGE (CC SELECT) Here you select the eight CC commands whose values you set with the parameters on the FLTR PAGE (CC VALUE) page. Press the corresponding knob or [ENTER/YES] to activate the parameter change. Press [AMP] to access this parameter page. 12.6.1 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.
12. MIDI TRACK PARAMETERS FRE is the default free-running mode. It makes the LFO run continuously. It will not restart or stop even if it is trigged by a note. TRG makes the LFO restart when a note trigs it. HLD makes the LFO run free in the background, but when a note is trigged the LFO output level is latched and held still until the next note is trigged. ONE makes the LFO start from the beginning when a note is trigged, run for one cycle and then stop.
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 Keys’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 1 1/128 2 1/64 2.67 1/48 (1/32T) 3 1/64. 4 1/32 5.33 1/24 (1/16T) 6 1/32. 8 1/16 10.67 1/12 (1/8T) 12 1/16. 16 1/8 21.33 1/6 (1/4T) 24 1/8. 32 1/4 42.67 1/3 (1/2T) 48 1/4. 64 1/2 96 1/2. 128 1 13.3.2 X Ping-pong sets the delay signal to alternate across the stereo field.
13. FX PARAMETERS 13.3.7 LPF Feedback LPF sets the cutoff frequency of the delay lowpass filter. (0.00–127.00) 13.3.8 REV Reverb Send sets the amount of Delay output signal to be sent to the Reverb. (0.00–127.00) 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.
13. FX PARAMETERS 13.5.1 IN L Volume input L sets the level of the audio from the INPUT L audio input. 13.5.2 IN R Volume input R sets the level of the audio from the INPUT R audio input. 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.
14. GLOBAL SETTINGS 14. GLOBAL SETTINGS The GLOBAL SETTINGS menu contains settings that affect Digitone Keys on a global level and it is also used to manage Projects. Here you also find the settings for the MIDI Controller functionality, Multimap, and Control inputs. Press [GLOBAL SETTINGS] to access the GLOBAL SETTINGS menu. Scroll the list by using [UP]/ [DOWN] or the LEVEL/DATA knob. Press [YES] to open a highlighted menu. 14.1 PROJECT 14.1.
14. GLOBAL SETTINGS and [DOWN] arrow keys or LEVEL/DATA to move between the options. Press [YES] to confirm your selection. Press [NO] to exit the menu. 14.2.1 SOUND BROWSER Press [SOUND BROWSER] 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].
14. GLOBAL SETTINGS 14.2.2 SOUND MANAGER You use the SOUND MANAGER to manage sounds, for example, import, export, rename, and tag sounds. 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. Turn the LEVEL/DATA knob or press [UP]/[DOWN] to scroll through the list. You can preview a Sound by highlighting it in the list and use the [KEYBOARD] to play the Sound chromatically.
14. GLOBAL SETTINGS 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. EDIT TAGS opens a menu where Sounds can be tagged.
14. GLOBAL SETTINGS CLOCK RECEIVE sets whether or not Digitone Keys responds to MIDI clock and transport sent from external devices. CLOCK SEND sets whether or not Digitone Keys transmits MIDI clock and transport. PROG CH RECEIVE sets whether or not Digitone Keys 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.
14. GLOBAL SETTINGS 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 send 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 92.
14. GLOBAL SETTINGS tracks to play different Sounds. The Digitone Keys also uses the AUTO channel to record to the MIDI tracks from external MIDI controllers. The default AUTO channel is 10. PROG CHG IN CH selects the MIDI channel that listens for incoming program change messages. An AUTO setting uses the AUTO channel. Enable Digitone Keys to respond to program change messages in the MIDI SYNC menu. For more information, please see “14.3.1 SYNC” on page 66.
14. GLOBAL SETTINGS 14.4 SYSEX DUMP In the SYSEX DUMP menu, projects, patterns, and Sounds can be sent and received. Select a menu option using [UP]/[DOWN] or the TRACK LEVEL knob. Press [YES] to open the highlighted menu selection. When receiving or sending SysEx data, the MIDI ports or the USB port of the Digitone Keys should be connected to the external sending/receiving device.
