Syntakt 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 SYNTAKT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 3.
TABLE OF CONTENTS 7.11 TRIG MODIFIERS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 7.11.1 SETTING UP TRIG MODIFIERS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 7.11.2 USING TRIG MODIFIERS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
TABLE OF CONTENTS 9.10.3 TRIG CONDITIONS AND CONDITIONAL LOCKS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42 9.10.4 FILL MODE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 9.10.5 SWING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 9.
TABLE OF CONTENTS 14.1.2 SAVE PROJECT AS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67 14.1.3 MANAGE PROJECTS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67 14.2 MIDI CONFIG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
TABLE OF CONTENTS B.6 LFO PARAMETERS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103 B.7 FX PARAMETERS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103 B.8 VAL PARAMETERS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
1. INTRODUCTION 1. INTRODUCTION Thank you for purchasing Syntakt. The Syntakt is a compact drum computer and synthesizer from Elektron. It contains all the necessary tools to make people move to the music. A digital and highly flexible sound engine, an analog fx block with multi-mode filter and drive, a live-friendly sequencer, the means to control external MIDI gear, and Overbridge support. To get the most out of your machine, we recommend that you read this manual in its entirety. 1.
2. THE SYNTAKT 2. THE SYNTAKT Rain is like the sound of trains outside your window. Looking out, you see reflections of the passing aboveground subway and crimson tail lights. Refractions in the lingering water droplet trigger memories. Off-world colonies and the rhythm of life, on our world and others, imagined or actual, exist at the edge of our grasp in a blur of light-speed relativistic reality. Bliss. The focus becomes your reality.
3. PANEL LAYOUT AND CONNECTORS 3. PANEL LAYOUT AND CONNECTORS 3.
3. PANEL LAYOUT AND CONNECTORS • [FLTR] accesses the FILTER page. Here are the parameters for the multimode filter for the audio tracks. On MIDI tracks you find the CC value settings here. The secondary function accesses the DELAY page. • [AMP] takes you to the AMP page, where you find parameters for the amplitude envelope and effect sends. On MIDI tracks you find the CC select settings here. The secondary function accesses the REVERB page. • [LFO] accesses the LFO parameters for the active track.
3. PANEL LAYOUT AND CONNECTORS 3.2 REAR CONNECTORS 1 2 3 4 5 6 7 8 9 1. POWER, Switch for turning the unit on and off. 2. DC In, Input for power supply. Use the included PSU-3c power adapter connected to a power outlet. 3. USB, For connecting the unit to a computer. For MIDI control or Overbridge use. Use the included A to B USB 2.0 cable to connect to a computer host. 4. MIDI THRU/SYNC B, Forwards data from MIDI IN. It can also be configured to send DIN sync to legacy instruments.
4. QUICK START 4. QUICK START If you are the kind of person who just wants to dig into your Elektron device and start making noise, this section is for you. This quick start will guide you through some of the basic operations to begin using the Syntakt. If you want more in-depth information, check out the rest of this manual later. First, connect it as described in section “3.3 SETTING UP AND STARTING THE SYNTAKT” on page 14. 4.
4. QUICK START 4.5 EDITING PARAMETERS Each track has five PARAMETER pages. Press [PARAMETER] keys TRIG, SYN, 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. Press [TRK] + [TRIG 1–12] to select one of the twelve audio tracks. 3. To change, for example, the cutoff of the filter, press the [FLTR] key to open the FILTER page. The parameter labeled FREQ changes the cutoff of the filter.
ANALOG 5. SYNTAKT SOUND ARCHITECTURE DIGITAL 5. SYNTAKT SOUND ARCHITECTURE ANALOG VOICE PAN MULTIMODE + OVERDRIVE TheSOUND illustrations below show the Syntakt sound architecture,AMP with its analog and digital voice types and send OUTPUT FILTER GENERATOR effects. The illustrations also show what components of the sound architecture are analog (grey boxes) or ANALOG digital (white boxes).
5. SYNTAKT SOUND ARCHITECTURE 5.4.1 ANALOG FX BLOCK ROUTING Press [FUNC] + [FX] to open the ANALOG FX BLOCK ROUTING menu. In the ANALOG FX BLOCK ROUTING menu, you can select which tracks, send effects, and the external in, you want to route through the analog FX block (orange [TRIG] key) or directly to the main mix (dim orange [TRIG] key). Use the [TRIG 1–12] keys to select the routing of the corresponding tracks. Trig keys 14, 15, 16 selects the routing for the delay, reverb, and external in respectively.
6. OVERVIEW OF THE SYNTAKT DATA STRUCTURE 6. OVERVIEW OF THE SYNTAKT DATA STRUCTURE The image below outlines the data structure of the Syntakt. +DRIVE Projects, Sounds PROJECT 128 PATTERNS SOUND POOL 128 Sounds 12 AUDIO/MIDI TRACKS, 1 FX TRACK 6.1 +DRIVE The +Drive is a non-volatile storage. It keeps up to 128 projects stored internally, and it also holds all saved sounds. 6.2 DATA STRUCTURE 6.2.1 PROJECT A project contains 128 patterns. General settings and states are also stored in the project.
6. OVERVIEW OF THE SYNTAKT DATA STRUCTURE The voice type is the underlying synthesis model and is either analog or digital. The Syntakt has three different kinds of voice types. Analog Drum, Analog Cymbal, and Digital. A machine is a sound engine that uses a subset of functionality derived from the voice type. There are a number of machines available for each voice type.
