Digitakt
Beat making powerhouse
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. These limits are designed to provide reasonable protection
against harmful interference in a residential installation. This equipment generates, uses and can
radiate radio frequency energy and, if not installed and used in accordance with the instructions, may
cause harmful interference to radio communications. However, there is no guarantee that interference
will not occur in a particular installation. If this equipment does cause harmful interference to radio or
television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures:
• Reorient or relocate the receiving antenna.
• Increase the separation between the equipment and receiver.
• Connect the equipment into an outlet on a circuit different from that to which the receiver is
connected.
• Consult the dealer or an experienced radio/TV technician for help.
Canada
This Class B digital apparatus complies with Canadian ICES-003.
Cet appareil numérique de la classe B est conforme à la norme NMB-003.
European Union regulation compliance statement
This product has been tested to comply with the Low Voltage Directive 2006/95/EC and the
Electromagnetic Compatibility Directive 2004/108/EC. The product meets the requirements of RoHS 2
Directive 2011/65/EU.
This symbol indicates that your product must be disposed of properly according to local laws
and regulations.
Legal disclaimer
The information in this document is subject to change without notice and should not be construed as a
commitment by Elektron. Elektron assumes no responsibility for any errors that may appear in this document. Elektron may also make improvements and/or changes in the products and programs described
in this document at any time without notice. In no event shall Elektron be liable for any special, indirect,
or consequential damages or any damages whatsoever resulting from loss of use, data, or profits,
whether in an action of contract, negligence, or other action, arising out of or in connection with the use
or performance of this information.
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. Install in accordance with the manufacturer’s instructions. Make sure you place the unit on a stable surface before use. If you mount the unit in a rack, be sure to tighten all four screws in the rack mount holes.
4. Connect the unit to an easily accessible electrical outlet close to the unit.
5. When transporting the unit, use accessories recommended by the manufacturer or the original box and
padding.
6. Do not install near any heat sources such as radiators, heat registers, stoves, or any other equipment
(including amplifiers) producing heat.
7. Do not put the PL-2S Protective Cover (Elektron accessory) on the unit while the unit is powered on.
8. This product, by itself or in combination with amplifiers, headphones or speakers, is capable of producing sound levels that may cause permanent hearing loss. Do not operate at a high volume level or at a
level that is uncomfortable.
9. Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles,
and the point where they exit from the unit.
10.Only use attachments/accessories specified by the manufacturer.
11. Unplug this unit during lightning storms or when it is not used for long periods of time.
12.Refer all servicing to qualified service technicians. Servicing is required when the unit has been damaged
in any way, liquid has been spilled or objects have fallen into the unit, the unit has been exposed to rain
or moisture, does not operate normally, or has been dropped.
WARNING
To reduce the risk of fire, electrical shock or product damage:
• Do not expose the unit to rain, moisture, dripping or splashing and also avoid placing objects filled with
liquid, such as vases, on the unit.
• Do not expose the unit to direct sunlight, nor use it in ambient temperatures exceeding 40°C as this can
lead to malfunction.
• Do not open the casing. There are no user repairable or adjustable parts inside. Leave service and
repairs to trained service technicians only.
• Do not exceed the limitations specified in the Electrical specifications.
SOUND PEAKS
• A brief signal will be sent to all audio outputs of the Digitakt when the Test mode on the STARTUP Menu
is activated. Remember to turn down the volume on all speakers and headphones before activating
Test mode.
• During calibration there will be loud and unpleasant sounds on all audio outputs. Disconnect these during
calibration.
SAFETY INSTRUCTIONS FOR THE POWER ADAPTER ELEKTRON PSU-3b
• The adapter is not safety grounded and may only be used indoors.
• To ensure good ventilation for the adapter, do not place it in tight spaces. To prevent risk of electric
shock and fire because of overheating, ensure that curtains and other objects do not prevent adapter
ventilation.
• Do not expose the power adapter to direct sunlight, nor use it in ambient temperatures exceeding 40°C.
• Connect the adapter to an easily accessible electrical outlet close to the unit.
• The adapter is in standby mode when the power cord is connected. The primary circuit is always active
when the cord is connected to the power outlet. Pull out the cord to completely disconnect the adapter.
• In the EU, only use CE approved power cords.
RESTART
• For a complete restart of the Digitakt, wait for at least 30 seconds after turning it off before turning it
on again.
TABLE OF CONTENTS
TABLE OF CONTENTS
1. INTRODUCTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
1.1 CONVENTIONS IN THIS MANUAL. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
2. THE DIGITAKT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
3. PANEL LAYOUT AND CONNECTORS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
3.1 FRONT PANEL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
3.2 REAR CONNECTORS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
3.3 SETTING UP AND STARTING THE DIGITAKT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
4. DIGITAKT SOUND ARCHITECTURE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
4.1 AUDIO VOICES. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
4.2 EFFECTS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
5. OVERVIEW OF THE DIGITAKT DATA STRUCTURE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
5.1 +DRIVE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
5.2 DATA STRUCTURE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
5.2.1 PROJECT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
5.2.2 PATTERNS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
5.2.3 SOUNDS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
5.2.4 SAMPLES. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
5.3 ABOUT THE TRACKS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
5.3.1 THE AUDIO TRACKS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
5.3.2 THE MIDI TRACKS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
5.3.3 EDITING THE TRACKS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
6. THE USER INTERFACE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
6.1 SCREEN NAVIGATION. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
6.2 PARAMETER EDITING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
6.2.1 PARAMETER VALUE JUMP. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
6.2.2 CONTROL ALL. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
6.2.3 [FUNC] KEY PRESS COMBINATIONS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
6.3 QUICK SCROLLING. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
6.4 COPY, CLEAR, AND PASTE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
6.5 THE NAMING SCREEN. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
6.5.1 POP-UP NAMING. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
6.6 OVERBRIDGE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
7. QUICK START . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
7.1 PLAYING THE FACTORY PRESETS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
7.1.1 USING CHROMATIC MODE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
7.1.2 USING MUTE MODE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
7.1.3 TEMPO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
7.1.4 EDITING PARAMETERS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
7.2 SAMPLING FROM THE EXTERNAL INPUTS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
8. DIGITAKT CONTROLS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
8.1 TRIG KEYS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
8.2 ROTARY ENCODERS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
8.3 KEY BEHAVIOR. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
8.4 MIDI NOTES. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
8.5 MODES. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
8.5.1 CHROMATIC MODE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
4
TABLE OF CONTENTS
8.5.2 MUTE MODE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
9. PATTERNS, KITS, SOUNDS, AND SAMPLES. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
9.1 THE +DRIVE SOUND LIBRARY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
9.2 SOUND BROWSER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
9.3 SOUND MANAGER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
9.4 PLAYING A SOUND . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
9.5 EDITING A SOUND. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
9.6 ASSIGNING A SAMPLE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
10. THE SEQUENCER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
10.1 BASIC PATTERN OPERATIONS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
10.1.1 SELECTING BANK AND PATTERN. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
10.1.2 PATTERN CONTROL. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
10.1.3 PATTERN TEMPO. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
10.2 EDITING A PATTERN. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
10.2.1 TRIG TYPES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
10.2.2 GRID RECORDING MODE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
10.2.3 LIVE RECORDING MODE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
10.3 MICRO TIMING MENU. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
10.4 RETRIG MENU. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
10.5 PATTERN MENU . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
10.5.1 RENAME. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
10.5.2 CLEAR. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
10.5.3 SAVE TO PROJ. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
10.5.4 RELOAD FROM PROJ. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
10.5.5 IMPORT/EXPORT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
10.6 TRIG PARAMETERS PAGE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
10.7 QUANTIZE MENU . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
10.8 METRONOME MENU. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
10.9 SCALE MENU. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
10.9.1 LENGTH PER PATTERN MODE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
10.9.2 LENGTH PER TRACK MODE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
10.10 MASTER PAGE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
10.11 SEQUENCER FEATURES. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
10.11.1 PARAMETER LOCKS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
10.11.2 CONDITIONAL LOCKS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
10.11.3 FILL MODE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
10.11.4 SWING. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
10.11.5 COPY, PASTE AND CLEAR OPERATIONS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
10.11.6 TEMPORARY SAVE AND RELOAD PATTERN COMMANDS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
10.12 CHAINS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
11. AUDIO TRACK PARAMETERS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
11.1 EDITING THE AUDIO TRACK PARAMETERS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
11.2 TRIG PARAMETERS PAGE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
11.3 SRC PAGE 1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
11.4 SRC PAGE 2. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
11.5 FLTR PAGE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
11.6 AMP PAGE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
11.7 LFO PAGE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
12. MIDI TRACK PARAMETERS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
5
TABLE OF CONTENTS
12.1 EDITING THE MIDI TRACK PARAMETERS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
12.2 TRIG PARAMETERS PAGE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
12.3 SRC PAGE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
12.4 FLTR PAGE (CC VALUE). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
12.5 AMP PAGE (CC SELECT) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
12.6 LFO PAGE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
13. FX PARAMETERS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
13.1 EDITING THE FX PARAMETERS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
13.2 DELAY. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
13.3 REVERB. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
14. SAMPLING. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
14.1 SAMPLING MENU. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
14.1.1 REC. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
14.1.2 ARM. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
14.1.3 THR. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50
14.1.4 SRC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
14.1.5 MON. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
14.2 SAMPLING AUDIO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
14.3 DIRECT SAMPLING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
14.4 ASSIGNING A SAMPLE TO A TRACK FROM THE +DRIVE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
14.5 SAMPLE PLAYBACK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
15. SETTINGS MENU . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
15.1 PROJECT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
15.1.1 LOAD PROJECT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
15.1.2 SAVE PROJECT AS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
15.1.3 MANAGE PROJECTS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
15.2 SAMPLES. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
15.2.1 LOADING A SAMPLE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
15.2.2 UNLOADING A SAMPLE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
15.2.3 REPLACING A SAMPLE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
15.2.4 TRANSFERRING SAMPLES FROM A COMPUTER TO DIGITAKT. . . . . . . . . . . . . . . . . . . . . . . . . . . 55
15.2.5 CREATING A NEW DESTINATION DIRECTORY. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
15.3 MIDI CONFIG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
15.3.1 SYNC. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
15.3.2 PORT CONFIG. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
15.3.3 CHANNELS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
15.4 SYSTEM. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
15.4.1 OS UPGRADE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
15.4.2 FORMAT +DRIVE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
16. STARTUP MENU. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
16.1 TEST MODE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
16.2 EMPTY RESET. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
16.3 FACTORY RESET . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
16.4 OS UPGRADE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
16.5 EXIT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
17. SETUP EXAMPLES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
17.1 DIGITAKT WITH A MONOPHONIC BASS MACHINE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
17.2 SAMPLING FROM A SMART PHONE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
17.3 CONTROLLING A SYNTHESIZER USING THE MIDI TRACKS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
6
TABLE OF CONTENTS
18. USEFUL KEY COMBINATIONS (QUICK KEYS) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
19. TECHNICAL INFORMATION. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
20. CREDITS AND CONTACT INFORMATION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
APPENDIX A: MIDI. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
A.1 TRACK PARAMETERS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
A.2 TRIG PARAMETERS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
A.3 SOURCE PARAMETERS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
A.4 FILTER PARAMETERS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
A.5 AMP PARAMETERS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
A.6 LFO PARAMETERS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
A.7 FX PARAMETERS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
INDEX. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
7
1. INTRODUCTION
1. INTRODUCTION
Thank you for purchasing Digitakt. The Digitakt is a compact drum machine from Elektron. It contains all the
necessary tools to make people move to the beat. A digital and highly flexible sound engine, sampling capability, 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.
1.1 CONVENTIONS IN THIS MANUAL
We have used the following conventions throughout the manual:
Key names are written in upper case, bold style and within brackets. For instance, the key labeled “FUNC”
on the main panel is written as [FUNC].
Knobs are written in upper case, bold, italic letters. For instance, the knob “Level/Data” is called LEVEL/
DATA.
Menu names are written in upper case letters. The SETTINGS menu is an example of that.
Parameter names and certain menu options where settings can be made or actions performed are written
in bold, upper case letters. For example, VOL.
Upper case letters are used for parameter setting alternatives. For example, OFF.
Messages visible on the screen are written in upper case letters with quotation marks.
For example, “QUANTIZE LIVE REC”.
LED indicators like the Chromatic LED are written like this: <CHROMATIC>.
The following symbols are used throughout the manual:
Important information that you should pay attention to.
A tip that will make it easier for you to interact with the Digitakt.
8
2. THE DIGITAKT
2. THE DIGITAKT
When we started thinking about the product that was to become the Digitakt, we began by asking ourselves:
what are the ideal features and tools required to quickly make a really good sounding beat? How to define
the bare essentials? But not only that. Certain products possess an almost sparkling allure, and they give
more than they take. You just want to use them. Why do they evoke such a feeling? And thus, with these
questions in mind, the work began.
Fast forward. It’s May 2017 and Digitakt will start shipping in about a week. The Elektron HQ is bristling with
activity. Factory patterns are being made, tweaks to the Digitakt OS implemented, content for the Elektron
website created. Seeing Digitakt in almost complete form is a sight to behold. Now, switch it on. Hopefully
you will experience the same thing as we do.
The sound.
Digitakt sounds very good. Audio material handled by the sample engine appears big, full and almost
three-dimensional. Sample everything you can. Your studio gear, random clips from YouTube, everyday life.
Process and sequence. Digitakt is a sound exploration tool.
The workflow.
The streamlined approach makes beat making a focused activity. Nothing will distract you. This clarity is
one of the core features of Digitakt, and gives it a unique character. Being drawn into the Digitakt universe
is a very enjoyable experience.
The totality.
Easy sampling, sequencing of both audio and MIDI, the flexible sample engine, and Overbridge support
form a very versatile product. The provided feature set allows for depth and adaptability, and also bestows
Digitakt with a certain free-spiritedness. Something, somehow, feels alive.
Digitakt is here. And we think we have found the answers to the questions we once asked ourselves.
Sincerely,
The Elektron Team
Digitakt User Manual. This manual is copyright © 2017 Elektron Music Machines MAV AB. All reproduction, digital or
printed, without written authorization is strictly prohibited. The information in this manual may change without notice.
Elektron’s product names, logotypes, titles, words or phrases may be registered and protected by Swedish and international law. All other brand or product names are trademarks or registered trademarks of their respective holders.
This manual for Digitakt OS version 1.04 was last updated November 24, 2017.
9
3. PANEL LAYOUT AND CONNECTORS
3. PANEL LAYOUT AND CONNECTORS
3.1 FRONT PANEL
1
2
Left
3
4
Right
Input L
5
Input R
6
MIDI In
7
8
9
MIDI Out
Sync A
MIDI Thru
Sync B
USB
DC In
Power
8 Voice Digital Drum Computer & Sampler
Master Volume
A
B
C
D
E
F
G
H
21
Level/Data
Sound Browser
Digitakt
20
FUNC
19
18
17
Imp/Exp
Save Proj
Direct
Tap Tempo
AMP
LFO
Reverb
Master
Clear
Paste
10
1:4 2:4 3:4 4:4
11
Rtrg/Oct+
NO
12
PAGE
Reload Ptn
μTime -
Rtrg/Oct -
μTime +
Fill/Scale
PTN
Metronome
14
FLTR
Delay
Save Ptn
Copy
16
15
SRC
Assign
YES
TRK
Chromatic
TRIG
Quantize
KICK
SNARE
TOM
CLAP
COWBELL
CLOSED HAT
OPEN HAT
CYMBAL
MIDI A
MIDI B
MIDI C
MIDI D
MIDI E
MIDI F
MIDI G
MIDI H
Quick
Mute
13
BANK
Mute Mode
1. MASTER VOLUME sets the volume for the main outputs and the headphones output.
2. Screen.
3. [PATTERN MENU]
opens the PATTERN menu, where pattern management is located.
The secondary function accesses the Import/Export menu.
