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A.2 SRC MACHINES

APPENDIX A: MACHINES > A.2 SRC MACHINES · PDF p. 84–98 · OS 1.3.3

# A.2 SRC MACHINES

APPENDIX A: MACHINES
APPENDIX A: MACHINES
A machine is a module within Tonverk that has specific functionality. A machine can be replaced with anoth­
er machine of the same category. For example different synthesis engines or effects. Every machine has a
particular set of parameters tailored to give you the most relevant and useful sound-shaping possibilities for
that particular machine. For more information, please see “5.3.2 AUDIO TRACKS (TRACK 1–8)” on page 20.
Use the [UP]/[DOWN] keys to select the parameter group's pages. You can also press a [PARAMETER
PAGE] key repeatedly to cycle through the parameter pages in that group. Press and hold a [PARAMETER
PAGE] key to see the values for all parameters on that page.
A.1 ASSIGNING MACHINES TO THE ACTIVE TRACK
1.	 Press [TRK] + [1–16] to select the active track.
2.	 Press [FUNC] + [SRC] or [FUNC] + [FX] to open the MACHINE setup menus with the relevant
machine category selected.
3.	 Use [UP]/[DOWN] to select the machine, and then press [YES] to assign the selected machine to
the track.
The rest of this appendix lists the machine-specific parameters on the SRC and FX pages. The selected
machine determines the parameters available.
A.2 SRC MACHINES
The SRC machines are sound engines that use a particular subset of the functionality of the sample play­
back engine. In this section, you also find the MIDI machine that lets you control external, MIDI-equipped
gear and the Shape machine that can shape the sound on Bus and Send FX tracks. You can assign any
SRC machine (apart from the Shape machine that can only be assigned to Bus and Send FX tracks) to any
of the Audio/MIDI tracks (Track 1–8). Additionally, you can also assign MIDI machines to the Bus tracks
(Track 9–12). Press [SRC] to access these parameter pages.
A.2.1 SINGLE PLAYER
The Single Player machine plays a selected sample (mono or stereo) linearly (forward, reversed, or
looped). This machine is eight voice polyphonic. When you select this machine you should use the SAM­
PLE SLOT parameter to assign a sample to the machine. Press [SRC] to access this parameter page.
TUNE
Tune (DATA ENTRY knob A) sets the pitch of the sample. The knob works in a bipolar fashion, and a
value of 0 leaves the pitch unchanged. The range is +/- 5 octaves. Press and hold [FUNC], and then
turn the DATA ENTRY knob to snap parameter values to full octaves. Press and turn the DATA ENTRY
knob to snap parameter values to semitones.
PLAY MODE
Play Mode (DATA ENTRY knob B) sets the play mode of the sample. It controls how the sample will be
played back when it is trigged.

APPENDIX A: MACHINES
The different modes are:
• REVERSE The sample will be played back in reverse once every time it is trigged.
• REVERSE LOOP The sample will loop continuously in reverse between Loop Position and Length.
The duration for which it will loop is set with the LEN parameter on the TRIG page. This time is also
constrained by the AMP page envelope’s HLD and DEC parameters.
• FORWARD LOOP The sample starts at the STRT position and loops continuously between the
Loop Position and Length. The duration for which it will loop is set with the LEN parameter on the
TRIG page. This time is also constrained by the AMP page envelope’s HLD and DEC parameters.
• FORWARD The sample will be played back once every time it is triggered.
LOOP CROSSFADE
Loop Crossfade (DATA ENTRY knob C) sets the amount of the crossfade of the audio at the samples
loop points. It crossfades the audio before the LSTR loop point with the audio before the LEND loop
point. This parameter is only relevant if you set PLAY to REVERSE LOOP or FORWARD LOOP.
SAMPLE SLOT
Sample Slot (DATA ENTRY knob D), allows you to browse and assign samples to the Single Player
machine. You can load up to 1023 samples for each project. The first position in Bank A, “OFF”, plays
no sample. You must first load a sample from the SD card to the project before assigning it to a track.
1.	 Turn DATA ENTRY knob D and then select an empty slot to where you want to load the sample.
2.	 Press [YES] to open the Sample browser and view the SD card’s contents.
3.	 Use the [ARROW] keys to navigate to the sample you want to load. [UP]/[DOWN]scrolls the list
of folders and files. [YES] or [FUNC] + [RIGHT] opens the highlighted folder. [NO] or [FUNC] +
[LEFT] navigates one level back up in the folder structure.
4.	 Press [YES] to load the selected sample to the track.
To load a previously added sample, turn DATA ENTRY knob D or use [UP]/[DOWN] to navigate to the
sample you want to select, and then press [YES].
You can also use the Sample browser to load samples to the project. For more information, please see
“6.11 SAMPLE BROWSER” on page 25.
You can apply parameter locks to the SAMPLE SLOT parameter and change the sample on any step
of the sequencer, so-called Sample locks. For more information, please see “10.10.1 PARAMETER
LOCKS” on page 44.
STRT
Start Position sets the starting position for playing the sample. In REVERSE and REVERSE LOOP
modes, it sets the end position. STRT and END together define the portion of the sample that is played.
LSTR
Loop Start sets the position in the sample to where playback will return to after reaching the LEND
position of the sample if PLAY MODE is set to FORWARD LOOP. The sample is then looped between
LSTR and LEND. If PLAY MODE is set to REVERSE LOOP, the sample loop will start at LEND, then
move backwards to LSTR, and then loop between LEND and LSTR.
LEND
Loop End sets the loop’s end position, playback of the sample from where it then returns to the LSTR
position.
END
End Position sets the end position of the sample playback. In REVERSE and REVERSE LOOP modes,
it sets the start position. STRT and END effectively define the portion of the sample that is played.