7. INTERACTING WITH THE SYNTAKT 7. INTERACTING WITH THE SYNTAKT The screen shows all the information needed for real-time interaction and editing on the Syntakt. The eight DATA ENTRY knob parameters shown will vary depending on the given situation. Below is the main interface screen of the SYN page. 1 2 3 6 4 5 1. 2. 3. 4. Bank and pattern. Pattern name. Tempo. Eight track parameters. They show what the DATA ENTRY knobs control and their current parameter values. 5.
7. INTERACTING WITH THE SYNTAKT 7.5 PARAMETER EDITING The DATA ENTRY knobs are used to change the values of the track parameters. The positions of the parameters on the screen correspond to the physical locations of the knobs on the front panel. Some of the parameters on the screen tell you what DATA ENTRY knob controls that particular parameter. For example “(E)”. 7.5.1 EDITING THE TRACK PARAMETERS First select a track for editing, press and hold [TRK] key and then press one of the [TRIG 1–12] keys.
7. INTERACTING WITH THE SYNTAKT The [LEFT] and [RIGHT] arrow keys are used to navigate between the characters. Turning the LEVEL/ DATA knob or pressing the [UP] or [DOWN] arrow keys selects the characters. [FUNC] + [NO] erases characters. [FUNC] + [YES] inserts space. Press and hold [FUNC] to access the Pop-up Naming menu. 7.8.1 POP-UP NAMING A convenient way of naming is to open a pop-up menu that shows all available letters, symbols, and digits.
7. INTERACTING WITH THE SYNTAKT KB SCALE sets the track’s scale. This setting governs which notes are playable on the Syntakts [TRIG] keys and from external MIDI devices that send on the Syntakt’s Auto channel to allow only notes in the set scale. For a list of all selectable keyboard scales, please see “APPENDIX E: KEYBOARD SCALES” on page 109. ROOT NOTE sets the root note for the chosen scale.
7. INTERACTING WITH THE SYNTAKT • In MUTE mode you mute the trigs on the sequencer tracks, not the audio on the tracks. • You can also use QUICK MUTE to mute and unmute sequencer tracks. Press and hold [FUNC] and then press the [TRACK] keys to mute or unmute tracks. • Syntakt remembers the last used version of MUTE mode and will access this one first when you press [FUNC] + [BANK]. This also applies to QUICK MUTE. 7.
7. INTERACTING WITH THE SYNTAKT Of the 128 notes in the standard MIDI range, Note numbers 0–11 correspond to notes C0 through to B0, the leftmost octave (which is sometimes called C-2–B-2 in certain applications). These notes will trigger the sound of track 1 through track 12, respectively (provided they are set to their default channels 1-12). These notes values map to each of the 12 tracks, regardless of which track is active.
7. INTERACTING WITH THE SYNTAKT 4. On the top right side, in the drop-down menu, select the type of file you want to transfer. 5. On the top left side, in the drop-down menu, make sure “MY COMPUTER” is selected. 6. Under “MY COMPUTER,” navigate to the files or folders you want to transfer. 7. Drag and drop the files or folders to your preferred location on your device. 8.
8. PATTERNS AND SOUNDS 8. PATTERNS AND SOUNDS The patterns are the primary data container for the Syntakt. 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 twelve sounds (one for each audio 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. Each of the audio tracks contains one sound.
8. PATTERNS AND SOUNDS Adjust the overall volume level of the active audio track with the LEVEL/DATA knob. Edit a sound by adjusting the parameters found on the PARAMETER pages. Access these pages by pressing a [PARAMETER] page key. Use the DATA ENTRY knobs A-H to change the parameters. For more information, please see “10. AUDIO TRACK PARAMETERS” on page 46. The complete sound, with all its parameter settings may be copied to another track.
8. PATTERNS AND SOUNDS OCTAVE Sets the base octave of the Sound. 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. PITCH BEND Opens a menu where you can assign up to four PARAMETER page parameters to the pitch bend. The pitch bend from incoming MIDI sent to the Syntakt from external devices affects the assigned parameters. Press [YES] to open the menu.
8. PATTERNS AND SOUNDS The SOUND BROWSER is used to preview and load sounds. You can also press [FUNC] + LEVEL/DATA to open the SOUND BROWSER. This menu will show a list of all sounds in the +Drive sound library that can be loaded to the active track. Scroll the list by turning the LEVEL/DATA knob or by pressing [UP]/ [DOWN]. Press [TRIG 9–16] to select sound bank A–H. Press [FUNC] + [YES] to preview the sound before you load it to the track. Press [YES] to load the sound to the track.
8. PATTERNS AND SOUNDS VIEW +DRIVE lists sounds available on the +Drive sound library. The command is only available when you browse the Sound pool of the active project. SORT ABC sorts the sounds in alphabetical order. The command is only available when sounds are being sorted by slot number. FILTER opens a list where sounds can be arranged according to tags. Select and deselect tags by pressing [YES]. You can select multiple tags. Exit the tag list by pressing [NO].
8. PATTERNS AND SOUNDS 8.6.5 SAVE SOUND Saves the active track’s sound to the +Drive. Turn the LEVEL/DATA knob or press [UP]/[DOWN] to choose a destination memory slot. Press [YES] to export the sound. Name the sound and press [YES] again to confirm the export. 8.6.7 RENAME TRACK SOUND Opens the NAMING menu where you can rename the active track’s sound. 8.6.8 INIT TRACK SOUND Sets the PARAMETER page parameters of the active track to their default values. When selecting this option, a prompt will appear.
9. THE SEQUENCER 9. THE SEQUENCER The sequencer of the Syntakt stores information in patterns. A pattern controls the playback of the audio/ MIDI tracks, the FX track, 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 “9.6 PATTERN MENU” on page 38.