4. [SETTINGS]
contains the management of projects, MIDI configuration, and the System settings.
The secondary function saves the current project.
5. [SAMPLING]
opens the SAMPLING menu, where you perform the sampling.
The secondary function starts Direct Sampling.
6. [TEMPO]
opens the TEMPO menu, where you can adjust the global/pattern tempo and also adjust
the swing. The secondary function makes it possible to tap the tempo.
7. [NO] key. Used for exiting an active menu, backing one step and negating. The secondary function is to
temporary reload the active pattern.
8. [YES] key. Used for entering sub-menus, selecting and confirming. The secondary function is to temporary save the active pattern.
9. DATA ENTRY knobs A-H. Used for setting parameter values. Press and turn the knobs to change values
in larger increments.
10.[PARAMETER] keys access the PARAMETER pages of the active track. The color of the keys indicates
if the page is active (red/orange) or inactive (off).
• [TRIG PARAMETERS] accesses parameters such as NOTE, VELOCITY, and other trig related parameters. The secondary function accesses the QUANTIZE menu.
• [SRC] takes you to the SOURCE page that deals with sample playback on audio tracks. For MIDI
tracks this page has parameters such as CHANNEL, PROGRAM, and AFTERTOUCH. The secondary
function accesses SAMPLE SELECT.
• [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.
10
3. PANEL LAYOUT AND CONNECTORS
• [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. The secondary function accesses the
MASTER page.
11. The [ARROW] keys. Used for navigation and for setting some parameter values. In menus, they are
called [UP], [DOWN], [LEFT], and [RIGHT].
12. [PAGE] selects the active pattern page, if the pattern is made up of more than 16 steps. The <PATTERN
PAGE> LEDs indicate how many pattern pages the active pattern consists of and which pattern page is
currently active. The LED flashes on the pattern page currently playing. The secondary function accesses the SCALE menu. This key also activates Fill Mode (when GRID RECORDING mode is not active).
13.[TRIG] keys are used for entering or removing sequencer trigs, and parameter locks, in combination
with the DATA ENTRY knobs. They are also used to select a track, bank, and pattern, in combination
with the [TRK], [PTN], and [BANK] keys. The [TRIG] keys are also used as a keyboard in CHROMATIC
mode. The secondary function is to Quick Mute tracks.
The [TRIG] keys lights indicate trigs on the sequencer by lit red keys, while flashing red keys indicates
parameter locks, in GRID RECORDING mode. When a pattern is playing, or when LIVE RECORDING is
enabled, a light “runs” along the 16 steps of the sequencer across all (up to four) pages at the set tempo.
14.[BANK] selects bank A–H in combination with the [TRIG 9–16] keys. The secondary function accesses
the MUTE Mode.
15. [PTN] selects pattern 1–16 in combination with the [TRIG 1–16] keys. The secondary function opens the
METRONOME menu.
16.[STOP] stops playback. The secondary function is the paste operation.
17. [PLAY] starts the sequencer playback. The secondary function is the clear operation.
18.[RECORD] key. Activates/deactivates GRID RECORDING mode. Keep [RECORD] pressed, then press
[PLAY], to activate LIVE RECORDING mode. Activate/deactivate QUANTIZATION of LIVE RECORDING
by keeping [RECORD] pressed, then tapping [PLAY] twice. The secondary function is the copy operation.
19. [TRK] key. Press [TRK] + one of the [TRIG] keys to select a track for editing. The secondary function
accesses the CHROMATIC mode.
20.[FUNC] key. Press, hold and press another key to access the secondary function of that key. The secondary functions are written in orange on the Digitakt front panel.
21. LEVEL/DATA sets the overall volume level of the active track. It is also used for setting parameters and
scrolling through lists. The secondary function opens the SOUND BROWSER.
11
3. PANEL LAYOUT AND CONNECTORS
3.2 REAR CONNECTORS
1
2
3
4
5
6
7
8
9
1. POWER, Switch for turning the unit on and off.
2. DC In, Input for power supply. Use the included PSU-3b power adapter, connected to a power outlet.
3. USB, For connecting the unit to a computer. For MIDI-control or Overbridge use. Use the included A to B
USB 2.0 connector cable to connect to a computer host.
4. MIDI THRU/SYNC B, Forwards data from MIDI IN. Can also be configured to send DIN sync to legacy
instruments. Use a standard MIDI cable to connect another MIDI device in the chain.
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. INPUT L/R, Audio inputs. Use a 1/4” mono phone plug (unbalanced connection).
8. OUTPUT L/R, Main audio outputs. Use either 1/4” mono phone plug (unbalanced connection) or
1/4” (Tip/Ring/Sleeve) phone plug (balanced connection).
9. HEADPHONES, Audio output for stereo headphones. Use 1/4” (Tip/Ring/Sleeve) phone plug.
3.3 SETTING UP AND STARTING THE DIGITAKT
Make sure you place the Digitakt on a stable support, such as a sturdy table, with sufficient space for the
cables. Make sure to switch off all devices before you connect the Digitakt to other devices.
1. Plug the supplied DC adapter to a power outlet and connect the small plug to the 12 V DC In on the
Digitakt.
2. Connect OUTPUT L/R from the Digitakt to your mixer or amplifier.
3. To control the Digitakt from a computer, connect a USB cable between the computer and the USB
connector of the Digitakt.
4. If you want to use MIDI to control the Digitakt, connect the MIDI OUT port of the device you wish to
send data from to the MIDI IN port of the Digitakt. The MIDI THRU port duplicates the data arriving at
the MIDI IN port, so it can be used for chaining MIDI units together. Connect the MIDI OUT port of the
Digitakt to the MIDI IN port of the of the device you want to control if you want to use Digitakt to control
other devices using MIDI.
5. If you want to sample audio from external sources, connect the audio source to INPUT L/R or via USB.
6. Switch on all units. Switch on the Digitakt by pressing the Power switch located at the back of the unit.
12
4. DIGITAKT SOUND ARCHITECTURE
4. DIGITAKT SOUND ARCHITECTURE
The illustrations below show the Digitakt sound architecture, with its eight audio voices and two send
effects (delay and reverb).
4.1 AUDIO VOICES
FILTER
ENVELOPE
PAN
PAN
SAMPLE
FILTER
MULTIMODE
OVERAMP
PLAYBACK
ENVELOPE
FILTER
DRIVE
ENGINE
SAMPLE
MULTIMODE DELAY
OVERAMP AMP
PLAYBACK
FILTER
DRIVE
ENVELOPE
SEND
ENGINE
LFO
AMP
ENVELOPE
DESTINATION
FADE
ENVELOPE
LFO
TO MIXER
REVERB
SEND
DELAY
SEND
TO MIXER
REVERB
SEND
DESTINATION
FADE
ENVELOPE
FROM
EFFECT
SENDS
4.2 EFFECTS
DELAY
TO MIXER
FROM EFFECT SENDS
DELAY
REVERB
SEND
TO MIXER
TO MIXER
REVERBREVERB
SEND
REVERB
FROM DRUM VOICES
FROM DRUM VOICES
TO MIXER
DELAY RETURNS
MIXER
DELAYOUTPUTS
RETURNSL/R
MIXERRETURNS OUTPUTS L/R
REVERB
REVERB RETURNS
13
5. OVERVIEW OF THE DIGITAKT DATA STRUCTURE
5. OVERVIEW OF THE DIGITAKT DATA STRUCTURE
The image below outlines the data structure of the Digitakt.
PROJECT
127 SAMPLES
+DRIVE
PROJECTS, SAMPLES
SOUNDS
128 PATTERNS
8 AUDIO
TRACKS
(per pattern)
8 MIDI
TRACKS
(per pattern)
5.1 +DRIVE
The +Drive is a non-volatile storage. It keeps up to 128 projects stored internally, and it also holds all saved
sounds. The +Drive also contains the sample bank. All projects have access to these samples.
5.2 DATA STRUCTURE
5.2.1 PROJECT
A project contains 128 patterns. General settings and states are also stored in the project. When a
project is loaded it becomes the active working state of the Digitakt. From here it is possible to edit the
patterns and sounds of the project. Every time the Digitakt is switched on, it boots to the active working
state, the active project. Projects are saved, loaded and managed in the SETTINGS menu. For more
information, please see “9. PATTERNS, KITS, SOUNDS, AND SAMPLES” on page 23.
5.2.2 PATTERNS
The patterns are the primary data container for the Digitakt. 16 patterns are available for each of the
eight banks, which means that 128 patterns are available for each project. A pattern contains up to eight
sounds (one for each audio track), sequencer data like trigs and parameter locks. It also contains the
settings on the TRIG page and BPM, length, swing and time signature settings. The pattern also contains
all the parameter settings for the eight MIDI tracks. For more information, please see “10. THE SEQUENCER” on page 27.
5.2.3 SOUNDS
A sound is a sample, plus all the audio track settings in the SRC, FLTR, AMP, and LFO PARAMETER
pages. Sounds are stored in the +Drive Sound library. The +Drive Sound library holds up to 2048 sounds.
You can use the SOUND MANAGER to manage sounds. For more information, please see “9.3 SOUND
MANAGER” on page 24, “9. PATTERNS, KITS, SOUNDS, AND SAMPLES” on page 23, and “11.
AUDIO TRACK PARAMETERS” on page 37.
When a sound is imported to a pattern, it becomes an independent copy of the sound on
the +Drive and is not linked to the original sound on the +Drive. Instead, it fully becomes a
part of the pattern.
5.2.4 SAMPLES
You can load up to 64 MB (about 11 minutes) of samples in a project, using a maximum of 127 sample
slots. Samples are stored in the +Drive Sample bank. Additional samples can be transferred to the Digitakt from a computer with the Elektron Transfer software. You also have the possibility to sample straight
into the Digitakt.
For more information, please see “14. SAMPLING” on page 50.
14
5. OVERVIEW OF THE DIGITAKT DATA STRUCTURE
5.3 ABOUT THE TRACKS
5.3.1 THE AUDIO TRACKS
The Digitakt has eight audio tracks. Each audio track contains one sample, and the parameter settings in
the PARAMETER pages TRIG, SRC, FLTR, AMP, and LFO.
To select an audio track for editing, press and hold [TRK] key and then press one of the [TRIG 1–8] keys.
5.3.2 THE MIDI TRACKS
The Digitakt has eight dedicated MIDI tracks. They are used to control external, MIDI equipped, gear.
Each MIDI track can trigger a chord of up to four 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
44. Any MIDI channel can be assigned to a MIDI track and several tracks can share the same channel.
If several tracks are assigned to the same MIDI channel the track with the lowest number has priority
regarding parameter conflicts.
The MIDI tracks function almost the same way as the audio tracks. Parameter locks, LFO modulation,
copy and paste commands are available. Each MIDI track also features micro timing, individual track
length and time signature settings. The main difference is that the MIDI tracks do not generate any sound
and the sequencer data is instead transmitted through the MIDI OUT or USB ports.
To select a MIDI track for editing, press and hold [TRK] key and then press one of the [TRIG 9–16] keys.
5.3.3 EDITING THE TRACKS
The five [PARAMETER] keys open parameter pages that are used for editing the tracks.
• The TRIG page contains different parameters such as NOTE, VELOCITY, and other trig related parameters.
• The SRC page hosts the parameters that deal with sample selection and editing of samples on audio
tracks. For MIDI tracks this page has parameters such as CHANNEL, PROGRAM, and AFTERTOUCH.
• On the FLTR page, you find parameters for the multimode filter and its filter envelope for the audio
tracks. On MIDI tracks you find the CC value settings here.
• The AMP page for audio tracks hosts parameters for the amplitude envelope and effect sends. On MIDI
tracks you find the CC select settings here.
• Finally, the LFO page hosts LFO parameters for the active track.
Use the DATA ENTRY knobs A-H to edit the corresponding parameters. Press and turn a knob to adjust
its parameter in larger increments. Press and hold a [PARAMETER] key to see the values for all parameters on that page. For more information, please see “11. AUDIO TRACK PARAMETERS” on page 37,
and “12. MIDI TRACK PARAMETERS” on page 44.
15
6. THE USER INTERFACE
6. THE USER INTERFACE
The screen shows all the information needed for real-time interaction and editing on the Digitakt. The eight
DATA ENTRY knob parameters shown will vary depending on the given situation. Below is the main interface screen of the SRC page.
1
2
3
7
6
4
5
1. The current bank and pattern.
2. The current pattern name.
3. The current tempo.
4. Eight track parameters. They show what the DATA ENTRY knobs control and their current parameter
values.
5. The main volume setting of the active track. Use the LEVEL/DATA knob to change the volume setting.
6. The current active track.
7. Track type. Audio (SMP) track or MIDI (MID) track.
6.1 SCREEN NAVIGATION
Use the [ARROW] keys [UP], [DOWN], [LEFT] or [RIGHT] to navigate menus or sub-menus.
The LEVEL/DATA knob can be used to scroll through menus and lists quickly.
[YES] is used to affirm, select, enter sub-menus and tick/untick boxes.
[NO] is used to negate, deselect or go back one or more steps.
When in a menu or sub-menu, the [NO] key can be used to go back, one step at a time, all the
way to the main screen.
6.2 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)”.
• The parameters are adjusted in larger increments if you press down the DATA ENTRY knob while turning
it. This makes it quicker to sweep through the whole parameter range.
• Press DATA ENTRY knob + [NO] to reset the parameter to the default value.
• Press [PARAMETER] key + [PLAY] to reset all the parameters in the selected parameter page to
default values.
• Press and hold a [PARAMETER] key to see the values for all parameters on that page.
6.2.1 PARAMETER VALUE JUMP
Pressing [FUNC] while editing certain parameters will make the parameter values jump to appropriate
positions. The time of the Delay, for example, will jump between 16, 32, 64 and 128 and the sample tuning
will jump whole octaves.
6.2.2 CONTROL ALL
If you press and hold [TRK] and change a parameter setting, this change will affect this parameter in all
the audio tracks in the pattern.
16
6. THE USER INTERFACE
6.2.3 [FUNC] KEY PRESS COMBINATIONS
The standard way to use the [FUNC] key in combination with other keys, is to press and hold [FUNC]
and then make a short press on the second key in the combination. For some key combinations, it is also
possible to access a sub-menu by pressing and holding [FUNC] + second key for a second.
6.3 QUICK SCROLLING
Scroll through menus using the LEVEL/DATA knob. Quick scrolling is possible on many menus. Press
[FUNC] + the [UP] or [DOWN] keys to move the cursor one menu page.
6.4 COPY, CLEAR, AND PASTE
Copy, clear and paste commands are available in a lot of contexts. Pressing [FUNC] + [RECORD] to copy.
Press [FUNC] + [STOP] to paste. Press [FUNC] + [PLAY] to clear. Paste and clear operations is undone by
repeating the key press combination. Please see the different sections in the manual for more information
on when these commands are available.
The copy clipboard can only hold one item at a time. When you perform a copy command,
the item copied replaces any earlier copied items. For example, you can not have both a
trig and a pattern copied at the same time.
6.5 THE NAMING SCREEN
The naming method is identical for the various naming situations that appear when you save samples,
sounds, projects et cetera.
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] will erase
letters. Press and hold [FUNC] to access the Pop-up Naming menu.
6.5.1 POP-UP NAMING
A convenient way of naming is to open a pop-up menu that shows all available letters, symbols, and
digits. Press and hold the [FUNC] key when you are on the NAMING screen to access the Pop-up
Naming screen.
Keep [FUNC] pressed and use the [ARROW] keys to highlight the character you want to insert. Once
there, release [FUNC] to add the character.
Copy, paste, and clear commands are available on the NAMING screen.
6.6 OVERBRIDGE
The Overbridge software suite enables a tight integration between the Digitakt and a computer DAW.
When using Overbridge, the user interface for the Digitakt will present itself as a clearly laid out plug-in
17
6. THE USER INTERFACE
window in your DAW. Access, edit, or automate parameters for sound shaping on screen. Always find your
device preset parameters in the same state as you left them when you return to your DAW project, with the
convenient total recall functionality.