APPENDIX A: MACHINES


       FORWARD LOOP play modes.
     REVERSE LOOP play mode.
STRT
END
LSTR
LEND
LSTR
END
STRT
LEND
STRT
END
LSTR
LEND
A.2.2 MULTI PLAYER
The Multi Player machine plays polyphonic multi-sampled instruments using mono or stereo samples.
This machine is eight voice polyphonic.
When you select this machine you are prompted to select an instrument. Use [UP]/[DOWN] to browse
the instruments and then press [YES] to load the higtlighted item. You can use the [KEYBOARD] to pre­
view the highlighted instrument before loading it. If you want to change instrument later, press [FUNC] +
[SRC], select the Multi Player machine again, and then select another instrument from the list.
TUNE
Tune sets the pitch of the sample. The knob works in a bipolar fashion, and a value of 0 leaves the
pitch unchanged. The range is +/- 5 octaves. Press and hold [FUNC], and then turn the DATA ENTRY
knob to snap parameter values to full octaves. Press and turn the DATA ENTRY knob to snap parame­
ter values to semitones.
VIBR
Vibrato depth sets the amount of vibrato applied to the instrument.
SPD
Vibrato Speed sets the speed of the vibrato.
FADE
Vibrato Fade sets the time it takes for the vibrato to fade in or fade out.
A.2.3 SUBTRACKS
The Subtracks machine allows you to load eight samples (mono or stereo) into a pre-prepared instru­
ment. Every sample is then loaded onto a separate subtrack on the sequencer and can be sequenced
separately, with its own settings on the SRC, FLTR, AMP, and MOD pages. Use the eight [SUBTRACKS]
keys to select a subtrack and to play the sample. Use [TRK] + [SUBTRACKS] to select a subtrack with­
out triggering the sample. This machine is eight-voice polyphonic, one voice per subtrack.
The subtracks mostly have their own set of parameters they control, but there are some parameters that
impact the sound of all subtracks. For this reason, the Subtracks machine has an additional sequencer
track called the supertrack that is used to mainly handle parameter locks for these shared parameters.
The supertrack controls the parameters on the FX pages and the two FX LFOs on the MOD pages. In
addition, the supertrack has its own TRIG PARAMETERS page. This page is used to control the trig-sen­
sitive parameters on the supertracks FX and MOD pages, such as the MODE parameter for the Track FX
LFO.
Press [TRK] + [TRIG 1–8] twice to access the supertrack. Once to select the track that contains the
Subtracks machine and then again to select the supertrack for that machine. When the supertrack is