14. GLOBAL SETTINGS The column to the left selects what will be received. Select the column using the [LEFT] arrow key. Use the [UP]/[DOWN] keys or the TRACK LEVEL knob to navigate in the column. The SysEx data receive alternatives located in the column to the right will change depending on the selection made in the left column. Press the [RIGHT] arrow key to access this column. Use the [UP]/[DOWN] keys or the TRACK LEVEL knob to select what will be received.
14. GLOBAL SETTINGS OVERBRIDGE enables Overbridge functionality and disables USB MIDI on the device. USB MIDI selects USB MIDI and disables Overbridge functionality. INT TO MAIN OFF: No sound is sent to main out. ON: Sound is always sent to main out. AUTO: No sound is sent to main out when Overbridge is available and streaming sound, if not, the sound is sent to main out. USB TO MAIN [dB] sets the amount of amplification of the sound that is streamed over USB to the Digitone Keys main out. 14.6.
14. GLOBAL SETTINGS PROJECTS+SOUNDS erases all projects and sounds. Press the [LEFT] or [RIGHT] arrow keys to tick/ untick this box. 14.6.4 WHEEL CALIBRATION Here you find a procedure to calibrate the PITCH WHEEL and MOD WHEEL. 14.7 CONTROL INPUT A This menu item accesses the settings for the Control In 1 input. You can use this input to plug in different modulation sources. The Control Input settings are stored together with the project. 14.7.
14. GLOBAL SETTINGS 14.7.7 INVERT POLARITY (Available when MODE is set to SUSTAIN.) Sets the polarity of the port to accommodate for the two different standards on sustain pedals. 14.7.8 SEND MIDI (Available when MODE is set to SUSTAIN.) Sets if the sustain pedal data should be sent out through the MIDI OUT port or not. 14.8 CONTROL INPUT B The available settings are the same as for CONTROL INPUT A but apply to signals from the CONTROL IN B input. 14.
14. GLOBAL SETTINGS ENTRIES are the basic building blocks of the multi map. They define what function is assigned to each key or key range. A multi map can contain up to 128 entries. If no entries exist, select ENTRIES, and then CREATE NEW ENTRY. If you wish to create a basic keyboard split, choose CREATE SPLIT. If you wish to erase all existing entries and start with a blank slate, select ENTRIES and choose CLEAR ALL ENTRIES (only available if at least one entry exist).
14. GLOBAL SETTINGS deletes the whole entry. Press [YES] to select and confirm. creates a new entry with a range ending on the note preceding the current entry. Press [YES] to select. creates a new entry with a range beginning on the note succeeding the current entry. Press [YES] to select. • INT.TRIG sets the chosen MIDI keyboard key or range to control specific Sounds from the Sound pool or the +Drive Sound library.
14. GLOBAL SETTINGS • EXT.TRIG allows MIDI control of external equipment for a chosen keyboard key or range. RANGE LOW sets the note on the [KEYBOARD] on which to start the desired keyboard range. RANGE HIGH sets the note on the [KEYBOARD] on which to end the desired keyboard range. If a single key is to be mapped, set to the same note as RANGE LOW. CHANNEL sets the MIDI channel on which the MIDI note messages are sent. NOTE sets which note the start of the chosen keyboard range plays.
15. STARTUP MENU 15. STARTUP MENU Press and hold the [FUNC] key while powering up the Digitone Keys to access the STARTUP menu. Here you can perform a variety of tasks. Press the corresponding [TRIG] key to choose one of the 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 Keys and suspect it may be due to a hardware problem.
16. SETUP EXAMPLES 16. SETUP EXAMPLES The Digitone Keys likes to play with other machines. Whether it uses its ability to sync and play with legacy machines, is paired with the Digitone Keys or controls other synthesizers. 16.1 DIGITONE KEYS 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 Keys allows you to use gear from yesteryear.