To use Overbridge, you need a Digitakt, a USB cable, a computer running Overbridge, and a DAW.
N.B. You must have Digitakt OS 1.10 or later, and Overbridge 1.20 or later to run Overbridge with Digitakt.
Read more about Overbridge for Digitakt on the Elektron website.
Please read the Overbridge User Manual (available on the Elektron website in the Support section) to learn
more about its setup, uses, and capabilities.
18
7. QUICK START
7. QUICK START
This quick start will guide you through some of the basic operations to start using the Digitakt right away.
First, connect it as described in section “3.3 SETTING UP AND STARTING THE DIGITAKT” on page 12.
7.1 PLAYING THE FACTORY PRESETS
You can find a number of preset patterns, sounds, and samples in the Digitakt. Follow the instructions below
to get started exploring your new instrument.
1. Press [BANK] and then press [TRIG 9] key to select bank A. The screen reads “BANK A : SELECT PTN”.
2. Press [TRIG 1] key to select the first pattern of bank A.
3. Press [PLAY] to listen to pattern A01.
4. Press [PTN] and then press [TRIG 2] key to select pattern A02. It will start once pattern A01 has
reached its end. Select pattern A03 by pressing [PTN] and then press [TRIG 3] key, and so on.
5. Press [STOP] to stop playback.
7.1.1 USING CHROMATIC MODE
You can use the [TRIG] keys to play any audio track sample chromatically.
1. Select the audio track to play chromatically by pressing [TRK] + one of the [TRIG 1–8] keys.
2. Press [FUNC] + [TRK] to enter CHROMATIC mode. The [TRIG] keys will light up in a pattern that
resembles an octave of a piano keyboard. Only lit keys are playable.
3. Play the [TRIG] keys. The active track sound will be pitched differently for each of the playable keys.
Press the [ARROW] keys [UP] or [DOWN] to transpose the virtual keyboard up or down one octave.
For more information, please see “8.5.1 CHROMATIC MODE” on page 21.
CHROMATIC mode is an effective way to add musical variety to your beats. The timbre,
tonality and impact of playing a sound chromatically depend on the character of the
source sound.
7.1.2 USING MUTE MODE
You can mute any of the sequencer tracks in this mode. Unlike the CHROMATIC mode, it makes no difference which track is active when this mode is activated. You can access all tracks simultaneously.
1. Make sure a pattern is playing.
2. Press the [FUNC] + [BANK] key to enter MUTE mode.
3. Press any of the [TRIG] keys to mute the corresponding track. Press again to unmute. The light of the
[TRIG] keys indicates the mute status. Unlit keys are muted tracks. Lit keys are active tracks.
For more information, please see “8.5.2 MUTE MODE” on page 22.
7.1.3 TEMPO
To change the BPM setting, open the TEMPO menu by pressing the [TEMPO] key. Use the LEVEL/DATA
knob to change tempo. Pressing the knob while turning it changes the tempo eight BPM at a time. The
[ARROW] keys [UP] or [DOWN] change the tempo in fractional steps. Note that you can chose between
a global tempo or using a separate tempo for every pattern. Press [FUNC] + [YES] to switch between
GLOBAL and PATTERN tempo mode. On the main interface screen, you can also press and hold
[ARROW] keys [LEFT] or [RIGHT] to nudge the tempo 10% up or down temporarily. Release the key to
revert to the original tempo.
To tap a tempo setting, hold the [FUNCTION] key and tap the [TEMPO] key in a steady rhythm. After
four consecutive taps the average tempo of the taps will be calculated. By continuing tapping, the average tempo will keep on updating.
19
7. QUICK START
Nudging the tempo is very handy when manually syncing Digitakt to a turntable or an
external sound source. Note that you do not need to be in the TEMPO menu to perform
tempo nudging.
7.1.4 EDITING PARAMETERS
Each track has five PARAMETER pages. Press [PARAMETER] keys TRIG, SRC, 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] keys 1-8 to select one of the eight 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. Turn DATA ENTRY knob E to change
the parameter value, and hear how the sound is affected.
Try out the rest of the PARAMETER page parameters to explore a variety of sound shaping possibilities.
7.2 SAMPLING FROM THE EXTERNAL INPUTS
Digitakt can also sample audio. It can sample audio from external sources, via the external inputs, and it can
also sample audio internally from the Digitakt itself.
1. Connect your audio source to the INPUT L/R inputs of the Digitakt.
2. Press [SAMPLING] to access the SAMPLING menu and then use DATA ENTRY knob G to set SOURCE
to EXT L+R.
3. Keep an eye on the audio input meter and play the audio source and make sure that the volume of the
audio source is as strong as possible, but without clipping or distorting. Set MON to YES to monitor the
incoming audio through the Digitakt.
4. Again, with an eye on the audio input meter and use DATA ENTRY knob F to set THRESHOLD just above
the indicated background noise of the audio source (when it is not playing).
5. Press [YES] to arm the sampler and then play the sound source. When the input audio exceeds the set
THRESHOLD level, sampling will start.
6. Press [YES] when you want to finish the sampling.
7. Use the DATA ENTRY knobs A and C to set the parameters TRIM START and TRIM END to trim the
sample to the desired length. You can use the DATA ENTRY knobs B and D to zoom in and out to make it
easier to see where to trim the sample. Press [FUNC] + [YES] to preview the sample.
8. Press [YES] to save the sample.
9. Name the sample and press [YES] again to confirm the save.
10.Press [TRACK 1–8] to select the track to where you want to assign the sample.
For more information, please see “14. SAMPLING” on page 50.
20
8. DIGITAKT CONTROLS
8. DIGITAKT CONTROLS
8.1 TRIG KEYS
The [TRIG] keys have several uses, including for example, trigging an audio track sound (track 1–8) from
the active pattern. (When sequencer recording is deactivated). They are also used for placing trigs in GRID
RECORDING mode. When pressed in combination with the [PTN] and [BANK] keys, they select patterns
and banks. The [TRIG] keys light up to indicate the position of placed trigs and to indicate the selected
bank and track.
8.2 ROTARY ENCODERS
The MASTER VOLUME is an absolute encoder, spanning roughly 320 degrees from its left extreme to its
right extreme. The LEVEL/DATA and DATA ENTRY knobs (with which you set various parameter values),
are relative encoders which may be spun any number of turns. Pressing and turning these encoders will
change their associated values at a greater speed.
8.3 KEY BEHAVIOR
As a group, the track selection keys ([TRIG] keys) have radio button functionality, i.e. when a new track is
set to be active, the previous one is simultaneously deactivated. Only one track can be selected at a time.
Likewise, the group consisting of the five [PARAMETER] keys have radio button functionality.
The [FUNC], [TRK], [PTN], and [BANK] keys must always be used in combination with other keys.
8.4 MIDI NOTES
Some functions can be triggered by sending MIDI note values from an external MIDI device (a MIDI keyboard or a computer, for example) connected to the Digitakt via a standard MIDI cable or a USB 2.0 A to B
connector cable.
Of the 128 notes in the standard MIDI range, Note numbers 0–8 correspond to notes C0 through to G0, the
leftmost octave (which is sometimes called C-2–G-2 in certain applications). These notes will trigger the
sound of track 1 through track 8, respectively (provided they are set to their default channels 1-8). These
notes values map to each of the eight tracks, regardless of which track is active.
MIDI note numbers 12–59 (corresponding to notes C1–B4, the second through to fifth octaves in the MIDI
range) will trigger the sound of the active track in any of its 49 chromatic variations (as if played by the
[TRIG] keys in CHROMATIC mode, see section below), from lowest to highest pitch.
MIDI program change messages 0–127 will select pattern 1–128 (A01–H16) on the Digitakt. Additionally,
MIDI CC and NRPN messages can be sent to control various aspects of the Digitakt. For more information,
please see “APPENDIX A: MIDI” on page 66.
8.5 MODES
There are two special modes of operation on the Digitakt: CHROMATIC mode and MUTE mode.
8.5.1 CHROMATIC MODE
Press [FUNC] + [TRK] to enter CHROMATIC mode. In this mode, you can play the sound of the active
audio track (or send MIDI notes if you have an active MIDI track) chromatically. The [TRIG] keys will light
up in a pattern that resembles an octave of a piano keyboard layout. Only lit keys are playable. Press
[TRK] + [TRIG 1–16] keys to select the track you want to play chromatically.
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 audio tracks spans four octaves: middle, 1 up and 2
down. The whole range for MIDI tracks spans eleven octaves. Press the [ARROW] keys [UP] or [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 “10.2.3 LIVE RECORDING MODE” on page 28.
The active state of CHROMATIC mode (the portion of the chromatic keyboard currently visible on the
[TRIG] keys) is not stored per pattern but stays in the state as it was last set.
Press [FUNC] + [TRK] to exit CHROMATIC mode.
21
8. DIGITAKT CONTROLS
You can also use an external keyboard to play the active tracks sound chromatically.
Connect the keyboard to the Digitakt and configure the external keyboard and the Digitakt
MIDI Auto Channel (SETTINGS > MIDI CONFIG > CHANNELS) to the same MIDI channel.
Then play the keys on the external keyboard to play the active tracks sound chromatically.
You can play the active track’s sound chromatically even if the Digitakt is not in CHROMATIC mode.
8.5.2 MUTE MODE
You can use MUTE mode to mute any number of the 16 sequencer tracks. Unlike CHROMATIC mode,
it makes no difference which track is active when you enter MUTE mode. All tracks are accessed simultaneously. Press any of the [TRIG] keys to mute the corresponding track. Press again to unmute. The
color of the [TRIG] keys indicates its tracks mute status. Unlit keys signify muted tracks. Lit keys signify
unmuted tracks.
There are two different versions of MUTE mode on the Digitakt:
• GLOBAL MUTE MODE In GLOBAL MUTE mode, the muted tracks are muted in all patterns, and the
trig [TRIG] keys are lit green.
Press [FUNC] + [BANK] to enter GLOBAL MUTE mode. If tracks are muted in GLOBAL MUTE mode,
the tracks will flash green when the pattern plays.
Press [FUNC] + [BANK] to exit GLOBAL MUTE mode.
• PATTERN MUTE MODE In PATTERN MUTE mode, the muted tracks are muted only in the active
pattern, and the trig [TRIG] keys are lit purple.
Press [FUNC] + double-tap [BANK] to enter PATTERN MUTE mode. If tracks are muted in PATTERN
MUTE mode, the tracks will flash purple when the pattern plays.
Press [FUNC] + [BANK] to exit PATTERN MUTE mode.
The GLOBAL MUTE mode settings are saved together with the project. The PATTERN MUTE mode
settings are saved together with the pattern.
You can also use QUICK MUTE to easily mute and unmute sequencer tracks. Press and
hold [FUNC] and then press [TRIG] keys to mute or unmute tracks.
Digitakt remembers the last used version of MUTE mode and will access this one first
when you press [FUNC] + [BANK].
22
9. PATTERNS, KITS, SOUNDS, AND SAMPLES
9. PATTERNS, KITS, SOUNDS, AND SAMPLES
The patterns are the primary data container for the Digitakt. Sixteen patterns are available for each of the
eight banks, which means that 128 patterns are available for each project. A pattern contains up to eight
sounds (one for each 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. A pattern also contains
all the parameter settings for the eight MIDI tracks.
A kit is a collection of eight sounds. A sound is a sample, plus all the settings in the PARAMETER pages
(SRC, FLTR, AMP, and LFO). A sound can be assigned to one of the eight audio tracks.
Each of the audio tracks can contain one sound. A sound that has been imported from the +Drive to a pattern becomes part of the active pattern. Any changes made to a sound will therefore not affect the stored
sound or kit. It will only affect the sound in the active pattern. You can export (and in that way save) a
sound from the active pattern to the +Drive. For more information, please see “9.3 SOUND MANAGER” on
page 24.
A sample that is used in a sound or a pattern can be renamed or moved and still work as intended. This is
due to a hash function that adds a file specific value to every file, and this value is independent of the file
name or the file’s location in the data structure. However, if you delete a sample, it will not be included in any
sounds or patterns anymore.
• When a sound is imported to a pattern, it becomes a copy of the sound on the +Drive and
is not linked to the original sound stored on the +Drive. Instead, it fully becomes a part of
the pattern.
• If you delete a sample from the +Drive, it will not be included in any sounds or patterns
anymore.
A Pattern contains:
•
•
•
•
A kit.
All parameter settings for the eight MIDI tracks.
Sequencer data like trigs and parameter locks.
The settings on the TRIG PARAMETERS page, BPM, length, swing and time signature settings.
A Kit contains:
• Eight audio track sounds.
• LEVEL settings for the audio tracks.
A Sound contains:
• A sample (linked from the +Drive), plus the SRC, FLTR, AMP, and LFO PARAMETER pages settings for
the audio track.
A Sample contains:
• A 16 bit, 48 kHz, mono audio file.
9.1 THE +DRIVE SOUND LIBRARY
The total size of the +Drive is 1 GB. The +Drive Sound library can hold up to 2048 sounds (256 sounds in
each bank A-H) that are available to all projects. The +Drive Sound library also contains the samples. You
can load up to 64 MB (about 11 minutes) of samples to a project. A sample must be imported to a project,
for it to be Sample locked. For more information, please see “11.3 SRC PAGE 1” on page 37.
9.2 SOUND BROWSER
Press [FUNC] + LEVEL/DATA to open the SOUND BROWSER. The SOUND BROWSER is used to preview
and load sounds. This menu will show a list of all sounds in the +Drive Sound library. Scroll the list by turning
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9. PATTERNS, KITS, SOUNDS, AND SAMPLES
the LEVEL/DATA knob or by pressing [UP]/[DOWN]. Press [YES] to load a sound. Press the [TRIG] key of
the active track to preview the sound.
Press [LEFT] to access the SORTING menu. Press [YES] to execute the commands. Press [NO] or the
[RIGHT] arrow key to exit the menu.
SORT ABC sorts the sounds in alphabetical order. The command is only available when sounds are
being sorted by slot number.
SORT 123 sorts the sounds by slot number. The command is only available when sounds are being sorted
alphabetically.
FILTER opens a list where sounds can be arranged according to tags. Select and deselect tags by
pressing [YES]. Multiple tags can be selected. Exit the tag list by pressing [NO].
SEARCH will perform a text search and list all sounds with names matching or including the text input.
For more information, please see “6.5 THE NAMING SCREEN” on page 17 on how to enter text.
9.3 SOUND MANAGER
Press [FUNC] + [PATTERN MENU] to open the IMPORT/EXPORT menu. The SOUND MANAGER is used
to manage sounds, for example import, export, rename, and tag sounds. Select MANAGE SOUNDS and
press [YES] to open the SOUND MANAGER. Sounds can be saved, loaded, renamed, tagged et cetera.
Opening this menu will show a list of all sounds found in the +Drive Sound library. Turn the LEVEL/DATA
knob or press [UP]/[DOWN] to scroll through the list. Press the [TRIG] key of the active track to preview
the sound.
Press [LEFT] to access the SORTING menu. Press [YES] to execute the commands. Press [NO] or the
[RIGHT] arrow key to exit the menu.
SORT ABC sorts the sounds in alphabetical order. The command is only available when sounds are
being sorted by slot number.
SORT 123 sorts the sounds by slot number. The command is only available when sounds are being sorted
alphabetically.
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].
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9. PATTERNS, KITS, SOUNDS, AND SAMPLES
SEARCH will perform a text search and list all sounds with names matching or including the text input.
For more information, please see “6.5 THE NAMING SCREEN” on page 17 on how to enter text.
Press [RIGHT] to access the SOUND OPERATIONS menu. The available operations will affect the highlighted sound. Press [YES] to apply the commands to the selected sound. Press [NO] or the [LEFT] arrow key
to exit the menu.