9. THE SEQUENCER • Patterns can be changed while the sequencer is running. • Patterns can be changed and queued by sending program change messages. • It is possible to copy a pattern, and then paste it to one or several locations without leaving the active pattern. You can also clear one or several non-active patterns. - To copy, press and hold [PATTERN] + [TRIG] key to select the pattern you wish to copy. Then press [RECORD].
9. THE SEQUENCER • You can use an external MIDI controller such as a keyboard to input NOTE and TRIG VELOCITY data when you are in GRID RECORDING mode Just press and hold a [TRIG] key, and then play a note on the external keyboard. On MIDI tracks, you can add up to a four note chord to every trig. The first note sets the TRIG VELOCITY value for all notes on the trig. • Press [TRIG] + [YES] to preview a specific trig. The preview includes any parameter locks you have placed on that trig.
9. THE SEQUENCER 5. Press [FUNC] + [TRK] to toggle the KEYBOARD mode keyboard on 6. Press and hold [FUNC] and then press any lit [TRIG] key to add a note trig with the corresponding note value to the selected step. The active step then automatically advances to the next step. 7. To remove a trig or to add a rest (no trig), position the active step on the trig that you want to remove or add a rest to, and then press [NO]. The active step then automatically advances to the next step. 8.
9. THE SEQUENCER 9.5 RETRIG MENU Retrigs can be customized on any of the sequencer steps on the audio tracks (the retrig function is not available on the MIDI tracks). In GRID RECORDING mode, press and hold one or several [TRIG] keys and then press [UP]/[DOWN] to access the pop-up Retrig menu that shows the retrig actions for the chosen sequencer step(s) on the active track. To exit the Retrig menu, release the [TRIG] key(s). The retrig settings are stored in the active pattern.
9. THE SEQUENCER 9.6.3 SAVE TO PROJ You must have saved the project at least once before you can save pattern information. • WHOLE PATTERN Saves the active pattern’s sequence data and kit to the +Drive. A prompt appears when you select this option. Press [YES] to save, or [NO] to cancel the operation. • KIT DATA Saves the active pattern’s kit to the +Drive. A prompt appears when you select this option. Press [YES] to save, or [NO] to cancel the operation.
9. THE SEQUENCER TRK. affects all the trigs of the active track in real time. The higher the quantize value, the more the trigs will be quantized. Press [TRIG 1–12] key to select track to quantize. (0–127) GLOBAL affects all the trigs of all tracks in real time. The higher the quantize value, the more the trigs will be quantized. (0–127) Press [NO] to exit the menu. 9.8 METRONOME MENU The METRONOME menu controls the internal metronome of the Syntakt.
9. THE SEQUENCER 3/4X setting is useful when Syntakt is playing alongside other instruments set to the same BPM, and you want Syntakt to play triplets. 9.9.2 PER TRACK MODE In this mode, you can assign individual length and scale to the tracks of the pattern. Press [FUNC] + [YES] to switch between the two scale modes. In PER TRACK mode, two columns exist, TRACK and PATTERN. The TRACK column sets the step length and scale of the track. The settings only affects the active track.
9. THE SEQUENCER Remove a single parameter lock by holding [TRIG] + pressing the DATA ENTRY knob of the locked parameter. You can erase all parameter locks from a trig if you remove the note trig and then enter it again. Adding parameter locks in LIVE RECORDING mode. 1. Press and hold [RECORD], then press [PLAY] to enter LIVE RECORDING mode. 2. Turn a DATA ENTRY knob, or play the [TRIG] keys in KEYBOARD mode, to add parameter locks to the active track. Trigs added with Trig modifiers are also recorded.
9. THE SEQUENCER before the active track. For example, track 3 is the neighbor track of track 4. NEI and NEI conditional trigs on track 4 evaluate the conditional trigs placed on track 3. The NEI condition is false if no conditional trigs exist on the neighbor track. NEI is true when NEI is false. A trig with this trig condition is active if the most recently evaluated trig condition on the neighbor track was not true. (PRE and PRE conditions on the neighbor track are ignored and not evaluated.
9. THE SEQUENCER 9.10.6 COPY, PASTE AND CLEAR OPERATIONS Patterns, tracks, track pages, and trigs can be copied, pasted and cleared. The active pattern can be copied to another location in the same bank or in another bank. To perform a pattern copy operation, GRID RECORDING mode must be deactivated. Copy the pattern by pressing [FUNC] + [RECORD]. Select another pattern, and then press [FUNC] + [STOP] to paste the copied pattern to this location.
9. THE SEQUENCER You can create one chain and it can contain any pattern in bank A–H. The chain can consist of up to 64 patterns. 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.
10. AUDIO TRACK PARAMETERS 10. AUDIO TRACK PARAMETERS Here follows a description of all of the parameters that are available on the audio tracks PARAMETER pages. The parameters on the TRIG page are not saved together with the sound, but are instead saved with the pattern. The audio track parameters may be locked 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 “9.10.
10. AUDIO TRACK PARAMETERS 10.2.5 FLT.T Filter Trig controls if the filter envelope will be trigged or not. 10.2.6 LFO.T LFO Trig controls if the LFO will be trigged or not. 10.3 SYN PAGE The parameters on this page control the (analog and digital) sound synthesis of the selected machine, and these parameters vary depending on what machine is selected. The parameters for the BD Classic machine are shown here.
10. AUDIO TRACK PARAMETERS • The filter types on tracks 1–8 are digital, while the filter types on tracks 9–12 are all analog circuits. • The parametric EQ is used to boost desired frequencies or to remove unwanted frequencies of the sound. • The five different settings of the EQ lets you select the bandwidth of the frequency range that the EQ affects. This value is often referred to as Q. The higher the Q value, the narrower the bandwidth.