16. SETUP EXAMPLES Digitone Keys works very well together with the Digitakt, and you can, for example, route the audio from the Digitakt through the Digitone Keys and sync the tempo of the sequencers. 1. Use a standard MIDI cable to connect the Digitakt MIDI OUT jack with the Digitone Keys’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 Keys. 3.
16. SETUP EXAMPLES 4. On the main screen, press [MIDI] and then [T1–4] 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 Keys. You are now ready to use the Digitone Keys’s sequencer to control your synthesizer. For more information about using the Digitone Keys’s sequencer, please see “10.
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 [T1–4] keys to select a synth track.
17. USEFUL KEY COMBINATIONS [FUNC] + [OCT-/+] transposes the current patterns sequencer notes up or down one octave instantaneously. MUTES [FUNC] + [T1–4] keys mutes/unmutes the track. 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. [YES] + [PAGE] activates FILL mode for one pattern cycle.
18. TECHNICAL INFORMATION 18. TECHNICAL INFORMATION ELECTRICAL SPECIFICATIONS HARDWARE Main/track audio outputs (stereo) Maximum output level: +18 dBu Output impedance: 440 Ω unbalanced Digital-to-analog S/N ratio: 110 dB re +18 dBu, 20 kHz BW 113 dB(A) re +18 dBu, 20 kHz BW THD+N less than 0.
19. CREDITS AND CONTACT INFORMATION 19. CREDITS AND CONTACT INFORMATION CREDITS PRODUCT DESIGN AND DEVELOPMENT Oscar Albinsson Johannes Algelind Ali Alper Çakır Magnus Forsell Andreas Henriksson Thomas Jansson Ess Mattisson Jimmy Myhrman Jon Mårtensson Viktor Nilsson Olle Petersson David Revelj Mattias Rickardsson Martin Sigby ADDITIONAL DESIGN Ufuk Demir Thomas Ekelund DOCUMENTATION Erik Ångman PRESET SOUND DESIGN Blush Response Celldöd (d) (glitched) — D.
APPENDIX A: THE DIGITONE KEYS FM SYNTHESIS APPENDIX A: THE DIGITONE KEYS FM SYNTHESIS A.1 OVERVIEW At its core, the Digitone Keys is a four operator Frequency Modulation (FM) synth in the style of the classic 80s implementations. However, unlike the early FM synths, the Digitone Keys use its FM engine more like a complex tone generator than a complete synthesizer voice (although it does have this capability too).
APPENDIX A: THE DIGITONE KEYS 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 Keys 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 KEYS 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 46. 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 46. B (B1 and B2) controls both operators at the same time. The minimum value for B1 and B2 is .25.
APPENDIX A: THE DIGITONE KEYS FM SYNTHESIS You can also set if the envelopes should reset or not when they are retrigged. For more information, please see “11.5.3 ARST” on page 48. 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 47.
Saw (All partials) Saw reduction Odd/Even Mix Square (Odd partials) Square reduction Bell The Digitone Keys 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 KEYS FM SYNTHESIS Ratio C Ratio A Ratio B Harm - Harm + Detune Feedback Mix 91
APPENDIX B: MIDI IMPLEMENTATION APPENDIX B: MIDI IMPLEMENTATION This appendix lists the CC and NRPN specifications for the Digitone Keys. 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 3 5 LFO Trig 14 3 6 Portamento Time 15 3 7 Portamento On 16 3 8 NRPN MSB NRPN LSB B.
APPENDIX B: MIDI IMPLEMENTATION SYN2 Parameter CC MSB B Delay CC LSB NRPN MSB NRPN LSB 86 1 91 B Trig 87 1 92 B Env Reset 88 1 93 Phase Reset 89 1 94 B.4 FILTER PARAMETERS FILTER Parameter CC MSB CC LSB NRPN MSB NRPN LSB Filter Frequency 23 55 1 20 Resonance 24 56 1 21 Filter Type 74 1 22 Attack Time 70 1 16 Decay Time 71 1 17 Sustain Level 72 1 18 Release Time 73 1 19 Env.