IMPORT TO TRACK loads the selected sound to the active track and makes it a part of the active pattern.
COPY TO... Copies the selected sounds to one of the following:
• +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. Sounds can have any number of tags, but only
the first two will show on the sound list. Press [YES] to apply or remove tags. Highlight <SAVE> and
press [YES] to save
DELETE deletes the sound.
SELECT ALL selects all sounds in the list.
DESELECT ALL deselects all sounds in the list.
TOGGLE enables or disables write protection for the selected sounds. When a sound is write protected
it cannot be overwritten, renamed, tagged or deleted. A write protected sound has a padlock symbol
next to its name
SEND SYSEX sends the selected sounds as SysEx data.
• Sounds in the +Drive Sound library are organized into eight banks, ranging from A to H.
Each bank can contain 256 sounds. Use the [TRIG A–H] keys to view only sounds located
in a specific bank.
• You can preview the currently selected sound by pressing the [TRIG 1–8] key of the active
track. All sounds available for the active track can be previewed. Please note that if the
previewed sound is sent to the effects, the current effects settings will affect it.
• Several sounds can be simultaneously affected by the commands available in the SOUND
OPERATIONS menu. Select/deselect individual sounds by highlighting them and pressing
[YES].
• Press [FUNC] + [UP]/[DOWN] for faster scrolling in the sound list.
9.4 PLAYING A SOUND
Press the [TRIG 1–8] keys to play the sounds of the eight tracks of the active pattern. The [TRIG] keys will
briefly light up when pressed.
PLAYING A SOUND WITH AN EXTERNAL MIDI UNIT
The sounds can also be played using an external MIDI device connected to Digitakt. The MIDI channels for
of each of the audio tracks can be assigned in the MIDI CHANNELS menu, covered in the section “15.3.3
CHANNELS” on page 58. You can also use an external MIDI unit to play a sound chromatically when you
are in CHROMATIC mode. For more information, please see “8.5.1 CHROMATIC MODE” on page 21.
9.5 EDITING A SOUND
Activate one of the audio tracks for editing by pressing [TRK] + one of the [TRIG] keys 1–8. When editing
the settings of the track, any changes made will be stored as part of the active pattern.
Adjust the overall volume level of the active audio track with the LEVEL/DATA knob.
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9. PATTERNS, KITS, SOUNDS, AND SAMPLES
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 “11. AUDIO TRACK PARAMETERS” on page 37.
SRC controls sample selection and playback of samples.
FLTR controls the filter mode, cutoff frequency, and envelope.
AMP controls the amplitude parameters, effect sends, and levels.
LFO controls parameters for the LFO of the sound.
If you want to export (save) a particular sound with all its current parameter settings, use the SOUND MANAGER. For more information, please see “9.3 SOUND MANAGER” on page 24.
The complete sound, with all its parameter settings and sample, may be copied to another track. Press
[TRK] + [RECORD], and then press [TRK] + one of the [TRIG] keys to select the track you want to copy
the sound to, and finally press [TRK] + [STOP] to paste the sound to the selected track.
9.6 ASSIGNING A SAMPLE
Any of the 127 samples loaded to a project may be assigned to a sound on any of the audio tracks. The user
samples can be replaced, relocated and otherwise managed in the SAMPLES menu. For more information,
please see “15.2 SAMPLES” on page 53.
1. Press [TRK] + [TRIG 1–8]. To select an audio track to assign the sample to.
2. Press [SRC] to open the SOURCE parameter page.
3. Turn DATA ENTRY knob D to bring up a list of samples.
4. Turn the knob counter-clockwise to scroll up the list, clockwise to scroll down the list. Tap the [TRIG]
key of the active track while browsing to listen to the sample currently outlined.
5. Press [YES] to select a sample. Press DATA ENTRY knob D or [NO] to exit the list without selecting a
sample.
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10. THE SEQUENCER
10. THE SEQUENCER
The sequencer of the Digitakt stores information in patterns. A pattern controls the playback of the audio
tracks, the MIDI tracks and various pattern-specific aspects of the tracks. Each of the eight banks, A to H,
contains 16 patterns, which means 128 patterns are available for each project. For more information, please
see “10.5 PATTERN MENU” on page 30.
A pattern contains:
•
•
•
•
•
•
•
•
•
General trig settings on the TRIG page (default note pitch, velocity et cetera).
The parameter settings on the SCR, FLTR, AMP, and LFO pages.
The settings on the DELAY, REVERB, and MASTER pages.
Quantization settings.
Note trigs for all tracks.
Lock trigs for all tracks.
Parameter locks.
Sample locks.
Length and time signature for the tracks.
10.1 BASIC PATTERN OPERATIONS
Digitakt can seamlessly switch between patterns. This, together with the ability to chain patterns, is a handy
feature when improvising live. For more information, please see “10.12 CHAINS” on page 35.
10.1.1 SELECTING BANK AND PATTERN
Press [BANK] and then press [TRIG 9–16] to select a bank. Then press [TRIG 1–16] to select a pattern.
Press [PTN] and then press [TRIG 1–16] to select a new pattern in the current bank. When you press
[BANK] or [PTN] you must choose a bank or pattern within four seconds for the change to take effect.
A message on the screen indicates the four second timeout. Press [TRK] to exit pattern or bank select.
White [TRIG] keys indicate pattern positions that contain data. A red [TRIG] key indicates the current
active pattern. Empty patterns are unlit.
When a pattern is playing, and a new pattern is selected, the new pattern position will be shown flashing
in the upper left corner of the screen. Once the last step of the pattern has played, the new pattern will
start, and the pattern position will cease to flash.
• Patterns can be changed while the sequencer is running.
• Patterns can be changed and queued by sending program change messages.
10.1.2 PATTERN CONTROL
Press [PLAY] to start the playback of a pattern. Press [STOP] to stop the playback of all tracks. The
sound will be cut off, but effects like Delay will continue to be audible until the delay repeats have faded
out. When the sequencer has stopped, quickly press [STOP] + [STOP] to stop playback of all tracks and
get just a short fade out the send effects.
When a pattern is playing and [PLAY] is pressed, playback will pause. Press [PLAY] again to resume the
playback.
If a pattern contains more than 16 sequencer steps, the <PATTERN PAGE> LEDs will indicate this. When
a pattern is playing, the currently active pattern page is shown with a flashing, <PATTERN PAGE> LED.
10.1.3 PATTERN TEMPO
The tempo is set in the TEMPO menu. Press [TEMPO] to open this menu. For more information, please
see “7.1.3 TEMPO” on page 19.
10.2 EDITING A PATTERN
Digitakt offers two main modes of input when editing or creating a pattern, GRID RECORDING mode and
LIVE RECORDING mode. In these modes, two types of trigs can be entered: note trigs and lock trigs.
10.2.1 TRIG TYPES
A trig is a sequencer event that you can place when you want the sequencer to perform an action on the
Digitakt. There are two types of trigs that you can use, note trigs and lock trigs.
• Note trigs trigger sounds or MIDI notes.
• Lock trigs trigger parameter locks, but without triggering notes.
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10. THE SEQUENCER
Note trigs are indicated by red [TRIG] keys and lock trigs are indicated by yellow [TRIG] keys. Unlit
[TRIG] keys indicate steps that does not contain any trigs. Read more about parameter locks in section
“10.11.1 PARAMETER LOCKS” on page 33. The two types of trigs are added differently in the sequencer, depending on whether GRID RECORDING or LIVE RECORDING mode is active.
10.2.2 GRID RECORDING MODE
GRID RECORDING is a method of composing where you use the [TRIG] keys to add trigs.
1. Enter GRID RECORDING mode by pressing the [RECORD] key. The [RECORD] key lights up red to
indicate that GRID RECORDING mode is active.
2. Select the track to which you want to add trigs by pressing and holding [TRACK] and then one of
the [TRIG] keys. A red [TRIG] key indicates the active track.
3. Place note trigs on the sequencer using the sixteen [TRIG] keys. To add a lock trig, press [FUNCTION] and [TRIG]. Lock trigs may be entered on any step of the sequencer, including ones that
contains note trigs. Quickly pressing the [TRIG] key of any of the trigs entered will remove the trig.
Pressing a [TRIG] key of a trig and holding it slightly longer will prepare the trig for editing, rather
than removing it.
4. Select another track, and add note trigs and lock trigs. Repeat the procedure for all the tracks you
want to use.
5. Press [PLAY] to listen to the sequence.
Add micro timing to a note trig by pressing and holding the [TRIG] key while pressing [ARROW] keys
[LEFT] or [RIGHT]. For more information, please see “10.3 MICRO TIMING MENU” on page 29.
Set the retrig speed by pressing and holding the [TRIG] key while pressing [ARROW] keys [UP] or
[DOWN]. Similarly, a pop-up menu will appear on the screen, where various retrig settings are made.
For more information, please see “10.4 RETRIG MENU” on page 29.
If the pattern contains more than 16 steps, select the pattern page you want to edit by pressing the
[PAGE] key. A fully lit <PATTERN PAGE> LED shows the active pattern page.
Press [RECORD] to exit the GRID RECORDING mode.
• 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.
• If you use an external MIDI controller to record to the Digitakt MIDI tracks, the sequencer receives data on the Auto MIDI channel and records on the active track. For more
information, please see “15.3.3 CHANNELS” on page 58.
• All trigs of a track can be shifted forwards or backward on the sequencer. While in GRID
RECORDING mode, hold down [FUNC] while pressing the [LEFT] or [RIGHT] arrow
keys to perform the trig shift.
10.2.3 LIVE RECORDING MODE
LIVE RECORDING mode is the second method of adding trigs to the tracks. In this recording mode, the
[TRIG] keys are played in real time to input trigs to the tracks. You can also use CHROMATIC mode to
add note trigs chromatically. It is also possible to enter parameter locks in real time. Trigs input in LIVE
RECORDING mode can be automatically quantized or not. Non-quantized trigs can be quantized after
they are recorded, by using the QUANTIZE menu that is accessed by pressing [FUNC] + [TRIG]. For
more information, please see “10.7 QUANTIZE MENU” on page 31.
1. Press and hold [RECORD], then press [PLAY] to enter LIVE RECORDING mode. Quickly pressing
[PLAY] twice while keeping the [RECORD] key pressed will activate/deactivate automatic quantization of LIVE RECORDING. The sequencer starts to play, and the [RECORD] key starts to flash red.
2. Enter trigs in real time by tapping the [TRIG] keys. If CHROMATIC mode is active, the pitch value of
the note trig will be recorded according to which [TRIG] key is pressed. Any changes to PARAMETER
page settings, using the DATA ENTRY knobs, will be recorded as parameter locks and add lock trigs
where needed.
3. Press [PLAY] to exit LIVE RECORDING mode while keeping the sequencer playing. If LIVE RECORDING mode is active and [RECORD] is pressed, GRID RECORDING mode will be activated.
4. Press [STOP] to stop both recording and playback of the sequencer.
To exit LIVE RECORDING mode while keeping the sequencer playing, press [PLAY].
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10. THE SEQUENCER
• You can use an external MIDI controller such as a keyboard to input NOTE, TRIG
VELOCITY, and TRIG LENGTH data in LIVE RECORDING mode. Just play the notes on
the external keyboard and they will be recorded by the sequencer. 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. The last note that is released sets the TRIG
LENGTH for all notes on the trig.
10.3 MICRO TIMING MENU
Here you can add micro timing to a note trig, moving it ahead or behind the beat. Micro timing can be customized on any of the sequencer steps on both audio and MIDI tracks. In GRID RECORDING mode, press
and hold one or several [TRIG] keys and then press [LEFT]/[RIGHT] to access the pop-up Micro timing
menu that shows the time offset for the chosen sequencer step(s) on the active track. To exit the micro
timing menu, release the [TRIG] key(s). The micro timing settings are stored in the active pattern
MICRO TIMING Press [LEFT]/[RIGHT keys to adjust the time offset.
10.4 RETRIG MENU
Retrigs can be customized on any of the sequencer steps on the audio 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.
RETRIG Turns the retrig lock ON/OFF. When on, the retrig will activate whenever the [TRIG] key of the
active track is pressed. Use DATA ENTRY knob A to turn retrig on/off.
RATE Sets the retrig rate (1/1, 1/2, 1/3, 1/4, 1/5, 1/6, 1/8, 1/10, 1/12, 1/16, 1/20, 1/24, 1/32, 1/40, 1/48, 1/64
or 1/80). 1/16 is the nominal retrig rate, one trig per step. 1/32 corresponds to two trigs per step and so
on. To trig triplets, for example, set the retrig rate to 1/12 (or 1/24). You can also press the [UP]/[DOWN]
keys when you are in the retrig menu to adjust the rate.
LEN Sets the duration of the retrig velocity curve in fractions of, or rational or integer multiples of, a step
(0,125–INF). 1/16 is the nominal length of one step. This setting affects the behavior of the velocity curve
by defining the boundaries of its envelope.
VEL Sets the velocity curve fade out/fade in of the retrig (-128–127). -128 corresponds to a complete
fade out during the set length, -64 fades out to half the velocity during the set length, 0 equals a flat
velocity curve with no fade, 64 fades into half velocity during the set length and 127 fades in completely
to full velocity during the set length.
Retrigs can be recorded on the sequencer in GRID RECORDING mode as well as in LIVE RECORDING
mode. They are recorded as separate trigs. If the retrig speed is greater than the duration of a sequencer
step, trigs are created with additional internal steps (i.e. steps with retrig enabled).
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10. THE SEQUENCER
10.5 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. Exit
the menu by pressing [NO].
10.5.1 RENAME
Opens a NAMING screen where you can rename the active pattern.
10.5.2 CLEAR
• WHOLE PATTERN Clears the active pattern’s sequencer data and kit. A prompt appears when you
select this option. Press [YES] to clear, or [NO] to cancel the operation. Note that no pattern information will be permanently lost until the pattern is saved to the same pattern slot that it was loaded from.
• KIT DATA Clears the active pattern’s kit. All sequencer data will remain unchanged. A prompt appears when you select this option. Press [YES] to clear, or [NO] to cancel the operation. Note that no
kit information will be permanently lost until the pattern is saved to the same pattern slot that it was
loaded from.
• SEQUENCE DATA Clears the active pattern’s sequence data. All sounds will remain unchanged. A
prompt appears when you select this option. Press [YES] to clear, or [NO] to cancel the operation.
Note that no sequencer information are permanently lost until the pattern is saved to the same pattern
slot it was loaded from.
10.5.3 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.
• SEQUENCE DATA Saves the active pattern’s sequence data to the +Drive. A prompt appears when
you select this option. Press [YES] to save, or [NO] to cancel the operation.
10.5.4 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 kit from the +Drive. A prompt will
appear when you select this option. Press [YES] to reload, or [NO] to cancel the operation.
• KIT DATA Reloads the active pattern’s kit from the +Drive. A prompt appears when you select this
option. Press [YES] to reload, or [NO] to cancel the operation.
• SEQUENCE DATA Reloads the active pattern’s all sequence data from the +Drive. A prompt appears
when you select this option. Press [YES] to reload, or [NO] to cancel the operation.
10.5.5 IMPORT/EXPORT
Here you can manage the sounds on the Digitakt.
• IMPORT SOUND Imports (copies) a sound from the +Drive to the active pattern. Turn the LEVEL/
DATA knob or press [UP]/[DOWN] to scroll through the list. Press [YES] to select a sound and then
press [TRACK 1–8] to select the track to where you want to assign the sound.
• EXPORT SOUND Exports (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.
• MANAGE SOUNDS Opens the SOUND MANAGER. For more information, please see “9.3 SOUND
MANAGER” on page 24.
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10. THE SEQUENCER
10.6 TRIG PARAMETERS PAGE
Set the actions for when a note is trigged in the TRIG PARAMETERS page. Press the [TRIG] key to access
the menu. Change settings using the DATA ENTRY knobs. These general settings affect note trigs placed
on the sequencer. On any step of the pattern, trigs can be locked to other settings by first pressing and
holding a [TRIG] key, then changing the settings. For more information, please see “11.2 TRIG PARAMETERS PAGE” on page 37.