Width Base Base FREQUENCY FREQUENCY AMPLITUDE Width AMPLITUDE AMPLITUDE 10. AUDIO TRACK PARAMETERS Width Base FREQUENCY • The base-width filter is only available for tracks with Digital voices types (Track 1–8). • With BASE set to 0, the filter functions as a low pass filter with WIDTH adjusting the frequency range. • With WIDTH set to 127, the filter functions as a high pass filter with BASE adjusting the frequency range.
10. AUDIO TRACK PARAMETERS 10.6.7 REV Reverb Send sets the amount of the sound that is sent through to the Reverb effect. For more information, please see “13.3 REVERB” on page 64. 10.6.8 PAN Pan positions the sound in the stereo field. The knob function is bipolar with 0 being the balanced midpoint, L64 sends all sound to the left channel and R63 sends all sound to the right. 10.6.9 VOL Volume sets the volume amount of the amplifier. Unlike the track LEVEL, this parameter can be parameter locked.
10. AUDIO TRACK PARAMETERS 10.7 AMP PAGE 2 The AMP page controls parameters for the amplitude envelope reset, envelope mode, and track routing. Press [AMP] twice to access this parameter page. 10.7.1 AENR Amp envelope reset sets the amp envelope behavior: ON resets the envelopes for each consecutive trig (default). OFF does not reset the envelopes for each consecutive trig. 10.7.2 MODE Envelope mode sets the amplitude envelope to function as either an AHD or an ADSR envelope. 10.7.
10. AUDIO TRACK PARAMETERS 10.8.2 MULT Multiplier multiplies the SPD parameter by the set factor either by multiplying the current tempo (BPM settings), or by multiplying a fixed tempo of 120 BPM. 10.8.3 FADE Fade In/Out makes it possible to fade in/fade out the LFO modulation. The knob is bipolar. Positive values give a fade-out, negative values give a fade in. 0 gives no fade in/fade out. 10.8.4 DEST Destination selects the modulation destination for the LFO.
10. AUDIO 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 The table below shows the LFO speed measured in whole note values. One whole note equals 16 sequencer steps in 4/4 with SCALE set to 1x. I.e.
11. MIDI TRACK PARAMETERS 11. 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. The parameters may be locked 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 “9.10.1 PARAMETER LOCKS” on page 41.
11. MIDI TRACK PARAMETERS 11.2.6 LFO.T LFO Trig controls if the LFO will be trigged or not. 11.3 SYN PAGE Here you can set the MIDI channel that the MIDI track should use to send data. Bank and program change values are also set here, together with a few standard CC parameters. The default value of the parameters on this page is OFF, meaning they are disabled and will not send out any data. Press and hold [FUNC] and then press the DATA ENTRY knobs to enable them.
11. MIDI TRACK PARAMETERS 11.4.1 VAL1-VAL8 CC 1–8 Value controls the values that are sent for the CC commands, which are specified on the AMP (CC SELECT) page. These parameters default value is OFF. Press [TRIG] + DATA ENTRY knobs to activate the parameters and then set a value. 11.5 AMP PAGE (CC SELECT) Here you select the eight CC commands whose values are controlled by the parameters on the FLTR PAGE (CC VALUE) page. Press [AMP] to access this parameter page. 11.5.
11. MIDI TRACK PARAMETERS 11.6.6 SPH Start Phase sets the point within the wave cycle where the LFO will start when it is trigged. 0 makes the LFO start at the beginning of a complete wave cycle, 64 makes it start at the center. A small square at the start of the waveform shows that the wave cycle starts at a zero-crossing point. 11.6.7 MODE Trig Mode sets how the LFO will act when a note is trigged. • FREE is the default free-running mode.
12. FX TRACK PARAMETERS 12. FX TRACK PARAMETERS Here follows a description of the parameters that are on the FX track’s PARAMETER pages. The FX track controls the parameters of the Analog FX block and in addition it also gives sequencer control over the parameters on the REVERB and DELAY parameter pages. For more information, please see “13. DELAY, REVERB AND MIXER PARAMETERS” on page 63. The FX track’s parameters are saved together with the pattern.
12. FX TRACK PARAMETERS 12.3.8 DRIVE Drive sets the amount of analog drive that is added to the audio routed through the FX track. Yes, it goes to 11! 12.4 FLTR PAGE 1 On FILTER page 1, you will find the parameters that control the analog multimode filter and its associated envelope. Press [FLTR] to access this parameter page. 12.4.1 ATK Attack Time sets the length of the attack phase of the filter envelope. 12.4.2 DEC Decay Time sets the length of the decay phase of the filter envelope. 12.4.
Env. Delay Attack Decay Release Sustain AMPLITUDE 12. FX TRACK PARAMETERS Note On Note Off TIME 12.5 FLTR PAGE 2 On FILTER page 2, you will find the parameters that control the envelope delay parameter. Press [FLTR] twice to access this parameter page. 12.5.1 DEL Envelope delay sets the time before the attack phase of the filter envelope starts. This parameter is part of the filter envelope that controls the multimode filter.
12. FX TRACK PARAMETERS 12.6.4 SUS Sustain Level sets the sustain level of the amp envelope. This parameter is only available if MODE on AMP Page 2 is set to ADSR. 12.6.5 REL Release Time sets the length of the release phase of the amp envelope. This parameter is only available if MODE on AMP Page 2 is set to ADSR. 12.6.7 DEP Depth sets the amount of modulation from the amplitude envelope. This parameter is only available if MODE on AMP Page 2 is set to AHD. 12.6.