APPENDIX B: MIDI IMPLEMENTATION LFO Parameter CC MSB NRPN MSB NRPN LSB Start Phase LFO1 112 CC LSB 1 53 Trig Mode LFO1 113 1 54 Depth LFO1 29 61 1 55 Speed LFO2 30 62 1 57 Multiplier LFO2 114 1 58 Fade In/Out LFO2 115 1 59 Destination LFO2 116 1 60 Waveform LFO2 117 1 61 Start Phase LFO2 118 1 62 Trig Mode LFO2 119 Depth LFO2 31 1 63 63 1 64 CC LSB NRPN MSB NRPN LSB B.
APPENDIX B: MIDI IMPLEMENTATION DELAY Parameter CC MSB Lowpass Filter 73 Reverb Send 19 Mix Volume 20 CC LSB 51 NRPN MSB NRPN LSB 2 15 2 16 2 17 REVERB Parameter CC MSB CC LSB NRPN MSB NRPN LSB Predelay 21 53 2 20 Decay Time 74 2 21 Shelving Freq 75 2 22 Shelving Gain 22 2 23 Highpass Filter 76 2 24 Lowpass Filter 77 2 25 Mix Volume 23 2 26 54 MASTER Parameter CC MSB CC LSB NRPN MSB NRPN LSB Input L Volume 24 56 2 30 Input R Volume 25 57 2 3
APPENDIX C: LFO MODULATION DESTINATIONS APPENDIX C: LFO MODULATION DESTINATIONS The following are the modulation destinations for the Digitone Keys’s LFOs: SYN: Algorithm FILTER: Frequency SYN: Ratio C FILTER: Resonance SYN: Ratio A FILTER: Envelope Depth SYN: Ratio B FILTER: Attack Time SYN: Harmonics FILTER: Decay Time SYN: Detune FILTER: Sustain Level SYN: Feedback FILTER: Release Time SYN: Mix FILTER: Base SYN: A Attack FILTER: Width SYN: A Decay SYN: A End AMPLIFIER: Attack Time SY
INDEX INDEX +DRIVE 17, 27 A AFTERTOUCH 30 ARPEGGIATOR 30 AUDIO ROUTING Global 38, 71 Pattern 38 B BREATH CONTROLLER 30 C CHAINS 43 CHORUS 59 CHROMATIC MODE 24 CONDITIONAL LOCKS 41 CONNECTORS 14 CONTROL INPUT 73 CONTROL KNOBS 25 COPY, PASTE AND CLEAR 42 CREDITS AND CONTACT INFORMATION 85 D DATA STRUCTURE 17 Patterns 17 Project 17 Sounds 17 DELAY 59 F FACTORY RESET 78 FILL MODE 42 FILTER 49 FM SYNTHESIS Algorithms 87 Carrier 86 FM ratios 87 Harmonics 89 Modulator 86 Operator envelopes 88 Operators 86 SY
APPENDIX C: LFO MODULATION DESTINATIONS Selecting a pattern 32 Tempo 32 Trig Types 32 PATTERNS AND SOUNDS 27 Editing a sound 27 Playing a sound 27 Sound Browser 64 Sound Manager 65 PITCH BEND 29, 30 PITCH WHEEL 24 PORTAMENTO On/Off 46 Settings 29 Time 45 PROJECT MANAGER 63 PROJECTS 63 Load 63 Project Manager 63 Save 63 Write protection 63 RANDOMIZE Parameters 45 RECORDING MODES Grid recording mode 33 Grid recording using Quick Note method 34 Grid recording using Track Note method 33 Live recording mode 34
USER MODE 25 Assigning parameters 26 V VELOCITY Set fixed value 76 VOICE MENU 35 Layer 36 Locked voices 36 Unison 36 Unison Spread 36 Voice stealing 36 W WHEEL CALIBRATION 73
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