APPENDIX A: MACHINES
selected, this is shown on the screen with three white rectangles above the track number.  Press [TRK] +
[SUBTRACKS] to exit the supertrack and select a subtrack.
When you select this machine, you are prompted to choose an instrument. Use [UP]/[DOWN] to browse
the instruments and then press [YES] to load the highlighted item. You can use the [KEYBOARD] to
preview the highlighted instrument before loading it. If you want to change the instrument later, press
[FUNC] + [SRC], select the Subtracks machine again, and then select another instrument from the list.
To select and load a sample for a specific subtrack, press [FUNC] + [SUBTRACKS] to
open the Sample browser and then navigate to the desired sample, and press [YES]. For
more information, please see “6.11 SAMPLE BROWSER” on page 25.
TUNE
Tune (DATA ENTRY knob A) sets the pitch of the sample. The knob works in a bipolar fashion, and a
value of 0 leaves the pitch unchanged. The range is +/- 5 octaves. Press and hold [FUNC], and then
turn the DATA ENTRY knob to snap parameter values to full octaves. Press and turn the DATA ENTRY
knob to snap parameter values to semitones.
PLAY MODE
Play Mode (DATA ENTRY knob B) sets the play mode of the sample. It controls how the sample will be
played back when it is trigged.
• REVERSE The sample will be played back in reverse once every time it is trigged.
• REVERSE LOOP The sample will loop continuously in reverse between Loop Position and Length.
The duration for which it will loop is set with the LEN parameter on the TRIG page This time is also
constrained by the AMP page envelope’s HLD and DEC parameters.
• FORWARD LOOP The sample starts at the STRT position and will loop continuously between
Loop Position and Length. How long it will loop for is set with the LEN parameter on the TRIG page.
This time is also constrained by the AMP page envelope’s HLD and DEC parameters.
• FORWARD The sample will be played back once every time it is triggered.
STRT
Start Position sets the starting position for playing the sample.
LEN
Length sets the duration of the sample playback. Start + Length effectively defines the end point of
the portion of the sample that is played.
L.ST
Loop Start sets the position in the sample to where playback will return to after reaching the Length
Position (defined by STRT + LEN) of the sample if PLAY MODE is set to FORWARD LOOP (FWD.L).
The sample is then looped between the end of LEN and L.ST. If PLAY MODE is set to REVERSE
LOOP (REV.L), the sample will start at LEN, then move backwards to L.ST, and then loop between
LEN and L.ST.
A.2.4 GRAINER
The Grainer machine cuts a sample into tiny pieces (grains) and then plays the grains back in different
ways. You can set how long the grains are, where they start, how many play at once, and how random
they are. Grainer is polyphonic, with up to eight voices — and each voice can play up to eight grains at
once. Grainer also has a different set of parameters on the filter page than the other SRC machines.

APPENDIX A: MACHINES
SRC PAGE 1
TUNE
Tune sets the pitch of the sample. The knob works in a bipolar fashion, and a value of 0 leaves the
pitch unchanged. The range is +/- 2 octaves. Press and hold [FUNC], and then turn the DATA EN­
TRY knob to snap parameter values to full octaves. Press and turn the DATA ENTRY knob to snap
parameter values to semitones.
DENS
Density controls how often grains are played and how closely they’re spaced. The behavior of this
parameter varies depending on the selected PLAY MODE.
RANDOM: Sets the likelihood that a grain will play. A higher density means that more grains are
triggered.
SYNC: Controls how often the grains are played. Playback is synced to the project’s BPM.
OSC: In OSC mode, grains are triggered so that they overlap with each other.
The density parameter controls how much they overlap:
At 0, all grains overlap completely.
At 64, about 50% of each grain overlaps.
At 127, there’s no overlap between grains and the grains will be triggered one after another.
When you increase grain amount, the overall perceived size depends on the size, grain amount
and the density.
SIZE
Grain Size determines the length of the sample contained in each grain. The minimum size is 10 ms
and maximum is 2 seconds.
SAMPLE SLOT
Sample Slot (DATA ENTRY knob D), allows you to browse and assign samples to the Single Player
machine. You can load up to 1023 samples for each project. The first position in Bank A, “OFF”,
plays no sample. You must first load a sample from the SD card to the project before assigning it to
a track.
1.	 Turn DATA ENTRY knob D and then select the slot to where you want to load the sample.
2.	 Press [YES] to open the Sample browser and view the SD card’s contents.
3.	 Use the [ARROW] keys to navigate to the sample you want to load. [UP]/[DOWN]scrolls
the list of folders and files. [YES] or [FUNC] + [RIGHT] opens the highlighted folder. [NO] or
[FUNC] + [LEFT] navigates one level back up in the folder structure.
4.	 Press [YES] to load the selected sample to the track.
To load a previously added sample, turn DATA ENTRY knob D or use [UP]/[DOWN] to navigate to
the sample you want to select, and then press [YES].
You can also use the Sample browser to load samples to the project. For more information, please
see “6.11 SAMPLE BROWSER” on page 25.
You can apply parameter locks to the SAMPLE SLOT parameter and change the sample on any
step of the sequencer, so-called Sample locks. For more information, please see “10.10.1 PARAME­
TER LOCKS” on page 44.
POS
Position is where in the sample the grains starts to play back from.
SCAN
Scan controls the speed and direction of playback from the start position. A positive value moves