10.7 QUANTIZE MENU
Press [FUNC] + [TRIG] to access this menu. Change settings with DATA ENTRY knob E and F.
TRK. affects all micro-timed trigs of the active track in real time. The higher the quantize value, the more
all micro-timed trigs will be quantized. Press [TRIG 1-16] key to select track to quantize. (0–127)
GLOBAL affects all micro-timed trigs of all tracks in real time. The higher the quantize value, the more all
micro-timed trigs will be quantized. (0–127)
Press [FUNC] + [YES] to apply quantization to the pattern. Press [NO] to exit the menu.
10.8 METRONOME MENU
The METRONOME menu controls the internal metronome of the Digitakt. Press [FUNCTION] + [PTN] to
open the METRONOME menu. Use the DATA ENTRY knobs to change the settings.
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 will sound before the sequencer starts
playing. This setting is only relevant when you are in LIVE RECORDING mode.
VOL. controls the volume of the click.
10.9 SCALE MENU
The length and timing of the pattern and tracks is set in this menu. The SCALE menu has two modes. In
LENGTH PER PATTERN mode all tracks share the same length. In LENGTH PER TRACK mode each track
can have different lengths. Access the SCALE menu by pressing [FUNC] + [PAGE]. Press [FUNC] + [YES]
to toggle between the two SCALE modes. Use the DATA ENTRY knobs to adjust the different settings.
10.9.1 LENGTH PER PATTERN MODE
This is the default mode. In this mode, all tracks of the pattern share the same length and time signature.
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10. THE SEQUENCER
LENGTH controls the step length of the pattern. The leftmost number displays the number of steps in
the pattern. The maximum number of steps available in the pattern is determined by the total length, set
by the second number. This can be either 16, 32, 48 or 64 steps. If 17 steps or more are used in a pattern,
the [PAGE] key is, while in GRID RECORDING mode, used to toggle between the different pattern pages.
SCALE controls the time signature of the pattern. It offers seven possible settings, 1/8X, 1/4X, 1/2X, 3/4X,
1X, 3/2X and 2X. A setting of 1/8X will play back the pattern at one-eighth of the set tempo. 3/4X plays
the pattern back at three-quarters of the tempo; 3/2X will play back the pattern twice as fast as the 3/4X
setting. 2X will make the pattern play at twice the BPM.
Trigs are automatically copied when extending the length of a pattern. If a pattern consists of for example two pages and the pattern length is increased to four pages, the two additional pattern pages will be
copies of the first two pattern pages.
Press the [PAGE] key to change the total length of the pattern quickly. Press the [TRIG] keys to change
the number of steps of the pattern quickly.
A 2X time signature setting is useful for increasing the base resolution of the step sequencer to 32nd
notes. A 3/4X setting is useful when Digitakt is playing alongside other instruments set to the same BPM,
and you want Digitakt to play triplets.
10.9.2 LENGTH PER TRACK MODE
In this mode, the tracks of the pattern can be assigned individual lengths. Press [FUNC] + [YES] to
switch between the two scale modes. In LENGTH PER TRACK mode, two columns exist, TRACK and
PATTERN.
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 will only affect the active track. Press the [TRK] keys to
select the track whose scale settings will be edited.
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 will play before all tracks restart. An INF setting will
make the tracks of the pattern loop infinitely, without ever being restarted. Note that this setting also
affects for how long the active pattern will play before a chained pattern starts playing. The CH.LEN
parameter can override this.
CH.LEN controls for how long the active pattern will play before a cued or chained pattern will begin
to play. This setting is important when, for example, M.LEN is set to INF. If no CH.LEN setting is made,
the pattern will play infinitely, and the next pattern will thus not be cued. But if CH.LEN, for instance, is
set to 64, the pattern will behave like a pattern consisting of 64 steps in terms of cueing and chaining.
SCALE sets the general time signature of the pattern.
Press [FUNC] + [UP]/[DOWN] to set the TRACK LENGTH in increments of 16.
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10. THE SEQUENCER
10.10 MASTER PAGE
Press [FUNC] + [LFO] to access this menu. Here you can conveniently access the TRACK LEVEL
parameter of all the eight audio tracks. (0–127)
10.11 SEQUENCER FEATURES
10.11.1 PARAMETER LOCKS
Parameter locks makes it possible to set every trig to have its own unique parameter values. The note
trigs of an audio track can, for example, have different pitch, amp or filter settings. It is possible to parameter lock the parameters found on the PARAMETER pages, and you can apply parameter locks to
all types of tracks. For a complete overview of all parameters on the PARAMETER pages, please see “11.
AUDIO TRACK PARAMETERS” on page 37, and “12. MIDI TRACK PARAMETERS” on page 44.
To apply parameter locks in GRID RECORDING mode, press and hold the [TRIG] key of a trig (note trig
or a lock trig). Use the DATA ENTRY knobs to adjust the parameters you want to lock. The graphics
become inverted for the locked parameter, and the locked parameter values are displayed. The [TRIG]
key of the locked trig blinks red (for note trigs) or yellow (for lock trigs) to indicate the trig now contains a
parameter lock.
Remove a single parameter lock by holding [TRIG] + pressing the DATA ENTRY knob of the locked parameter. You can erase all parameter locks from a trig if you remove the note trig and then enter it again.
In LIVE RECORDING mode, turning a DATA ENTRY knob, or playing the [TRIG] keys in CHROMATIC
mode, will input parameter locks to the active track. Note trigs will be locked accordingly, and lock trigs
containing the locks will be placed on the sequencer steps not containing note trigs.
To remove the parameter locks of all tracks while LIVE RECORDING mode is active, press and hold
[FUNC] + [CLEAR].
Press [NO] + one (or several) of the [TRIG] keys to erase a sequence of recorded trigs on a specific
track (or on several tracks) in time with the sequencer, i.e. all steps reached on the pattern playing will be
erased until the keys are released.
You can also remove specific parameter locks in real time by pressing [NO] while pressing the DATA
ENTRY knob corresponding to the parameter that will be removed.
Up to 72 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 71 other parameters that
can be locked.
10.11.2 CONDITIONAL LOCKS
On the TRIG page, there is a parameter called COND (Trig Condition) with which a set of conditional
rules can be applied to any trig, using a parameter lock. Each setting is a logical condition that will determine whether a trig set in the sequencer will be triggered or not. If the condition is true then the trig will
become active and affect the sequence. You must first place a trig on the sequencer step to where you
want to apply a conditional lock.
The sequencer needs to be in FILL mode to activate the conditional lock called FILL. For more information, please see “10.11.3 FILL MODE” on page 34.
You can use the COND parameter to set the following trig conditions:
FILL is true (activates the trig) when FILL mode is active.
FILL is true when FILL is false. A trig with this trig condition is active when you are not in FILL mode.
PRE is true if the most recently evaluated trig condition on the same track was true. (PRE and PRE
conditions are ignored and not evaluated.)
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10. THE SEQUENCER
PRE is true when PRE is false. A trig with this trig condition is active if the most recently evaluated trig
condition on the same track was not true. (PRE and PRE conditions are ignored and not evaluated.)
Example 1: Trig 1, 50% = True > Trig 2, PRE = False > Trig 3, PRE = False > Trig 4, PRE = True
Example 2: Trig 1, 50% = False > Trig 2, PRE = True > Trig 3, PRE = True > Trig 4, PRE = False
NEI is true if the most recently evaluated trig condition on the neighbor track was true. (PRE and
PRE conditions on the neighbor track are ignored and not evaluated.) The neighbor track is the track
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.)
1ST is true the first time the pattern plays (when looped).
1ST is true when 1ST is false. A trig with this trig condition is always active apart from the first time the
pattern plays (when looped).
X% is a probability condition. There is an x% chance that the trig will be active.
A:B A sets how many times the pattern plays before the trig condition is true. B sets how many times
the pattern plays before the count is reset and starts over again. This cycle then repeats indefinitely.
For example:
With the setting 1:2, the trig condition is true the first time the pattern plays and then the third, the fifth,
and so on.
With the setting 2:2, the trig condition is true the second time the pattern plays and then the fourth,
the sixth, and so on.
With the setting 2:4, the trig condition is true the second time the pattern plays and then the sixth, the
tenth, and so on.
With the setting 4:7 the trig condition is true the fourth time the pattern plays and then the eleventh,
the eighteenth, and so on.
• 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, while fun and interesting, is not the only way of using conditional trigs. They may also be used, for example, to have two different melodic
or percussive sequences on the same track, one of which is activated only when FILL
mode is active.
10.11.3 FILL MODE
FILL mode can be used to create a temporary variation, such as a drum fill, in your pattern.
Press [YES] + [PAGE] to activate FILL mode for one pattern cycle. It will become active when the pattern loops, and remain active until it loops again. You can also activate FILL mode at any time, and for any
duration, by pressing and holding the [PAGE] key when the pattern is playing (GRID RECORDING mode
cannot be active). The FILL mode is active for as long as the key is held.
Press and hold [PAGE] + [YES], and then release [PAGE] before you release [YES] to latch FILL mode.
Press [PAGE] again to unlatch FILL mode.
10.11.4 SWING
Adjust the swing setting of the pattern, to employ a propulsive, rhythmic groove. Press [TEMPO] to
access this menu.
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10. THE SEQUENCER
Turn DATA ENTRY knob E to set the SWING ratio to 51-80%. The default setting is equal spacing, 50%.
10.11.5 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. Please note that you can only paste to the currently active pattern. Clear a pattern
by pressing [FUNC] + [PLAY].
Individual sequencer tracks can be copied, pasted and cleared in the same way as patterns. To do so,
GRID RECORDING mode must be active.
A single track page may also be copied, pasted and cleared. It is similar to copying/pasting/clearing a
track, but will only affect the active track page. Select the track page of choice by pressing the [PAGE]
key. Copy by pressing [PAGE] + [RECORD]. Select a new track page and press [PAGE] + [STOP] to
paste. Press [PAGE] + [PLAY] to clear the active track page.
Trigs, complete with all parameter lock settings, can be copied, pasted and cleared as well. GRID RECORDING mode needs to be active to access this functionality. Press and hold a trig and press [RECORD] to perform the copy operation. Paste by holding another [TRIG] key and pressing [STOP]. It is
also possible to copy more than one trig. Hold several trigs and press [RECORD]. The trig first pressed
will act as the starting point. When pasting, the other copied trigs will be placed in relation to this trig.
Paste the copied sequence of trigs by holding another [TRIG] key and pressing [STOP]. Clear trig locks
by holding one or more trigs and press [PLAY].
You can undo any copy, paste, and clear operation by repeating the key presses.
10.11.6 TEMPORARY SAVE AND RELOAD PATTERN COMMANDS
Patterns can instantly be saved to a temporary memory space and then reloaded again from this space.
• To perform a temporary save of the active pattern, press [FUNC] + [YES]. This is useful in order to
create a restore point when you are live tweaking, but without permanently save your changes.
• To perform a temporary reload of the active pattern, press [FUNC] + [NO]. It will the reload the pattern from when you last used the temporary save command. If you have not done any temporary save,
then the pattern will reload from the permanently saved state.
The TEMPORARY SAVE PATTERN and TEMPORARY RELOAD PATTERN commands are
great when improvising live. Any changes made to the active pattern, like adding bass line
notes or using CONTROL ALL , can immediately be undone. And at the same time, the
saves and reloads will not affect the pattern in a permanent way.
The TEMPORARY SAVE PATTERN command will not save the pattern permanently and
any changes will be lost if you load another project. If you wish to save your changes permanently, you should use SAVE TO PROJ in the PATTERN MENU. For more information,
please see “10.5 PATTERN MENU” on page 30.
10.12 CHAINS
Chains are sequences that consist of more than one pattern. You can use chains to preselect and automate
in what order you want your patterns to play.
You can create one chain in the currently active bank. You can use the 16 patterns within that bank to create
the chain. The chain can consist of up to 64 pattern entries.
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.
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10. THE SEQUENCER
3. Release the [PTN] key and then press [TRIG 1–16] keys in the same order as you want the chained
patterns to play. Keep the previous [TRIG] key pressed while you press the next one, the one after
that and so on, so that the sequencer can recognize that you’re building a chain and not just switching
patterns. You can press the same [TRIG] key again if you wish to add the pattern multiple times in a row.
4. Press [PLAY] to start the sequencer and play the chain. The chain will be looped once the final pattern of the chain has played.
Please note that the chain will be lost when you create a new chain or when you select a new
bank/pattern. Also, chains cannot be saved and will be lost when you switch the Digitakt off.
• Chains can be created while the sequencer is running.
• You can also use MIDI program change messages from an external device to change
patterns on the Digitakt. For more information, please see “15.3.1 SYNC” on page 56.
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11. AUDIO TRACK PARAMETERS
11. 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 “10.11.1 PARAMETER LOCKS” on page 33.
11.1 EDITING THE AUDIO TRACK PARAMETERS
There are five PARAMETER pages for the audio tracks. Press the [PARAMETER] keys to access the audio
tracks PARAMETER pages. The SRC parameter group has two pages To access page one, press the [SRC]
key once. To access page two, press the [SRC] key twice. Use the DATA ENTRY knobs A-H to change the
parameters. Press and hold a [PARAMETER] key to see the values for all parameters on that page.
11.2 TRIG PARAMETERS PAGE
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.
Press [TRIG PARAMETERS] to access this parameter page.
11.2.1 NOTE
Trig Note sets the pitch of the note when trigged. When in LIVE RECORDING mode and playing in
CHROMATIC mode, the pitch of the [TRIG] keys played will override this setting. (-24–+24)
11.2.2 VEL
Trig Velocity sets the velocity of the sequencer’s note trigs. (0–127)
11.2.3 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. (0–127, INF)
11.2.4 COND
Trig Condition lets you set a number of conditional rules that can be applied to any trig, using a parameter lock. Each setting is a logical condition, which will determine whether or not the sequencer note will
be triggered. For more information, please see “10.11.2 CONDITIONAL LOCKS” on page 33.
11.2.5 FLT.T
Filter Trig controls if the filter envelope will be trigged or not. (ON, OFF)
11.2.6 LFO.T
LFO Trig controls if the LFO will be trigged or not. (ON, OFF)
11.3 SRC PAGE 1
The parameters on the SOURCE page control the playback of the user samples. Within each pattern, the
samples may be dynamically allocated, modulated and customized. There are 127 sample slots available for
every project..
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11. AUDIO TRACK PARAMETERS
Press [SRC] once to access this parameter page.
11.3.1 TUN
Tune sets the pitch of the sample. The knob works in a bipolar fashion, and a value of 0 leaves the pitch
unchanged. (-24.00–+24.00, equivalent to four octaves.)
11.3.2 PLAY
Play Mode sets the play mode of the sample. It controls how the sample will be played back when it is
trigged.
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.
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 parameters HLD and DEC.
• 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 parameters HLD and DEC.
• FORWARD The sample will be played back once every time it is trigged.
11.3.3 BR
Bit Reduction. Increasing the value of this parameter decreases the resolution of the sample, making it
more lo-fi. (0–127)
11.3.4 SAMP
Sample Select. Here you can browse the list of the up to 127 samples that are loaded to the project, and
assign them to the audio tracks. Turn the knob clockwise to scroll down the list, counter-clockwise to
scroll up. The first position, OFF, plays no sample. Press [FUNC] + [SRC] to quickly access this parameter. You must to load a sample from the +Drive to the project before you can assign it to a track. For more
information, please see “14.4 ASSIGNING A SAMPLE TO A TRACK FROM THE +DRIVE” on page 51.
(OFF, 1–127).