12. FX TRACK PARAMETERS 12.7 LFO PAGE 1 The Low-Frequency Oscillator can be used to modulate the parameters found on the audio tracks SYN, FILTER and AMP pages. Customize the low-frequency oscillator behavior, orientation, and depth on this page. This page controls the behavior of LFO 1 Press [LFO] to access this parameter page. 12.7.1 SPD Speed sets the speed of the LFO. Try settings of 8, 16 or 32 to sync the LFO to straight beats. The knob is bipolar.
13. DELAY, REVERB AND MIXER PARAMETERS 13. DELAY, REVERB AND MIXER PARAMETERS The Syntakt effects and mixers parameters are explained in this chapter. 13.1 EDITING THE DELAY, REVERB AND MIXER PARAMETERS The Syntakt’s Delay and Reverb are send effects and are set 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. DELAY, REVERB AND MIXER PARAMETERS 13.2.2 X Ping-pong sets the delay signal to alternate across the stereo field. There are two settings: • OFF lets you manually set the position of the delay signal in the stereo field. Use the WID parameter to change the stereo field position. • ON makes the delay signal alternate between left and right pan positions. The WID parameter controls the amount of panning. 13.2.3 WID Stereo Width sets the delay signal pan width across the stereo field.
13. DELAY, REVERB AND MIXER PARAMETERS 13.3.6 LPF LPF sets the cutoff frequency of the reverb low-pass filter that affects the audio going in to the reverb. 13.3.7 VOL Mix Volume sets the volume of the Reverb output signal. The parameters on the REVERB parameter page can be controlled by the sequencer using the FX Track. For more information, please see “6.3.3 THE FX TRACK” on page 20. and “12. FX TRACK PARAMETERS” on page 58. 13.
13. DELAY, REVERB AND MIXER PARAMETERS 13.6 MIXER (3/3) This page is used to set up the incoming external audio from INPUT L/R and to configure the routing of the audio from INPUT L/R in relation to the Analog FX block. For more information, please see “5.4 ANALOG FX BLOCK” on page 17. Press [FUNC] + [LFO] three times to access this parameter page. 12.3.1 IN LR Input LR Level sets the level of the audio from the INPUT L/R inputs. I can be configured as a mono or a stereo input.
14. SETTINGS MENU 14. SETTINGS MENU The SETTINGS menu offers settings that affect Syntakt and can also be used to manage Projects. Press [GLOBAL SETTINGS] to access the SETTINGS menu. Scroll the list by using [UP]/[DOWN] or the LEVEL/DATA knob. Open a highlighted menu by pressing [YES]. 14.1 PROJECT 14.1.1 LOAD PROJECT Load Project opens a project selection screen where you can choose a project to load.
14. SETTINGS MENU 14.2.1 SYNC Controls how Syntakt receives and sends MIDI clock and transport commands. Change settings by using the [LEFT]/[RIGHT] arrow keys or the [YES] key. CLOCK RECEIVE sets whether or not Syntakt responds to MIDI clock sent from external devices. CLOCK SEND sets whether or not Syntakt transmits MIDI clock. TRANSPORT RECEIVE sets whether or not Syntakt responds to MIDI transport messages sent from external devices.
14. SETTINGS MENU INPUT FROM selects the source Syntakt will receive MIDI data from. • DISABLED will make Syntakt disregard any incoming MIDI data. • MIDI will make Syntakt listen only to MIDI data sent to the MIDI IN port. • USB will make Syntakt listen only to MIDI data sent to the USB port. • MIDI+USB will make Syntakt listen to MIDI data sent to both the MIDI IN and USB ports. OUTPUT TO selects the destination to which Syntakt will send MIDI data.
14. SETTINGS MENU AUTO CHANNEL selects the MIDI channel that will give access to the currently active track. If an external MIDI keyboard connected to Syntakt sends MIDI data on this channel, the keyboard will control the active track. This is useful when for example quickly changing between the active audio tracks to play different sounds. The Syntakt also uses the AUTO channel to record to the MIDI tracks from external MIDI controllers.
14. SETTINGS MENU 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 locations in the column on 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. Press [YES] to initiate the SysEx receive procedure.
14. SETTINGS MENU 14.4.5 USB OUT Sets from where in the Syntakt’s signal path, the outgoing audio is routed to the class compliant device. This parameter is only available when USB CONFIG is set to USB AUDIO/MIDI. For more information, please see “14.5.1 USB CONFIG” on page 72. MAIN the outgoing audio is routed from the Syntakt’s Main out at the end of the signal path.
14. SETTINGS MENU OVERBRIDGE enables Overbridge functionality. For more information, please see “7.13 OVERBRIDGE” on page 26. USB MIDI select this option If you wish to send and receive MIDI over USB. USB AUDIO/MIDI sets the Syntakt to send and receive audio and MIDI over USB. Select this option if you want to use the Syntakt together with a class compliant USB audio host. For more information, please see “7.14 CLASS COMPLIANT DEVICE” on page 26. 14.5.
14. SETTINGS MENU RUN CALIBRATION Calibrates the oscillators using the current working temperature. It is used to improve the tuning of the analog oscillators when operating the device in an environment where the temperature is outside of the normal operating range (~20–25C). The unit will automatically use the most optimal calibration data set available. The device can hold up to two extra sets of user calibration data.
15. STARTUP MENU 15. STARTUP MENU To access this menu, hold down the [FUNC] key while powering up the Syntakt. From here you can perform a variety of tasks. To choose the different alternatives, press the corresponding [TRIG] key. 15.1 TEST MODE To enter this mode, press the [TRIG 1] key. For testing purposes, a short sound is heard through all outputs of the unit. If you have any trouble with your Syntakt and suspect it may be due to a hardware problem, perform this self-test.