APPENDIX A: MACHINES
the playhead forward, while a negative value moves it backward. When the playhead reaches the
end of the sample, it loops back to the beginning.
SPRD
Spread adds randomness to the POS parameter, changing where in the sample each grain starts
playing from. When SPRD is set to 0, all grains start playback from the same POS position. When
SPRD is set to 127, each grain starts from a random position anywhere within the sample.
PAN
Pan Spread adjusts how much each grain is randomly panned in the stereo field.
SRC PAGE 2
AMNT
Grain Amount sets the number of grains playing. Each voice can play up to eight grains.
DIR
Direction sets if each grain should be played forward or in reverse.
FADE
Window Fade controls how much of the grain the window (basically a simple envelope that works
on a grain level) applies. With FADE set to 0, no window is applied, resulting in a more clicky sound.
At 50%, half of the grain will have the window applied. At 127, the entire grain will have the window
applied resulting a more smooth sound. This control works together with SHAPE.
SHAPE
Window Shape adjusts the balance between the attack and release phases of each grain’s window.
With FADE set to 127 and SHAPE at 0, the grain has a short attack and long release, giving
a plucky, percussive feel. With FADE at 100% and SHAPE at 64, the window becomes trian­
gle-shaped for a more balanced sound. With FADE set to 127 and SHAPE at 127, the grain has a
long attack and short release, creating a reverse-like playback effect.
MODE
The Play Mode determines when and how grains are triggered and also affects how some parame­
ters work.
• RAND The grains are played at random around a set position of the sample. This mode is useful
for creating evolving pads and noise beds.
• SYNC The playback timing of the grains is tempo-synced. DENSITY becomes a tempo division
of the set BPM. This mode is useful when you want the sound to be played back in sync and
create rhythmic variations.
• OSC Grains are triggered with varying amounts of overlap to create a smooth, continuous
sound. The DENS parameter controls how much they overlap
FLTR PAGE

APPENDIX A: MACHINES
LO.G
Low-Shelf Gain controls the level of frequencies below the shelving frequency set by the LO.F pa­
rameter. A positive value boosts the low frequencies, while a negative value reduces them. The set
parameter value determines how much the low end is increased or decreased in the overall sound.
64 = highpass filter response.
32 = low shelf with -12dB attenuation
16 = low shelf with -6dB attenuation
0 = no attenuation or gain
32 = low shelf with +6dB gain
63 = low shelf with +12dB gain
LO.F
Low Frequency sets the Low-Shelf frequency.
HI.F
High Frequency sets the High-Shelf frequency.
HI.G
High-Shelf Gain controls the level of frequencies above the shelving frequency set by the HI.F pa­
rameter. A positive value boosts the high frequencies, while a negative value reduces them. The set
parameter value determines how much the high end is increased or decreased in the overall sound.
64 = lowpass filter response.
32 = high shelf with -12dB attenuation
16 = high shelf with -6dB attenuation
0 = no attenuation or gain
32 = high shelf with +6dB gain
63 = high shelf with +12dB gain
FREQ
Frequency sets the cutoff frequency of the Multimode filter and the center frequency of the EQ.
RESO
Resonance sets the resonance behavior of the filter. Resonance introduces a peak in the spectrum
at the cutoff frequency.
TYPE
Type sets the Multimode filter’s type. Low-pass 4, Low-pass 2, Band-pass 2, High-pass 2, Low-pass
notch, Notch 1, Notch 2.
SPRD
Frequency Spread offsets the filter cutoff frequency in the left and right channels.