11.3.5 STRT
Start sets the start position for playback of the sample. (0.00–120.00)
11.3.6 LEN
Length sets the length of the playback of the sample. Start + Length effectively define the end point of
the portion of the sample that is played. (0.00–120.00)
11.3.7 LOOP
Loop Pos 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 or REVERSE
LOOP. The sample is then looped between the end of LEN and LOOP. (0.00–120.00)
11.3.8 LEV
Sample Level sets the level of the sample. (0.00–127.00)
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11. AUDIO TRACK PARAMETERS
The STA, LEN, and LOP parameters.
Start
Loop Position
Length
FORWARD LOOP play mode.
Start
Loop
Position
Length
Start
Length
Loop
Position
Loop
Position
Start
Length
11.4 SRC PAGE 2
Same parameters as on SRC page 1 but with a graphical representation of the parameters.
Press [SRC] twice to access this parameter page.
11.5 FLTR PAGE
On the FILTER page, you will find all parameters that control the multimode filter and its associated envelope.
Press [FLTR] to access this parameter page.
11.5.1 ATK
Attack Time sets the length of the attack phase of the filter envelope. (0–127)
11.5.2 DEC
Decay Time sets the length of the decay phase of the filter envelope. (0–127)
11.5.3 SUS
Sustain Level sets the sustain level of the filter envelope. (0–127)
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11. AUDIO TRACK PARAMETERS
11.5.4 REL
Release Time sets the length of the release phase of the filter envelope. (0–126, INF)
11.5.5 FREQ
Frequency sets the cutoff frequency of the multimode filter. (0.00–127.00)
11.5.6 RESO
Resonance sets the resonance behavior of the filter. Resonance introduces a peak in the spectrum at
the cutoff frequency. (0.00–127.00)
11.5.7 TYPE
Filter Type selects the type of filter. (OFF, 2-pole Lowpass, 2-pole Highpass)
Attack
Decay
Release
Sustain
AMPLITUDE
11.5.8 ENV
Env. Depth sets the amount of cutoff frequency modulation from the filter envelope. The knob is bipolar,
both negative and positive modulation depths are available. Range (-64.00–63.00)
Note On
Note Off
TIME
11.6 AMP PAGE
The AMP page controls parameters for the amplitude envelope, overdrive, effects sends, panning and
volume.
Press [AMP] to access this parameter page.
11.6.1 ATK
Attack Time sets the length of the attack phase of the amp envelope. (0–127)
11.6.2 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 (See “10.6
TRIG PARAMETERS PAGE” on page 31), 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.
(0–126, NOTE)
If you set HOLD to NOTE and use an external keyboard to trigger the envelope, then the
sound will be sustained for as long as you press a key on the keyboard (or until the sample
ends).
11.6.3 DEC
Decay Time sets the length of the decay phase of the amp envelope. (0–126, INF)
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11. AUDIO TRACK PARAMETERS
11.6.4 OVER
Overdrive sets the amount of overdrive and clipping distortion of the signal entering the filter.
(0.00–127.00)
11.6.5 DEL
Delay Send sets the amount of the sound that is sent through to the Delay effect. For more information,
please see “13. FX PARAMETERS” on page 48. (OFF, 0.01–127.00)
11.6.6 REV
Reverb Send sets the amount of the sound that is sent through to the Reverb effect. For more information, please see “13. FX PARAMETERS” on page 48). (OFF, 0.01–127.00)
11.6.7 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.
(L64–R63)
11.6.8 VOL
Volume sets the amount volume of the sound. This parameter is independent of the overall track level.
(0.00–127.00)
Amplitude envelope with a fixed HOLD time.
AMPLITUDE
Attack
Attack
Note On
Hold
Note Off
Hold
Decay
Decay
Hold
Attack
Note On
Note Off
Decay
Note On Note Off
TIME
Amplitude envelope with HOLD set to NOTE.
Attack
Decay
Hold
AMPLITUDE
Attack
Hold
Note On
Decay
Note Off Note
On
Attack/
Hold
Note Off
Note On
Decay
Note Off
TIME
11.7 LFO PAGE
The Low-Frequency Oscillator can be used to modulate the parameters found on the audio tracks SRC,
FILTER and AMP pages. Customize the low-frequency oscillator behavior, orientation, and depth on this
page.
Press [LFO] to access this parameter page.
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11. AUDIO TRACK PARAMETERS
11.7.1 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. The LFO cycle can be played backward by using negative values. (-64.00–63.00)
11.7.2 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.
11.7.3 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. (-64–63)
11.7.4 DEST
Destination selects the modulation destination for the LFO. Preview how the LFO modulation will affect
the sound by highlighting a destination. Press [YES] to confirm the selection.
11.7.5 WAVE
Waveform sets the LFO waveform. There are seven waveforms: Triangle, Sine, Square, Sawtooth, Exponential, Ramp, and Random.
11.7.6 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. (0–127)
11.7.7 MODE
Trig Mode sets how the LFO will act when a note is trigged.
• FRE is the default free-running mode. It makes the LFO run continuously, never restarting or
stopping even if notes are trigged..
• TRG makes the LFO restart when a note is trigged.
• 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 will make the LFO start from the beginning when a note is trigged, run for one cycle and then
stop. This makes its function similar to an envelope.
• HLF will make the LFO start from the beginning when a note is trigged, run for half a cycle and
then stop.
11.7.8 DEP
Depth sets the depth and polarity of the LFO modulation. Both negative (inverted) and positive modulation depth is possible. A center setting, 0.00, equals no modulation depth. (-64.00–63.00)
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11. AUDIO TRACK PARAMETERS
LFO waveforms and trig modes.
TRIG
FREE
TRIG TRIG
TRIG
TRIG TRIG
HOLD
TRIG TRIG
ONE
TRIG
HALF
TRIG
TRI
SIN
WAVEFORM
SQR
SAW
EXP
RMP
RND
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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. 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 “10.11.1 PARAMETER LOCKS” on page 33.
12.1 EDITING THE MIDI TRACK PARAMETERS
There are five PARAMETER pages for the MIDI tracks. Press the [PARAMETER] keys to access the MIDI
tracks PARAMETER pages. Use the DATA ENTRY knobs A-H to change the parameters. Press and hold a
[PARAMETER] key to see the values for all parameters on that page.
12.2 TRIG PARAMETERS PAGE
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.
Press [TRIG PARAMETERS] to access this parameter page.
12.2.1 NOT1
Note 1 sets the root note that should be sent by the MIDI track. (C0–G10)
12.2.2 NOT2–NOT4
Note 2–4 will add more notes, offset from the root note by the selected values, to a note trig. This makes
it possible for a MIDI track to send out chords that consists of up to 4 notes. If the root note is changed
the offset notes will transpose accordingly. A value of 0 will remove the offset note. (-64–+63)
12.2.3 VEL
Trig Velocity controls the velocity of the notes the MIDI track sends out. A setting of 0 equals a NOTE
OFF command. (1–127)
12.2.4 LEN
Trig Length sets the duration of the notes. When a note has finished playing a NOTE OFF command will
be sent. The INF setting equals infinite note length. (0.125–128, INF)
12.2.5 COND
Trig Condition is a set of conditional rules that can be applied to any trig, using a parameter lock. Each
setting is a logical condition, which will determine whether or not the sequencer note will be triggered.
For more information, please see “10.11.2 CONDITIONAL LOCKS” on page 33.
12.2.6 LFO.T
LFO Trig controls if the LFO will be trigged or not. (ON, OFF)
12.3 SRC 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. You can then use the DATA ENTRY knobs to set the
parameter values as usual. Disable the parameters again by repeating the activation procedure.
Press [SRC] once to access this parameter page.
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12. MIDI TRACK PARAMETERS
12.3.1 CHAN
Channel sets the MIDI channel the track will send MIDI data to. If this parameter is set to OFF, it basically
turns the MIDI track off. Please note that this parameter cannot be parameter locked. (OFF, 1–16)
12.3.2 BANK
Bank is used for sending out a bank change message. Bank 1 to 128 can be sent. (OFF, 1–128)
12.3.3 PROG
Program change is used for sending out a program change message. Program 1 to 128 can be sent.
(OFF, 0–128)
12.3.4 PB
Pitch Bend controls the pitch bend data sent on the MIDI track. (OFF, -128.00–128.00)
12.3.5 AT
Aftertouch controls the aftertouch data sent on the MIDI track. (OFF, 0–127)
12.3.6 MW
Mod Wheel controls the modulation wheel data sent on the MIDI track. (OFF, 0–127)
12.3.7 BC
Breath controller controls the breath control data sent on the MIDI track. (OFF, 0–127)
12.4 FLTR PAGE (CC VALUE)
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 will 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.
12.4.1 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. (OFF, 0–127)
12.5 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 the corresponding knob or [ENTER/YES] to activate the parameter change.
Press [AMP] to access this parameter page.
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12. MIDI TRACK PARAMETERS
12.5.1 SEL1-SEL8
CC 1–8 Select specifies the CC commands that are controlled by the parameters on the AMP PAGE 1
(CC VALUE) page. The selectable values are the standard MIDI Control Change Messages. (0–119)
12.6 LFO PAGE
The Low-Frequency Oscillator can be used to interact with the parameters found on the MIDI tracks’ SRC,
and FLTR pages. Customize the low-frequency oscillator behavior, orientation, and depth on this page.
Press [LFO] to access this parameter page.
12.6.1 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 bi-polar. The LFO cycle can be played backward by using negative values. (-64.00–63.00)
12.6.2 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.
12.6.3 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. (-64–63)
12.6.4 DEST
Destination selects the modulation destination for the LFO. Preview how the LFO modulation will affect
the sound by highlighting a destination. Press [YES] to confirm the selection.
12.6.5 WAVE
Waveform sets the LFO waveform. There are seven waveforms: Triangle, Sine, Square, Sawtooth, Exponential, Ramp and Random.
12.6.6 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. (0–127)
12.6.7 MODE
Trig Mode sets how the LFO will act when a note is trigged.
• FRE is the default free-running mode. It makes the LFO run continuously, never restarting or
stopping even if notes are trigged.
• TRG makes the LFO restart when a note is trigged.
• 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.
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12. MIDI TRACK PARAMETERS
• ONE will make the LFO start from the beginning when a note is trigged, run for one cycle and then
stop. This makes its function similar to an envelope.
• HLF will make the LFO start from the beginning when a note is trigged, run for half a cycle and
then stop.
For more information about the Trig Modes, please see the illustration at the end of section “11.7 LFO
PAGE” on page 41.
12.6.8 DEP
Depth sets the depth and polarity of the LFO modulation. Both negative (inverted) and positive modulation depth is possible. A center setting, 0.00, equals no modulation depth. (-64.00–63.00)
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13. FX PARAMETERS
13. FX PARAMETERS
The Digitakt effect parameters are explained in this chapter.
13.1 EDITING THE FX PARAMETERS
The Digitakt’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. The Delay and
Reverb parameters are set on their respective PARAMETER page, but their incoming signals are set by the
DEL and REV send parameters on the AMP page of each audio track. Press [FUNC] + [FLTR] to edit the
Delay. Press [FUNC] + [AMP] to edit the Reverb. Use the DATA ENTRY knobs A-H to change the parameters.
DELAY controls the character, reverb send and volume of the delay send effect.
REVERB controls the character and volume of the reverb send effect.
• The FX parameter settings are stored as part of the pattern. Don’t forget to save the pattern and give it a unique name once you have achieved the results you want.
13.2 DELAY
The Delay send effect takes the input signal, delays it in time and then rejoins it with the original signal.
Press [FUNC] + [FLTR] to access this parameter page.
13.2.1 TIME
Delay Time sets the delay time. It is relative to the current BPM and is measured in 128th notes.
(1.00–128.00)
TIME setting
Divide ratio
128
1
96
1/2.
64
1/2
48
1/4.
32
1/4
24
1/8.
16
1/8
12
1/16.
8
1/16
6
1/32.
4
1/32
3
1/64.
2
1/64
1
1/128
13.2.2 X
Pingpong sets the delay signal to alternate across the stereo field. There are two settings:
• OFF lets you manually set the position of the delay signal in the stereo field. Use the WID parameter
to change the stereo field position.
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13. FX PARAMETERS
• 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. The knob is bipolar. (-64.00–63.00)
13.2.4 FDBK
Feedback Gain sets the amount of delay output signal to feed back into the input of the delay. With higher parameter settings, infinite and/or swelling delays are possible. Please be aware that high feedback
can lead to a very loud signal. (0–198)
13.2.5 HPF
Feedback HPF sets the cutoff frequency of the delay highpass filter. (0.00–127.00)
13.2.6 LPF
Feedback LPF sets the cutoff frequency of the delay lowpass filter. (0.00–127.00)
13.2.7 REV
Reverb Send sets the amount of Delay output signal to be sent to the Reverb. (0.00–127.00)
13.2.8 VOL
Mix Volume adjusts the volume of the Delay output signal. (0.00–127.00)
13.3 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.
13.3.1 PRE
Pre-delay sets the pre-delay time of the Reverb. (0.00–127.00)
13.3.2 DEC
Decay Time sets the length of the decay phase of the reverberated signal, essentially setting the size of
the acoustic space. (1–127, INF)
13.3.3 FREQ
FB Shelving Freq sets the shelving filter frequency. Together with the GAIN parameter, it can be used to
dampen the reverberated signal above a chosen frequency, making the reverberation sound more prominent or more muffled. (0.00–127.00)
13.3.4 GAIN
FB Shelving Gain affects the damping of the reverberated signal above the shelving frequency set by the
FRQ parameter. At max value the treble is included in the reverberations; lowering the value gradually
dampens it. (0.00–127.00)
13.3.5 HPF
Input HPF sets the cutoff frequency of the reverb high-pass filter. (0.00–127.00)
13.3.6 LPF
Input LPF sets the cutoff frequency of the reverb low-pass filter. (0.00–127.00)
13.3.7 VOL
Mix Volume sets the volume of the Reverb output signal. (0.00–127.00)
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14. SAMPLING
14. SAMPLING
Digitakt is a very competent and accessible sampler. It can sample audio from external sources via the
external inputs, and it can also sample audio internally from the Digitakt itself. The maximum sampling time
is 33 seconds and this is always available even if a project’s 64 MB of RAM memory is all used up.
14.1 SAMPLING MENU
The SAMPLING menu offers settings that control the different aspects of sampling.
Press [SAMPLING] to access this menu. Use the DATA ENTRY knobs to change the parameters.
14.1.1 REC
Press [FUNC] + [YES] to start sampling. Press [YES] to stop sampling.
14.1.2 ARM
Press [YES] to arm the sampler. The sampler is now in arm mode and it will start sampling when the
incoming audio exceeds the threshold level. See below. (Press [SAMPLING] + [NO] to cancel.)
14.1.3 THR
If you have selected to arm the sampler, the sampling begins when the incoming audio signal exceeds
the threshold setting. Set the threshold high enough so that it is not triggered by background noise, but
low enough that you capture all of the signal. (0–127)
14.1.4 SRC
Source selects between different incoming audio sources to sample from.
• EXT L sets the input source to INPUT L.
• EXT R sets the input source to INPUT R.
• EXT L+R sets the input source to INPUT L+R. The audio is summed together to mono.
• INT L sets the input source to the Digitakt internal audio left channel.
• INT R sets the input source to the Digitakt internal audio right channel.
• INT L+R sets the input source to the Digitakt internal audio L+R channels. The audio is summed
together to mono.
14.1.5 MON
Selects the option to monitor the incoming audio through the Digitakt or not. (NO, YES)
14.2 SAMPLING AUDIO
1. If you use an external audio source, connect it to the Digitakt.
2. Press [SAMPLING] to access the SAMPLING menu and then use DATA ENTRY knob G to set
SOURCE to your preferred audio input source.
3. Keep an eye on the audio input meter and play the audio source and make sure that the volume of the
audio source is as strong as possible, but without clipping or distorting. Set MON to YES to monitor
the incoming audio through the Digitakt.
4. Again, with an eye on the audio input meter, use DATA ENTRY knob F to set THR just above the indicated background noise of the audio source (when it is not playing).