16. SETUP EXAMPLES 16. SETUP EXAMPLES The Syntakt likes to play with other machines. Whether it uses its ability to sync and play with legacy machines or controls other synthesizers: Syntakt gets along with other gear. 16.1 SYNTAKT WITH A MONOPHONIC BASS MACHINE The DIN sync capabilities of the Syntakt allows you to use gear from yesteryear. In this example, a legacy monophonic bass machine is used alongside the Syntakt. The Syntakt can stop, start and control the tempo of the bass machine. 1.
16. SETUP EXAMPLES 16.2 CONTROLLING A SYNTHESIZER USING THE MIDI TRACKS Syntakt has extensive capabilities to use its sequencer’s MIDI tracks to control other MIDI-equipped synthesizers. 1. Use a standard MIDI cable to connect the Syntakt MIDI OUT jack to the synthesizer’s MIDI IN jack. 2. On the Syntakt, press [GLOBAL SETTINGS], and then navigate to MIDI CONFIG > PORT CONFIG and set OUT PORT FUNC to MIDI. 3. In the same menu set OUTPUT to MIDI. 4.
17. USEFUL KEY COMBINATIONS (QUICK KEYS) 17. USEFUL KEY COMBINATIONS (QUICK KEYS) Use the key combinations below to quickly perform certain tasks. GENERAL [FUNC] + [REC] performs a copy command. Action depends on the currently active page or mode. [FUNC] + [PLAY] performs a clear command. Action depends on the currently active page or mode. [FUNC] + [STOP] performs a paste command. Action depends on the content that was copied.
17. USEFUL KEY COMBINATIONS (QUICK KEYS) [FUNC] + [UP]/[DOWN] (In the SCALE menu) sets the TRACK LENGTH in musical increments from 2/16 to 64/64. SEQUENCER RECORDING [RECORD] + [PLAY] starts LIVE RECORDING. [RECORD] + [STOP] activates STEP RECORDING. [RECORD] + double-press [PLAY] activates/deactivates QUANTIZE LIVE RECORDING. [NO] + [TRIG] key during LIVE RECORDING clears the trigs from a sequencer track. [FUNC] + [PTN] (long press) toggles the metronome on/off.
18. TECHNICAL INFORMATION 18. TECHNICAL INFORMATION ELECTRICAL SPECIFICATIONS HARDWARE Impedance balanced audio outputs Main outputs level: +15 dBu Output impedance: 440 Ω unbalanced 128 × 64 pixel OLED screen MIDI In/Out/Thru with DIN Sync out 2 × 1/4” impedance balanced audio out jacks 2 × 1/4” audio in jacks 1 × 1/4” stereo headphone jack 48 kHz, 24-bit D/A and A/D converters Electrically isolated hi-speed USB 2.0 port Power inlet: Center positive 5.5 × 2.
19. CREDITS AND CONTACT INFORMATION 19.
APPENDIX A: MACHINES APPENDIX A: MACHINES A.1 VOICE TYPES AND MACHINES The voice type is the underlying synthesis model and can be either analog or digital. The Syntakt has three different kinds of voice types. Analog Drum, Analog Cymbal, and Digital. A machine is a sound engine that uses a subset of functionality derived from the voice type. There are a large number of machines available in the Syntakt.
APPENDIX A: MACHINES SD BASIC TUNE (Tune) offsets the incoming note value. This parameter is bipolar. A setting of 0 leaves the pitch unchanged. SWEP (Sweep Depth) sets the depth and time of the pitch sweep. PNCH (Punch) adds a compressor-like envelope, which accentuates and distorts the sound. DEC (Decay) sets the length of the decay phase of the machines internal amp envelope. INHM (Inharmonicity) sets the ratio of the operators. MDFB (Modulation and Feedback) sets the amount of modulation and feedback.
APPENDIX A: MACHINES SWEP (Sweep Depth) sets the depth and time of the pitch sweep. PNCH (Punch) adds a compressor-like envelope, which accentuates and distorts the sound. DEC (Decay) sets the length of the decay phase of the machines internal amp envelope. INHM (Inharmonicity) sets the amount of inharmonicity. MOD (Modulation) sets the amount of modulation. MENV (Modulation Envelope) sets the decay and depth of the modulation envelope. OVER (Overdrive) sets the gain amount into the digital overdrive.
APPENDIX A: MACHINES SY BITS TUNE (Tune) offsets the incoming note value. This parameter is bipolar. A setting of 0 leaves the pitch unchanged. DET (Osc 2 Detune) sets the tuning of oscillator 2 relative to oscillator 1. BAL (Balance) sets the level of the oscillators and the noise. At value 0, it produces only noise. From 1–64 oscillator 1 fades in. Between 64–127 the second oscillator fades in and the noise is faded out.
APPENDIX A: MACHINES TUNE (Tune) offsets the incoming note value. This parameter is bipolar. A setting of 0 leaves the pitch unchanged. WAVE (Wave Sweep) sweeps through the wavetable. PNCH (Punch) adds a compressor-like envelope, which accentuates and distorts the sound. DEC (Decay) sets the length of the decay phase of the machines internal amp envelope. TYPE (Type) sets the unison mode and selects chord.
APPENDIX A: MACHINES CHAN (Channe) 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) BANK (Bank) sends a bank change message on CC 0 MSB. (OFF, 1–128) SBNK (Sub Bank) sends a bank change message on CC 32 LSB. (OFF, 1–128) PROG (Program Change) sends a Program Change message. (OFF, 1–128) PB (Pitch Bend) controls the pitch bend data sent on the MIDI track. (OFF, -128.