APPENDIX A: MACHINES
Here are some example settings you can use as starting points for creating sounds with
the Grainer machine:
Evolving Pad (PLAY MODE: RAND)
•	 Choose a sample with an evolving synth note or chord.
•	 Set AMNT to 8
•	 Set the grain window FADE=127, SHAPE=63
•	 Set DIR to 50% FWD
•	 Set DENSITY between 64 -> 127
•	 Set SPREAD to around 20
•	 Set PAN to around 30
•	 Set SCAN to 0.25
•	 Dial in SIZE to taste (start somwhere between 64 and 96)
•	 Set a long amp envelope release (+90)
•	 Play some notes (octaves or 5ths)
Clocked stutters (PLAY MODE: SYNC)
•	 Set AMNT between 1 and 4
•	 Set the grain window FADE=127, SHAPE=5
•	 Set DIR to 100% FWD
•	 Set DENSITY to around 16
•	 Set SIZE around 16
•	 Set SPREAD to around 20
•	 Set PAN to around 20
•	 Dial in SCAN to taste
•	 Set a short amp envelope release  (15–20)
•	 Play some notes (octaves or 5ths)
Stretch out a vocal sample (PLAY MODE: OSC)
•	 Set AMNT to 8
•	 Set the grain window FADE=127, SHAPE=64
•	 SDIR to 100% FWD.
•	 Set DENSITY to 64
•	 Set SIZE around 16.
•	 Set SPREAD to around 0
•	 Set PAN to around 0
•	 Dial in SCAN to taste, low values stretches out the sound
•	 Set the amp envelope release to INF
•	 Play some notes

APPENDIX A: MACHINES
A.2.5 WAVEFINDER
The Wavefinder machine provides two independent wavetable oscillators that can be blended together
and modulated individually. The position within a wavetable determines which waveform is played, and by
animating this position over time, you can shape and evolve the timbre—bringing the wavetable synthesis
concept to life. SRC Page 1 controls oscillator 1, and Page 2 controls oscillator 2. Press [SRC] to access
these parameter pages.
SRC PAGE 1
TUNE
Tune sets the pitch of oscillator 1. The knob works in a bipolar fashion, and a value of 0 leaves the
pitch unchanged.
LEV
Level sets the level of oscillator 1.
POS
Position Osc 1 sets what wavetable wave is being played. Transitioning between waves with the
position control is interpolated, so moving through the wavetable waves is blended from one wave
to the next.
SLOT
Osc 1/2 Wavetable slot is where you can browse and assign wavetables to the oscillator. You can
load up to 127 wavetables for each project. You must first load a wavetable from the SD card to the
project before assigning it to a track.
1.	 Turn DATA ENTRY knob D and then select an empty slot to where you want to load the
wavetable.
2.	 Press [YES] to open a wavetable browser and view the SD card’s contents.
3.	 Use the [ARROW] keys to navigate to the wavetable you want to load. [UP]/[DOWN] scrolls
the list of folders and files. [RIGHT] opens the highlighted folder. [LEFT] navigates one level
back up in the folder structure. Once you’ve located the wavetable/sample files, highlight the
file you want to load and press [RIGHT] to select it. Press [RIGHT] again to deselect the file.
•	 You can use the [KEYBOARD] to preview the highlighted wavetable, and the
DATA ENTRY knobs to adjust parameters while selecting a wavetable.
•	 You can press and hold [SRC] to temporarily hide the browser.
4.	 Press [YES] to load the selected wavetable(s) to the slot(s).
To load a previously added wavetable, turn DATA ENTRY knob D or use [UP]/[DOWN] to navigate
to the wavetable you want to select, and then press [YES]. Press [FUNC] + [YES] while a wavet­
able is highlighted to open the browser at the location where the file is stored.
You can also use the Sample browser to load wavetables to the project. For more information,
please see “6.11 SAMPLE BROWSER” on page 25.
You can apply parameter locks to the SLOT parameter and change the wavetable on any step of
the sequencer. For more information, please see “10.10.1 PARAMETER LOCKS” on page 44.
SPD
Speed sets how long it takes for the waveform selected by ANIM to complete one full cycle. Loop­
ing shapes are synced to the tempo and SPD snaps to divisions of a beat for theses shapes.
A.LEV
Animate Level sets the internal modulator’s modulation depth of the LEV parameter.