5. Press [YES] to arm the sampler and then play the sound source. When the incoming audio signal
exceeds the set threshold level, sampling will start.
6. Press [YES] when you want to stop sampling. The Digitakt then automatically normalizes the sample.
7. Use the DATA ENTRY knobs A and C to set the parameters TRIM START and TRIM END to trim the
sample to the desired length. You can use the DATA ENTRY knobs B and D to zoom in and out to
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14. SAMPLING
make it easier to see where to trim the sample. Press [FUNC] + [YES] to preview the sample.
Press [YES] to trim the sample. After you have trimmed the sample, you can press [NO] to untrim the
sample if you are not happy with the result.
8. Press [YES] to save the sample.
9. Name the sample and press [YES] again to confirm the save.
10.Press [TRACK 1–8] if you want to select a track to where you want to assign the sample. Press [NO] if
you don’t want to assign the sample to a track.
14.3 DIRECT SAMPLING
You can also perform sampling without using the SAMPLING menu. This is achieved by a set of key press
combinations. The sampler will use the SRC and THR settings that were last used.
1. Press [SAMPLING] + [YES] to arm the sampler. The [SAMPLING] key turns yellow.
You can also start direct sampling without arming the sampler first. Press [FUNC] + [SAMPLING] to
manually start sampling.
2. When the incoming audio signal exceeds the set threshold level (or you manually start direct sampling), the sampling starts, and the [SAMPLING] key turns red.
3. Press [FUNC] + [SAMPLING] again to stop sampling. The [SAMPLING] key first turns dark red while
normalizing the sample, then green when it is done.
Press [SAMPLING] + [NO] to cancel at any stage of the Direct Sampling process.
14.4 ASSIGNING A SAMPLE TO A TRACK FROM THE +DRIVE
You can also assign samples from the +Drive storage in the Digitakt to the tracks.
1. Press [SETTINGS] to access the SETTINGS menu, and then select SAMPLES and press [YES].
2. Use the [ARROW] keys to navigate to the sample you want to assign, and then press [YES] to select
the sample.
3. Press [RIGHT], and then select LOAD TO PROJ and press [YES] to copy and load the sample to
the project.
4. Press [YES] to confirm.
5. Press [FUNC] + [SETTINGS] to exit SETTINGS menu.
6. Press [TRACK] + [TRIG 1–8] to select the track to where you want to assign the sample.
7. Press [SRC] access the SOURCE menu, and then use DATA ENTRY knob D to select the sample you
want to load.
8. Press [YES] to load the sample to the track.
For more information, please see “15.2 SAMPLES” on page 53.
14.5 SAMPLE PLAYBACK
Once the sample is assigned to a track, it can be triggered either by the sequencer or manually by pressing
a [TRIG] key. You also have the ability to set the samples play mode and edit what portion of the sample is
played.
1. Press [SRC] to access the SOURCE page.
2. Use DATA ENTRY knob B to set the PLAY MODE behavior of the sample.
• 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.
How long it will loop for is set with the LEN parameter on the TRIG page. The loop time is also constrained by the AMP page envelope parameter settings HLD and DEC.
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14. SAMPLING
• FORWARD LOOP The sample will loop continuously between Loop Position and Length. How long it
will loop for is set with the LEN parameter on the TRIG page. The loop time is also constrained by the
AMP page envelope parameters HLD and DEC.
• FORWARD The sample will be played back once every time it is trigged.
3. Use DATA ENTRY knobs E, F, and G to set the STRT, LEN, and LOOP parameters which define what
portion of the sample is played. Press [SRC] twice to access SRC page 2, in order to more easily see
these settings using the sample waveform. For more information, please see “11.4 SRC PAGE 2” on
page 39.
4. • STRT Start sets the start position for the playback of the sample.
• LEN Length sets the length of the playback of the sample. Start + Length effectively defines the end
point of the portion of the sample that is played.
• LOP Loop Position sets the position in the sample to where playback will return after reaching the
Length Position (defined by STRT + LEN) if PLAY MODE is set to FORWARD LOOP or REVERSE
LOOP. The sample then loops between the end of LEN, and LOOP.
For more information, please see “11.3 SRC PAGE 1” on page 37.
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15. SETTINGS MENU
15. SETTINGS MENU
The SETTINGS menu offers settings that affect Digitakt and can also be used to manage Projects.
Press [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].
15.1 PROJECT
15.1.1 LOAD PROJECT
Load Project opens a project selection screen where you can choose a project to load. Note that the active project will not be saved before loading the new project so remember to save the active project first.
If you wish to create a new project, select CREATE NEW at the very bottom of the list. The new project
will be a blank slate.
If you load a new project it will overwrite the active project. Be sure to save your active
project before you load another project.
15.1.2 SAVE PROJECT AS
Save Project opens a project selection screen where you choose a slot to save the active project to.
You can also press [FUNC] + [SETTINGS] to access this screen.
15.1.3 MANAGE PROJECTS
Manage Projects launches the PROJECT MANAGER menu. Selecting a project in this menu and pressing
the [RIGHT] arrow key will bring up a list of commands.
• CLEAR Resets the project slot to a clean state.
• DELETE Removes the project from the slot.
• RENAME Opens a NAMING screen where you can rename the project file.
• LOAD FROM Loads the selected project. This will overwrite the active project!
• SAVE TO Saves the active project to the selected slot.
• TOGGLE Toggles write protection on or off. Write protected projects cannot be overwritten, renamed or erased. A lock symbols in front of the project name shows that the project is write protected.
• INIT NEW Initializes an empty file slot with a clean project. This option is only available for empty
project slots.
15.2 SAMPLES
Here you can manage your samples. Initially, here are three directories FACTORY, INCOMING, and
RECORDED. A wide array of preset samples are available in the write protected FACTORY directory.
The INCOMING directory is the default destination for samples sent to the Digitakt +Drive storage via the
C6 software. RECORDED will contain the samples you create when you sample with the Digitakt.
53
15. SETTINGS MENU
Use the [ARROW] keys to highlight a directory, and then press [YES] to open it. To exit a directory and
back one step up in the directory hierarchy, select the item labeled “..” at the very top of the screen and
press [YES]. Do this repeatedly to return to the top of the directory hierarchy. You can also press [FUNC]
+ [RIGHT] to open a directory and [FUNC] + [LEFT] to exit a directory. To distinguish directories from
samples, all directories, including the directory exit row, “..”, are labeled with a (D) at the very end of the row.
When browsing a directory in the +Drive, a sample assigned to one of the 127 sample slots of the active
project will have its slot number shown as seen below.
15.2.1 LOADING A SAMPLE
You can load one or several samples to the RAM memory of the active project.
1. Press [SETTINGS], and then open the SAMPLES menu.
2. Open the FACTORY directory, and then navigate to the samples you want to load.
3. Highlight the samples, and then press [YES] to tick them. Any sample can be previewed (played
back by the voice of the active track), just highlight it and then press [FUNC] + [YES]. Approximately, ten seconds of the sample can be previewed.
4. Press the [RIGHT] arrow key. A menu will appear on the right side of the screen.
5. Select LOAD TO PROJECT and press [YES].
The samples you selected (ticked) will now appear in the first available empty slots out of the 127 sample
slots of the active project. To view the samples currently in the RAM memory of the active project, press
the [LEFT] arrow key twice. This will bring up the left side menu.
54
15. SETTINGS MENU
Select VIEW RAM and press [YES]. A list appears that shows all 127 sample slots.
On this screen, the 127 samples may be unloaded individually or collectively to empty the slots.
15.2.2 UNLOADING A SAMPLE
You can unload one or several samples from the RAM memory of the active project.
1. Scroll the list using the [ARROW] keys [UP]/[DOWN] or the LEVEL knob.
2. Press [YES] to tick individual samples, or bring up the right-hand menu by pressing [RIGHT] and
choose SELECT ALL.
3. On the right-hand menu, select UNLOAD to empty the slots of the ticked samples.
15.2.3 REPLACING A SAMPLE
You can replace one or several samples in the RAM memory of the active project.
1. Highlight the slot containing the sample you wish to replace, and then press [RIGHT] to open the
right-hand menu and select REPLACE.
2. Browse the directories of the +Drive, locate the desired sample and press [YES] to place it in the
previously highlighted sample slot.
If you wish to go back to browsing the +Drive storage directories, press [LEFT] twice and select VIEW
+DRIVE.
You can also replace a sample in the RAM memory by replacing it directly in its audio track.
1. Press [TRK] + [TRIG 1-8] to select the audio track that contains the sample you wish to replace.
2. Press [FUNC] + [SRC] to open the RAM memory sample slot list. The sample assigned to the track
is highlighted.
3. Press [FUNC] + [YES]. to open the +Drive library
4. Navigate to the sample you want to use, and then press [YES].
You can preview a sample in the +Drive library by highlighting it and pressing [FUNC] + [YES].
15.2.4 TRANSFERRING SAMPLES FROM A COMPUTER TO DIGITAKT
1. Connect Digitakt to the computer via USB.
2. Open the Elektron Transfer utility software on your computer.
3. Select the USB MIDI port(s) for your Digitakt on the Transfer start screen.
4. Drag and drop the samples to the Elektron Transfer main window. The samples will automatically
be transferred to a default directory (if no other is set) “transfers-yymmdd” that is created in the
+Drive storage of the Digitakt. Elektron Transfer automatically converts all audio files to 16 bit, 48
kHz, mono audio files, the Digitakt native audio format.
The time of the transfer depends on the size of the samples. During the transfer, a progress bar on the
screen will show how much of the sample has been received, provided that you have the destination
directory open on the Digitakt.
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15. SETTINGS MENU
Note that the samples transferred will remain in the destination directory of the +Drive. To use them, they
need to be loaded to the active project. For more information, please see “15.2.1 LOADING A SAMPLE”
on page 54.
The Digitakt still supports receiving of samples via MIDI Sample Dump Standard (SDS) and Extended
SDS. The Elektron C6 software supports this transfer protocol. You need to enable SDS Handshake in
order to secure the transmission over fast interfaces like USB MIDI. You also have to enable the transmission of the Extended SDS header if you want the sample name to be sent to the Digitakt (if not, the
samples will simply be named 1, 2, 3 ... and so on in the destination directory of the Digitakt).
15.2.5 CREATING A NEW DESTINATION DIRECTORY
This procedure is only for when you use the Elektron C6 software transfer tool. If you use Elektron
Transfer you can create a new destination directory in the Digitakt directly from Elektron Transfer.
On the main screen, press [ARROW] key [RIGHT] to access the right side menu. Select CREATE DIR
to create a new directory by pressing [YES]. A naming screen will appear. See section “6.5 THE NAMING SCREEN” on page 17. Give your new destination directory an appropriate name. Once the new
directory appears on the main screen, open it by pressing [YES]. In the initially empty directory, press
[ARROW] key [LEFT] to open the left side menu. Highlight UPLOAD HERE and press [YES].
Samples sent from a computer will be written into the new destination directory. Note that any new or
existing directory can be set to be the destination directory in a similar manner, accessing the left side
menu, except for the FACTORY directory which is write-protected. Any directory (again, except the
FACTORY directory) can be deleted or renamed by highlighting it, accessing the right-hand menu and
selecting DELETE DIR or RENAME.
• Make sure you have the latest version of the Elektron Transfer software installed on
your computer to efficiently and reliably transfer samples to the Digitakt +Drive storage.
The free Elektron Transfer software can be downloaded from the Elektron website.
• Please note that the Digitakt will not appear as an icon on your computer desktop. Use
Elektron Transfer or the Elektron C6 for all transfers.
• If MIDI+USB is selected in the INPUT FROM and/or OUTPUT TO settings on the MIDI
PORT CONFIG menu (see below), MIDI data transfers will limit the USB speed. When
sending or receiving large chunks of data, make sure you use the USB setting.
• Sequencer playback stops when you transfer files to the Digitakt.
15.3 MIDI CONFIG
In this menu, various sub-menus dealing with the MIDI functionality of Digitakt are found.
15.3.1 SYNC
Controls how Digitakt receives and sends MIDI clock and transport commands. Change settings by using
the [LEFT]/[RIGHT] arrow keys or the [YES] key.
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15. SETTINGS MENU
CLOCK RECEIVE will, when active, make Digitakt respond to MIDI clock sent from external devices.
CLOCK SEND will, when active, make Digitakt transmit MIDI clock.
PRG CH RECEIVE will, when active, make Digitakt respond to incoming program change messages,
which is useful when wanting to select patterns externally. The MIDI channel that will listen to incoming program change messages is set in the MIDI CHANNELS menu. For more information, please see
“15.3.3 CHANNELS” on page 58.
PRG CH SEND will, when active, send program change messages when patterns are changed. The
MIDI channel that will send program change messages is set in the MIDI CHANNELS menu. For more
information, please see “15.3.3 CHANNELS” on page 58.
15.3.2 PORT CONFIG
Here you find the MIDI port related settings. Change settings by using the [LEFT]/[RIGHT] arrow keys.
TURBO SPEED press [YES] to start the turbo speed negotiation. Speed is chosen automatically. Please
note that you must use a MIDI interface that supports the Turbo-MIDI protocol.
OUT PORT FUNCTIONALITY selects what type of signal the MIDI OUT port will send.
• MIDI makes it possible for the port to send out MIDI data.
• DIN 24 will make the port send DIN 24 sync pulses. No MIDI data is transferred over the port when
this option is selected.
• DIN 48 will make the port send DIN 48 sync pulses. No MIDI data is transferred over the port when
this option is selected.
THRU PORT FUNCTIONALITY selects what type of signal the MIDI THRU port will send. The settings
are the same as for OUT PORT FUNCTIONALITY.
INPUT FROM selects the source Digitakt will receive MIDI data from.
• DISABLED will make Digitakt disregard any incoming MIDI data.
• MIDI will make Digitakt listen only to MIDI data sent to the MIDI IN port.
• USB will make Digitakt listen only to MIDI data sent to the USB port.
• MIDI+USB will make Digitakt listen to MIDI data sent to both the MIDI IN and USB ports.
OUTPUT TO selects the destination to which Digitakt will send MIDI data.
• DISABLED will stop Digitakt from sending out any MIDI data.
• MIDI will make Digitakt send MIDI data to the MIDI OUT port only.
• USB will make Digitakt send MIDI data to the USB port only.
• MIDI+USB will make Digitakt send MIDI data to both the MIDI OUT and USB ports.
If MIDI+USB is selected in the INPUT FROM and/or OUTPUT TO settings, MIDI data will
limit the USB speed. When sending or receiving large chunks of data, make sure you
only use the USB setting.
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15. SETTINGS MENU
OUTPUT CH selects whether the knobs will send data on the auto channel or the track channel.
PARAM OUTPUT selects what type of MIDI messages the DATA ENTRY knobs will send. For information
about which CC/NRPN parameters that will be sent, please see “APPENDIX A: MIDI” on page 66.
• NRPN will make the knobs send out NRPN MIDI messages.
• CC will make the knobs send out CC MIDI messages.
ENCODER DEST controls whether the DATA ENTRY and LEVEL/DATA knobs sends MIDI data or not.
When set to INT, the knobs only affects the Digitakt and no MIDI data is sent. When set to INT + EXT,
the knobs affects the Digitakt and also sends MIDI data to external devices.
TRIG KEY DEST controls whether the [TRIG] keys sends MIDI data or not. When set to INT, the
[TRIG] keys only affects the Digitakt and no MIDI data is sent. When set to INT + EXT, the [TRIG] keys
affects the Digitakt, and also sends MIDI data to external devices. When set to EXT, the [TRIG] keys
do not affect the Digitakt but MIDI data is sent externally.
MUTE DEST controls whether activating/deactivating mutes will send MIDI data or not. When set to
INT, mute only affects the Digitakt and no MIDI data is sent. When set to INT + EXT, mute affects the
Digitakt and also send MIDI data to external devices. When set to EXT, mute sends MIDI data externally, but do not affect the Digitakt.