APPENDIX A: MACHINES 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. (1–119) Please note that the MIDI machine only has one LFO. A.3 ANALOG DRUM MACHINES The Syntakt has three Analog Drum voices (available on tracks 9–11).
APPENDIX A: MACHINES DEC (Decay) sets the length of the decay phase of the first (modulated) oscillator and, consequently, the whole drum sound. FM T (FM Tune) sets the pitch of the second (modulating) oscillator. FM S (FM Sweep Time) sets the pitch sweep time of the second (modulating) oscillator. FM A (FM Amount) sets the amount of frequency modulation the second oscillator subjects the first to. OVER (Overdrive) sets the gain amount into the analog overdrive.
APPENDIX A: MACHINES BD SHARP TUNE (Tune) sets the pitch of the oscillator. STIM (Sweep Time) sets the pitch sweep time. SDEP (Sweep Depth) sets the depth of the pitch sweep. DEC (Decay) sets the length of the decay phase. WAVE (Waveform) sets the waveform.
APPENDIX A: MACHINES FM D (FM Decay Time) sets the decay time of the second (modulating) oscillator and, consequently, the decay time of the FM effect. DEC (Decay) sets the length of the decay phase of the first (modulated) oscillator and, consequently, the whole drum sound. FM A (FM Amount) sets the amount of frequency modulation the second oscillator subjects the first to. NDEC (Noise Decay) sets the length of the noise decay phase. NLEV (Noise Level) sets the noise level.
APPENDIX A: MACHINES SD HARD TUNE (Tune) sets the pitch of the oscillators. The interval between them is fixed. STIM (Sweep Time) sets the pitch sweep time. SDEP (Sweep Depth) sets the depth of the pitch sweep. DEC (Decay) sets the length of the decay phase. TICK (Tick Level) sets the level of the transient tick. NDEC (Noise Decay) sets the length of the noise decay phase. NLEV (Noise Level) sets the noise level. OVER (Overdrive) sets the gain amount into the analog overdrive.
APPENDIX A: MACHINES NLEV (Noise Level) sets the noise level. OVER (Overdrive) sets the gain amount into the analog overdrive. UT (UTILITY) NOISE GEN (WHITE NOISE GENERATOR) SDEP (Sweep Depth) sets the depth of the LP Filter sweep. Negative as well as positive sweeps are possible. STIM (Sweep Time) sets the length of the sweep from the depth set by SDEP. Low values result in snappy sweeps, high values result in longer sweeps. ATK (Attack) sets the length of the attack phase.
APPENDIX A: MACHINES TUNE (Osc 1 Tune) sets the tuning of oscillator 1. Value 0 corresponds to note C-2. DET (Osc 2 Detune) sets the tuning of oscillator 2, relative to oscillator 1. DEC1 (Osc 1 Decay) sets the decay time of oscillator 1 level. DEC2 (Osc 2 Decay) sets the decay time of oscillator 2 level. CNFG (Osc Config) selects the waveforms and interaction of the two oscillators.
APPENDIX A: MACHINES MIDI (FLTR page) Here you can set the values of up to eight assignable CC commands. The default value of the parameters on this page is OFF, meaning they are disabled and do not send out any data. Press and hold [FUNC] and then press the DATA ENTRY knobs to enable them. You can then use the DATA ENTRY knobs to set the parameter values as usual. Disable the parameters again by repeating the enabling procedure. Press [FLTR] to access this parameter page.
APPENDIX A: MACHINES A.4 ANALOG CYMBAL MACHINES The Syntakt has one ANALOG CYMBAL voice (available on track 12). The ANALOG CYMBAL machines focus on metallic sounds such as hihats, rides, cymbals and cowbells. CH CLASSIC TUNE (Tune) sets the pitch of the oscillators of the closed hihat. DEC (Decay) sets the length of the decay phase of the closed hihat sound. NCOL (Noise Color) sets the timbral color. OVER (Overdrive) sets the gain amount into the analog overdrive.
APPENDIX A: MACHINES OH METALLIC TUNE (Tune) sets the pitch of the interacting oscillators of the metallic hihat. DEC (Decay) sets the length of the decay phase. OVER (Overdrive) sets the gain amount into the analog overdrive. HH BASIC TUNE (Tune) sets the pitch of the six oscillators that combine to make the basic hihat sound. TONE (Tone) sets the tone of the sound. Positive values produce an increasingly shrill tone, while negative values result in a deeper tone.
APPENDIX A: MACHINES CY METALLIC TUNE (Tune) sets the pitch of the ring-modulated oscillators of the metallic cymbal. TONE (Tone) sets the tone of the metallic transient. TDEC (Transient Decay) sets the length of the transient decay phase. DEC (Decay) sets the length of the decay phase of the oscillators. OVER (Overdrive) sets the gain amount into the analog overdrive. CY RIDE TUNE (Tune) sets the pitch of the interacting oscillators that make up the ride cymbal model.
APPENDIX A: MACHINES CB METALLIC TUNE (Tune) sets the base pitch of the two oscillators. DEC (Decay) sets the length of the decay phase of the metallic cowbell sound. DET (Detune) sets the detune offset of the second oscillator. OVER (Overdrive) sets the gain amount into the analog overdrive. UT (UTILITY) NOISE GEN (WHITE NOISE GENERATOR) SDEP (Sweep Depth) sets the depth of the LP Filter sweep. Negative as well as positive sweeps are possible.