APPENDIX A: MACHINES
A.POS
Animate Position sets the internal modulator’s modulation depth of the POS parameter. At a value
of 0, no modulation is applied and the oscillator plays only the wave selected by POS. With positive
values, the modulation is added to the POS control. With negative values, the modulation is sub­
tracted from the POS control.
ANIM
Shape lets you choose an internal modulator that affects the position (POS) and level (LEV) of the
oscillator. Different shapes give you different types of movement and character in the modulation.
You can think of them as a collection of envelope and LFO-style shapes to choose from.
•	 Exp Down (one shot)
•	 Ramp Down (one shot)
•	 Tri (one shot)
•	 Ramp Up (one shot)
•	 Exp Up (one shot)
•	 Ramp Down (looping)
•	 Tri (looping)
•	 Square (looping)
•	 Ramp Up (looping)
•	 Random
•	 Sample and Hold
•	 Wavetable 1/2 (looping)
SRC PAGE 2
The parameters on this page are the same as on Page 1 (with the exeption of DTUN) but controls
oscillator 2.
DETUNE
Detune sets how much Oscillator 2 is detuned relative to Oscillator 1.
LEV
See the corresponding parameter on Page 1.
POS
See the corresponding parameter on Page 1.
SLOT
See the corresponding parameter on Page 1.
SPD
See the corresponding parameter on Page 1.
A.LEV
See the corresponding parameter on Page 1.
A.POS
See the corresponding parameter on Page 1.
ANIM
See the corresponding parameter on Page 1.
A.2.6 SHAPE
The Shape machine does not produce any sound, but instead helps to shape the sound on the Bus
and Send FX tracks. The Shape machine is the only selectable SRC machine for the Send FX tracks. The
Shape machine has different set of parameters on the filter and amp pages than the other SRC ma­
chines.

APPENDIX A: MACHINES
The Shape machine is only available on Bus and Send FX tracks.
FLTR PAGE
LO.G
Low-Shelf Gain controls the level of frequencies below the shelving frequency set by the LO.F pa­
rameter. A positive value boosts the low frequencies, while a negative value reduces them. The set
parameter value determines how much the low end is increased or decreased in the overall sound.
64 = highpass filter response.
32 = low shelf with -12dB attenuation
16 = low shelf with -6dB attenuation
0 = no attenuation or gain
32 = low shelf with +6dB gain
63 = low shelf with +12dB gain
LO.F
Low Frequency sets the Low-Shelf frequency.
HI.F
High Frequency sets the High-Shelf frequency.
HI.G
High-Shelf Gain controls the level of frequencies above the shelving frequency set by the HI.F pa­
rameter. A positive value boosts the high frequencies, while a negative value reduces them. The set
parameter value determines how much the high end is increased or decreased in the overall sound.
64 = lowpass filter response.
32 = high shelf with -12dB attenuation
16 = high shelf with -6dB attenuation
0 = no attenuation or gain
32 = high shelf with +6dB gain
63 = high shelf with +12dB gain
AMP  PAGE
The AMP page controls parameters for the amplitude envelope and stereo width.
ATK
Attack Time sets the length of the attack phase of the amp envelope.

APPENDIX A: MACHINES
HOLD
Hold Time sets the length of the hold phase of the amp envelope. Fixed Hold time values (0–126)
specify the length of the hold phase, and the envelope ignores Note Off events such as Trig Length,
releasing a [TRIG] key, or a key on an external controller. Setting HOLD to NOTE means the hold
phase will be determined by Note On and Note Off events. This parameter is only available if ENVE­
LOPE MODE in the TRACK SETUP menu is set to AHD.
If you set HOLD to NOTE and use an external keyboard to trigger the envelope, the
sound will be sustained (if DEC is set to a value less than 127) for as long as you
press a key on the keyboard.
DEC
Decay Time sets the length of the decay phase of the amp envelope. When ENVELOPE MODE is
set to AHD, DECAY works as the REL parameter, defining the time from end of HOLD to 0.
SUS
Sustain Level sets the sustain level of the amp envelope. This parameter is only available if ENVE­
LOPE MODE in the TRACK SETUP menu is set to ADSR.
REL
Release Time sets the length of the release phase of the amp envelope. This parameter is only
available if ENVELOPE MODE in the TRACK SETUP menu is set to ADSR.
WDTH
Stereo Width mixes the left and right channels down to mono. A parameter value of 0 is full mono,
63 is normal stereo, -64 is stereo with the left and right channels switched
ENV
Envelope Depth determines the amount of modulation the amp envelope applies to the amplitude
level. The knob is bipolar, offering both negative and positive modulation depths.
A.2.7 MIDI
The parameters for the MIDI machine are divided across the TRIG, SRC, FLTR, and AMP PARAMETER
pages. The MOD pages are the same as for audio tracks, but there are two LFOs available for MIDI tracks.
The tracks with a MIDI machine selected still have a TRACK LEVEL parameter, as you can
route audio to any track, regardless of the machine selected for that track.
TRIG PAGE 1
Set the actions for when a note is trigged. Change settings using the DATA ENTRY knobs. These
general settings affect note trigs placed in the sequencer.
NOTE
Trig Note sets the pitch of the note when trigged. When in LIVE RECORDING mode and using the
[KEYBOARD ] to enter notes, the pitch of the [TRIG] keys played will override this setting. The
NOTE parameter is not available for tracks that have the Subtracks SRC machine assigned.
VEL
Trig Velocity sets the velocity of the sequencer’s note trigs.

APPENDIX A: MACHINES
LEN
Trig Length sets the length of the note trig. In LIVE RECORDING mode, the duration of pressing the
[TRIG] keys overrides this general setting.
PROB
Trig Probability sets the probability that the trigs on the track play or not. The probability outcome
is re-evaluated every time a trig is set to play. The default setting is 100%, meaning that all the trigs
on the track will play every time. This parameter can be parameter locked, which lets you assign
separate trigs their own probability.
RTRG
Retrig enables multiple trig repeats on placed trigs. Use DATA ENTRY knob A to turn retrig on/off.
For more information, please see “10.7 RETRIGS” on page 42.
RTIM
Repeat Time sets the retrig rate. 1/16 is the nominal retrig rate, one trig per step. 1/32 corresponds
to two trigs per step and so on. To do triplets, for example, set the retrig rate to 1/12 (or 1/24).
RVEL
Repeat velocity sets the velocity curve fade-out and fade-in of the retrig. -1 corresponds to a
complete fade out during the set length, -0,5 fades out to half the velocity during the set length,
0 equals a flat velocity curve with no fade, 0.5 fades into half velocity during the set length, and 1
fades in completely to full velocity during the set length. Please note that the effects of the VFAD
setting is also dependent on the VEL setting on TRIG PAGE 1.
COND
(Trig Condition) when you add a conditional lock, COND sets the Trig Condition with which a set of
conditional rules can be applied to any trig, using a conditional parameter lock. For more informa­
tion, please see “10.10.2 TRIG CONDITIONS AND CONDITIONAL LOCKS” on page 45.
TRIG PAGE 2
On this page you access the portamento and set the portamento time. For more information, please
see “11.1.5 PORTAMENTO” on page 51.
PTIM
Portamento Time sets the time for the portamento.
PORT
Portamento turns the portamento on/off.
SRC 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. 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
activation procedure.
CHAN (Channel) sets the MIDI channel to which the track sends MIDI data. If you set this parame­
ter to OFF, the MIDI track is turned off. This parameter cannot be parameter locked. (OFF, 1–16)
BANK (Bank) sends a bank change message on CC 0 MSB.
SBNK (Sub Bank) sends a bank change message on CC 32 LSB.
PROG (Program Change) sends a Program Change message.

APPENDIX A: MACHINES
PB (Pitch Bend) controls the pitch bend data sent on the MIDI track.
AT (Aftertouch) controls the aftertouch data sent on the MIDI track.
MW (Mod Wheel) controls the modulation wheel data sent on the MIDI track.
BC (Breath Controller) controls the breath control data sent on the MIDI track.
FLTR PAGE 1
Here you can set the values of the first eight assignable CC commands. The default value of the pa­
rameters 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.
VAL1-VAL8 (CC 1–8 Value) controls the values that the CC commands send. You specify the CC
commands themselves on FLTR page 2. The default value of these parameters is OFF. Press
[FUNC] + DATA ENTRY knobs to activate the parameters and then turn the DATA ENTRY knobs to
set a value.
FLTR PAGE 2
Here you select the first eight CC commands whose values you set with the parameters on the FLTR
page 1. Press the corresponding knob or [YES] to activate the CC command change.
SEL1-SEL8 (CC 1–8 Select) specifies the CC commands whose values you control by the param­
eters on the AMP PAGE 1 (CC VALUE) page. The selectable commands are the standard MIDI
Control Change Messages.
AMP PAGE 1
Here you can set the values for eight additional assignable CC commands.
VAL9-VAL16 (CC 9–16 Value) controls the values that the CC commands send. You specify the
CC commands themselves on AMP page 2. The default value of these parameters is OFF. Press
[FUNC] + DATA ENTRY knobs to activate the parameters and then turn the DATA ENTRY knobs to
set a value.
AMP PAGE 2
Here you select the eight additional CC commands whose values you set with the parameters on AMP
page 1. Press the corresponding knob or [YES] to activate the parameter change.
SEL9-SEL16 (CC 9–16 Select) specifies the CC commands whose values you control by the pa­
rameters on the AMP page 1 (CC VALUE) page. The selectable commands are the standard MIDI
Control Change Messages.