APPENDIX A: MACHINES POL (Polarity) sets the polarity, positive or negative. LEV (Level) sets the overall sound volume of the machine. MIDI The parameters for the MIDI machine are split over the SYN, FLTR and AMP PARAMETER pages. MIDI (SYN page) Here you can set the MIDI channel that the MIDI machine should use to send data. Bank and program change values are also set here, together with a few standard CC parameters.
APPENDIX A: MACHINES Press [FUNC] + DATA ENTRY knobs to activate the parameters and then turn the DATA ENTRY knobs to set a value. (OFF, 0–127) MIDI (AMP page) 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.
APPENDIX B: MIDI APPENDIX B: MIDI This appendix lists the CC and NRPN specification for the Syntakt. 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 Note 3 CC LSB 3 0 Velocity 4 3 1 Length 5 3 2 Filter Trig 13 LFO Trig 14 B.3 SYN PARAMETERS The parameters on the SYN parameter page vary depending on which machine is selected.
APPENDIX B: MIDI B.5 AMP PARAMETERS AMP Parameter CC MSB NRPN MSB NRPN LSB Attack Time 79 CC LSB 1 24 Hold Time 80 1 25 Decay Time 81 1 26 Sustain Level 82 1 24 Release Time 83 1 24 Delay Send 84 1 28 Reverb Send 85 1 29 Pan 10 1 30 Volume 7 1 31 B.6 LFO PARAMETERS Note that the LFO 1/2 depth are high-resolution parameters, with CC LSB values.
APPENDIX B: MIDI DELAY Parameter CC MSB Reverb Send Mix Volume CC LSB NRPN MSB NRPN LSB 27 2 6 28 2 7 REVERB Parameter CC MSB NRPN MSB NRPN LSB Predelay 24 CC LSB 2 8 Decay Time 25 2 9 Shelving Freq 26 2 10 Shelving Gain 89 2 11 Highpass Filter 90 2 12 Lowpass Filter 91 2 13 Mix Volume 92 2 15 NRPN MSB NRPN LSB EXTERNAL IN MIXER Parameter CC MSB CC LSB Input LR 16 2 30 Input Balance 17 2 32 Input Delay Send 18 2 33 Input Reverb Send 19 2 35
APPENDIX B: MIDI B.10 FX TRACK PARAMETERS These are the parameters for the parameter on the [SYN], [FLTR], and [AMP] pages on the FX track. SYN Parameter CC MSB Drive 15 CC LSB NRPN MSB NRPN LSB 1 29 FILTER Parameter CC MSB NRPN MSB NRPN LSB Filter Frequency 70 CC LSB 1 20 Resonance 71 1 21 Filter Type 72 1 22 Attack Time 75 Decay Time 76 Sustain Level 77 Release Time 78 Env. Depth 73 Env.
APPENDIX B: MIDI APPENDIX C: LFO MODULATION DESTINATIONS The following are the modulation destinations for the Syntakt’s LFOs: AUDIO TRACKS CC: CC2 Value META: None CC: CC3 Value LFO1: Speed (Only available for LFO2) LFO1: Multiplier (Only available for LFO2) LFO1: Fade In/Out (Only available for LFO2) LFO1: Waveform (Only available for LFO2) LFO1: Start Phase (Only available for LFO2) LFO1: Trig Mode (Only available for LFO2) LFO1: Depth (Only available for LFO2) MACHINE Machine specific parameters 1–
APPENDIX B: MIDI AMPLIFIER: Attack Time AMPLIFIER: Hold Time AMPLIFIER: Decay Time AMPLIFIER: Overdrive AMPLIFIER: Delay Send AMPLIFIER: Reverb Send AMPLIFIER: Pan AMPLIFIER: Volume AMPLIFIER: Envelope Depth AMPLIFIER: Envelope Reset 107
APPENDIX D: UNISON AND CHORD SETTINGS APPENDIX D: UNISON AND CHORD SETTINGS These are the unison and chord settings you can choose with the MODE parameter if you select the SYChords machine. For more information, please see “A.2 DIGITAL MACHINES” on page 82.
APPENDIX E: KEYBOARD SCALES The following are the selectable scales for the KEYBOARD mode. For more information, please see: “7.
INDEX +DRIVE 19, 28 A AUDIO ROUTING Global 71 Pattern 39 AUDIO TRACK PARAMETERS 46 Amp 48, 60 Filter 47, 48, 59, 60 LFO 51, 62 Source 47 Trig 46 B BACKUP 26 BREATH CONTROLLER 30 C CHAINS 44 CLASS COMPLIANT 26 CONDITIONAL LOCKS 42 CONNECTORS 14 CONTROL ALL 22 COPY, PASTE AND CLEAR 44 CREDITS AND CONTACT INFORMATION 81 D DATA STRUCTURE 19 Patterns 19 Project 19 Sounds 19 DELAY 63 E EARLY STARTUP MENU 75 EDITING PARAMETERS 22 F FACTORY RESET 75 FILL MODE 43 FILTER 47, 48, 59, 60 FX PARAMETERS 63 Delay 63
Q QUANTIZATION 39 QUICK SCROLLING 22 QUICK START 15 R RETRIG MENU 38 REVERB 64 S SAFETY AND MAINTENANCE 3 SCALE 24 SCALES 109 SCALE SETUP Length per pattern mode 40 Length per track mode 41 SCREEN SAVER 21 SEQUENCER 34 Conditional locks 42 Editing a pattern 35 Metronome 40 Micro timing 37 Parameter locks 41 Pattern control 35 Retrig Menu 38 Scale Menu 40 Selecting a pattern 34 Swing 43 SEQUENCER RECORDING MODES Grid recording mode 35 Live recording mode 36 Step recording mode 36 SETTINGS 67 MIDI config 67
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