APPENDIX A: MACHINES
A.3 FX MACHINES
The FX machines can be added at several locations in the signal path. However, not all FX machines can be
used in every location. The following is a description of the machines that can be added to each track type.
INSERT EFFECTS (Two FX slots per track. Track 1–8)
•	 Bypass (“A.3.1 BYPASS” on page 99)
•	 Chrono Pitch (“A.3.2 CHRONO PITCH” on page 99)
•	 Comb ± Filter (“A.3.3 COMB ± FILTER” on page 100)
•	 Compressor (“A.3.4 COMPRESSOR” on page 101)
•	 Daisy Delay (“A.3.5 DAISY DELAY” on page 102)
•	 Degrader (“A.3.6 DEGRADER” on page 102)
•	 Dirtshaper (“A.3.7 DIRTSHAPER” on page 103)
•	 Filter Folder (“A.3.8 FILTER FOLDER” on page 104)
•	 Filterbank (“A.3.9 FILTERBANK” on page 104)
•	 Frequency Warper (“A.3.10 FREQUENCY WARPER” on page 105)
•	 Infinite Flanger (“A.3.11 INFINITE FLANGER” on page 106)
•	 Low-pass Filter (“A.3.12 LOW-PASS FILTER” on page 106)
•	 Panoramic Chorus (“A.3.14 PANORAMIC CHORUS” on page 107)
•	 Phase 98 (“A.3.15 PHASE 98” on page 108)
•	 Saturator Delay (“A.3.17 SATURATOR DELAY” on page 109)
BUS EFFECTS (Two FX slots per track. Track 9–12)
•	 Bypass (“A.3.1 BYPASS” on page 99)
•	 Chrono Pitch (“A.3.2 CHRONO PITCH” on page 99)
•	 Comb ± Filter (“A.3.3 COMB ± FILTER” on page 100)
•	 Compressor (“A.3.4 COMPRESSOR” on page 101)
•	 Daisy Delay (“A.3.5 DAISY DELAY” on page 102)
•	 Degrader (“A.3.6 DEGRADER” on page 102)
•	 Dirtshaper (“A.3.7 DIRTSHAPER” on page 103)
•	 Filter Folder (“A.3.8 FILTER FOLDER” on page 104)
•	 Filterbank (“A.3.9 FILTERBANK” on page 104)
•	 Frequency Warper (“A.3.10 FREQUENCY WARPER” on page 105)
•	 Infinite Flanger (“A.3.11 INFINITE FLANGER” on page 106)
•	 Low-pass Filter (“A.3.12 LOW-PASS FILTER” on page 106)
•	 Panoramic Chorus (“A.3.14 PANORAMIC CHORUS” on page 107)
•	 Phase 98 (“A.3.15 PHASE 98” on page 108)
•	 Saturator Delay (“A.3.17 SATURATOR DELAY” on page 109)
•	 Steel Box Reverb (“A.3.18 STEEL BOX REVERB” on page 110)
•	 Supervoid Reverb (“A.3.19 SUPERVOID REVERB” on page 111)
•	 Warble (“A.3.20 WARBLE” on page 112)
SEND EFFECTS (One FX slot per track. Track 13–15)
•	 Bypass (“A.3.1 BYPASS” on page 99)
•	 Compressor (“A.3.4 COMPRESSOR” on page 101)
•	 Daisy Delay (“A.3.5 DAISY DELAY” on page 102)

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