RECEIVE NOTES will, when active, make it possible to play Digitakt using an external MIDI keyboard.
RECEIVE CC/NRPN will, when active make it possible to control Digitakt parameters from an external
MIDI device sending CC/NRPN data.
15.3.3 CHANNELS
This menu handles the MIDI channel configuration.
TRACK 1–8 selects dedicated MIDI tracks that will control the audio tracks. An OFF setting will make
the track disregard any incoming MIDI messages.
AUTO CHANNEL selects the MIDI channel that will give access to the currently active track. If an external MIDI keyboard connected to Digitakt 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 Digitakt also uses the AUTO channel to record to the MIDI tracks from
external MIDI controllers.
PROGRAM CH IN CH selects the MIDI channel that will listen for incoming program change messages. An AUTO setting will use the AUTO channel. Enable Digitakt to respond to program change
messages in the MIDI SYNC menu. For more information, please see “15.3.1 SYNC” on page 56.
PROGRAM CH OUT CH selects the MIDI channel that will send program change messages when
changing patterns. An AUTO setting will use the AUTO channel. Enable Digitakt to send program
change messages in the MIDI SYNC. For more information, please see “15.3.1 SYNC” on page 56.
15.4 SYSTEM
The System menu contains OS UPGRADE and FORMAT +DRIVE options for the Digitakt.
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15. SETTINGS MENU
15.4.1 OS UPGRADE
Use this menu option is used when you want to upgrade the Digitakt OS. To send the OS syx file, use
our free Elektron Transfer software. The OS syx file and Elektron Transfer can be downloaded from the
Elektron website.
For the transfer to be possible, the device sending the OS syx file must be connected to either the MIDI
IN or USB port of Digitakt.
Please note that the Digitakt will not appear as an icon on your computer desktop.
1. Press [YES] to make Digitakt start listening for incoming OS SysEx data. If you wish to cancel the
waiting state, press [NO].
2. Open Elektron Transfer and select Elektron Digitakt for MIDI Input device as well as MIDI Output
device.
3. Drag and drop the syx file to the Elektron Transfer main window to send it to the Digitakt.
A progress bar is visible on the Digitakt screen when receiving the OS. When the process is successfully
completed, the OS is updated and the unit reboots.
If the Digitakt is receiving the OS upgrade through the MIDI ports, use the Elektron TM-1
USB MIDI interface for up to 10x transfer speeds.
15.4.2 FORMAT +DRIVE
You have the possibility to erase all content of the +Drive. Once you have made your choices using the
[LEFT] or [RIGHT] arrow keys and confirmed by pressing [YES], a prompt will appear asking if you want
to execute the formatting procedure. Press [YES] to proceed with the formatting.
PROJECTS+SOUNDS Erases all projects and sounds. Tick/untick this box by pressing the [LEFT] or
[RIGHT] arrow keys.
SAMPLES Erases all samples. Tick/untick this box by pressing the [LEFT] or [RIGHT] arrow keys.
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16. STARTUP MENU
16. STARTUP MENU
To access this menu, hold down the [FUNC] key while powering up the Digitakt. From here you can perform
a variety of tasks. To choose the different alternatives, press the corresponding [TRIG] key.
16.1 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 Digitakt and suspect it may be due to a hardware problem, perform this
self-test. The [UP] and [DOWN] keys can be used to scroll through the test log. A fully functional device
should not report any errors. If it does report an error, please contact Elektron support or the retailer that
you bought your Digitakt from.
16.2 EMPTY RESET
To perform this operation, press the [TRIG 2] key. All patterns and sounds will be erased. The data on the
+Drive remains intact.
16.3 FACTORY RESET
When performing a factory reset on the Digitakt, it will overwrite and re-initialize the active RAM project
(including all pattern and global data). The +Drive project slot 1 will be overwritten and re-initialized with
factory preset patterns, sounds and settings. Sound bank A will be overwritten with the factory sounds.
If you wish to keep the active project, remember to save it to a +Drive project slot higher than 1 before you
perform a factory reset. To perform a factory reset, press the [TRIG 3] key.
16.4 OS UPGRADE
Initiate the OS upgrade by pressing the [TRIG 4] key. Digitakt will enter a waiting stage, listening for incoming OS data, and “READY TO RECEIVE” will be shown on the screen. For the transfer to be possible, the
device sending the OS syx file must be connected to the MIDI IN port of Digitakt. To send the OS syx file,
use our free SysEx utility software C6. The OS syx file and the C6 software can be downloaded from the
Elektron website.
• You cannot use the Elektron Transfer software to transfer OS syx files when you are in the
STARTUP menu.
• USB MIDI transfer is not possible when you want to upgrade the OS from the STARTUP
menu.
On your computer, download the OS syx file, open the C6 software. Click CONFIGURE and select Digitakt
for MIDI In as well as MIDI Out. Drag the syx file to the C6 main window, then highlight it by clicking on it
with the mouse pointer. Click the “send” button in the top left corner of the C6 window.
As the Digitakt receives the OS, a progress bar will show how much of the OS has been received. When
the transfer is finished the message “UPGRADING... DO NOT TURN OFF” appears. Please note that the
upgrade takes a little while. The device will restart when the upgrade process is finished.
• When you send the OS syx file, use our free Elektron C6 software. You can download it
from the Elektron website.
• If the Digitakt receives the OS upgrade through the MIDI ports, you can use the Elektron
TM-1 USB MIDI interface for up to 10x transfer speeds.
16.5 EXIT
Press the [TRIG 5] key to exit the STARTUP menu.
60
17. SETUP EXAMPLES
17. SETUP EXAMPLES
The Digitakt likes to play with other machines. Whether it uses its ability to sync and play with legacy machines, samples from your smart phone or controls other synthesizers: Digitakt gets along with other gear.
17.1 DIGITAKT WITH A MONOPHONIC BASS MACHINE
The DIN sync capabilities of the Digitakt allows you to use gear from yesteryear.
In this example, a legacy monophonic bass machine is used alongside the Digitakt. The Digitakt can stop,
start and control the tempo of the bass machine.
1. Prepare a bassline pattern on the bass machine.
2. Connect the output of the bass machine to the mixer using a Mono jack 6.3 mm male cable.
3. Connect the Digitakt audio outputs to the mixer using 2 x Mono or Stereo jack 6.3 mm male cables.
4. Use a DIN connector cable to connect the MIDI OUT of the Digitakt to the SYNC IN of the bass
machine.
5. On the Digitakt, press [SETTINGS], and then navigate to MIDI CONFIG > PORT CONFIG and set OUT
PORT CONFIG to DIN24.
6. Press [PLAY] on the Digitakt.
17.2 SAMPLING FROM A SMART PHONE
61
17. SETUP EXAMPLES
Digitakt can sample sounds from many different sound sources. In this example, we want to sample sound
from a smart phone.
1. Use a 2 x Mono jack 6.3 mm male > Mini jack 3.5 mm stereo male cable to connect your smart phone
to the Digitakt’s INPUT L+R jacks.
2. Press [SAMPLING] to access the SAMPLING menu and then use DATA ENTRY knob G to set
SOURCE to EXT L+R. The stereo signal is summed to mono in the Digitakt.
3. You are now ready to start sampling audio from your smart phone. For more information about the
sampling process, please see “14. SAMPLING” on page 50.
17.3 CONTROLLING A SYNTHESIZER USING THE MIDI TRACKS
Digitakt 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 Digitakt MIDI OUT jack with the synthesizer’s MIDI IN jack.
2. On the Digitakt, press [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. On the main screen, press [TRK] + [TRIG 9-16] to select a MIDI track.
5. Press [SRC] and use the CHAN parameter to select a MIDI channel that the track will output its data to.
6. Make sure to set your synthesizer to receive MIDI input in a way that corresponds to the settings you
made in the Digitakt.
You are now ready to use the Digitakt sequencer to control your synthesizer. For more information about
using the Digitakt sequencer, please see “10. THE SEQUENCER” on page 27.
62
18. USEFUL KEY COMBINATIONS (QUICK KEYS)
18. 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.
TRACK/PATTERN/BANK SELECT
[TRK] + [TRIG 1-8] keys to select an audio track.
[TRK] + [TRIG 9-16] keys to select a MIDI track.
[PTN] + [TRIG 1-16] keys to select a pattern.
[BANK] + [TRIG 9-16] keys to select a bank.
NAMING
[FUNC] + [ARROW] (on the NAMING screen) to choose a letter.
[FUNC] + [NO] (on the NAMING screen) to erase a letter.
SAVING AND RELOADING
[FUNC] + [SETTINGS] saves the active Project.
[FUNC] + [YES] temporary saves the active Pattern.
[FUNC] + [NO] temporary reloads the active Pattern.
NAVIGATING
[FUNC] + [RIGHT] (In the SAMPLES menu) opens a directory.
[FUNC] + [LEFT] (In the SAMPLES menu) exits a directory and backs one step up in the directory hierarchy.
MENU ACCESS
[FUNC] + [PATTERN MENU] opens the IMPORT/EXPORT menu.
[FUNC] + [TEMPO] opens the TEMPO menu.
[FUNC] + [TRIG SETTINGS] opens the QUANTIZE menu.
[FUNC] + [FLTR] opens the DELAY menu.
[FUNC] + [AMP] opens the REVERB menu.
[FUNC] + [LFO] opens the MASTER menu.
[FUNC] + [PTN] opens the METRONOME menu.
[FUNC] + [PAGE] opens the pattern/track SCALE menu.
SEQUENCER SETTINGS
[FUNC] + [TEMPO] to tap tempo.
[FUNC] + [LEFT/RIGHT] to nudge tempo (when sequencer is playing).
[FUNC] + [LEFT/RIGHT] moves all trigs a whole step, left or right (when in GRID RECORDING mode).
[TRIG] key (hold) + [UP/DOWN], opens the RETRIG menu and turns retrig on and sets the retrig RATE for
the trig (when in GRID RECORDING mode).
[TRIG] key (hold) + [LEFT/RIGHT], opens the MICRO TIMING menu and sets the micro timing for the trig
(when in GRID RECORDING mode).
SEQUENCER RECORDING
[RECORD] + [PLAY] starts LIVE RECORDING.
[RECORD] + double-tap [PLAY] activates/deactivates QUANTIZE LIVE RECORDING.
[NO] + [TRIG] key during LIVE RECORDING clears the trigs from a sequencer track.
63
18. USEFUL KEY COMBINATIONS (QUICK KEYS)
[FUNC] + [PTN] (long press) toggles the metronome on/off.
MUTES
[FUNC] + [TRIG] keys mutes/unmutes one or several tracks.
MODES
[FUNC] + [BANK] enters GLOBAL MUTE mode.
[FUNC] + double-tap [BANK] enters PATTERN MUTE mode.
[FUNC] + [TRK] enters CHROMATIC mode.
[YES] + [PAGE] activates FILL mode for one pattern cycle.
Press and hold [PAGE] to activate FILL Mode for as long as [PAGE] is held.
Press and hold [PAGE] + [YES], and then release [PAGE] before you release [YES] to latch FILL mode.
Press [PAGE] again to unlatch FILL mode.
CLEAR TRACK/CLEAR PATTERN
[FUNC] + [PLAY] (while in GRID RECORDING mode) clears active track.
[FUNC] + [PLAY] (while in no mode or LIVE RECORDING mode) clears pattern.
RESET PARAMETERS
Press DATA ENTRY knob + [NO] to reset the parameter to the default value.
[PARAMETER] key + [PLAY] to reset all the parameters in the selected parameter page to
default values.
SAMPLE SELECT
[FUNC] + [SRC] accesses the SAMPLE SELECT parameter.
DIRECT SAMPLING
[SAMPLING] + [YES] arms the sampler.
[FUNC] + [SAMPLING] starts sampling.
[FUNC] + [SAMPLING] stop sampling (after it has been started).
[SAMPLING] + [NO] cancels at any stage in the Direct Sampling process.
64
19. TECHNICAL INFORMATION
19. TECHNICAL INFORMATION
ELECTRICAL SPECIFICATIONS
HARDWARE
Impedance balanced audio outputs
Main outputs level: +22 dBu peak
Output impedance: 440 Ω unbalanced
Digital S/N ratio: 108 dB (20–20.000 Hz)
128 × 64 pixel OLED screen
MIDI In/Out/Thru with DIN Sync out
2 × 1/4” impedance balanced audio out jacks
2 × 1/4” audio in jacks
1 × 1/4” stereo headphone jack
48 kHz, 24-bit D/A and A/D converters
Electrically isolated hi-speed USB 2.0 port
Power inlet: Center positive 5.5 × 2.5 mm barrel jack,
12 V DC, 1 A
Headphones output
Headphones out level: +22 dBu peak
Output impedance: 55 Ω
Audio inputs
Input level: +19 dBu peak
Audio input impedance: 11 kΩ
Digital S/N ratio: 110 dB (20–20.000 Hz)
Unit power consumption: 7 W typical
Compatible Elektron power supply: PSU-3b
PHYSICAL SPECIFICATIONS
Sturdy steel casing
Dimensions: W 215 × D 176 × H 63 mm
(8.5” × 6.9” × 2.5”) (including knobs and feet)
Weight: approximately 1.45 kg (3.2 lbs)
100 × 100 mm VESA mounting holes. Use M4 screws
with a max length of 7 mm.
Maximum recommended ambient operating
temperature: +40˚C (+104˚F)
20. CREDITS AND CONTACT INFORMATION
CREDITS
CONTACT INFORMATION
PRODUCT DESIGN AND DEVELOPMENT
Oscar Albinsson
Ali Alper Çakır
Oscar Dragén
Magnus Forsell
Anders Gärder
Fabian Hundertmark
Christer Lindström
Jimmy Myhrman
Jon Mårtensson
David Revelj
Mattias Rickardsson
Martin Sigby
ELEKTRON WEBSITE
http://www.elektron.se
OFFICE ADDRESS
Elektron Music Machines MAV AB
Sockerbruket 9
SE-414 51 Gothenburg
Sweden
TELEPHONE
+46 (0)31 743 744 0
ADDITIONAL DESIGN
Johan Damerau
Ufuk Demir
Thomas Ekelund
Simon Mattisson
Olle Petersson
Cenk Sayınlı
DOCUMENTATION
Erik Ångman
65
APPENDIX A: MIDI
APPENDIX A: MIDI
This appendix lists the CC and NRPN specification for the Digitakt.
A.1 TRACK PARAMETERS
TRACK
Parameter
CC MSB
NRPN MSB
NRPN LSB
Solo
93
CC LSB
1
102
Mute
94
1
101
Track level
95
1
100
A.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
NRPN MSB
NRPN LSB
A.3 SOURCE PARAMETERS
SOURCE
Parameter
CC MSB
CC LSB
Tune
16
1
0
Play mode
17
1
1
Bit reduction
18
1
2
Sample slot
19
1
3
Start
20
1
4
Length
21
1
5
Loop position
22
1
6
Sample level
23
1
7
A.4 FILTER PARAMETERS
FILTER
Parameter
CC MSB
NRPN MSB
NRPN LSB
Filter Frequency
74
CC LSB
1
20
Resonance
75
1
21
Filter Type
76
1
22
Attack Time
70
1
16
Decay Time
71
1
17
Sustain Level
72
1
18
Release Time
73
1
19
Env. Depth
77
1
23
NRPN MSB
NRPN LSB
1
24
A.5 AMP PARAMETERS
AMP
66
Parameter
CC MSB
Attack Time
78
CC LSB
APPENDIX A: MIDI
AMP
Parameter
CC MSB
Hold Time
CC LSB
NRPN MSB
NRPN LSB
79
1
25
Decay Time
80
1
26
Overdrive
81
1
27
Delay Send
82
1
28
Reverb Send
83
1
29
Pan
10
1
30
Volume
7
1
31
A.6 LFO PARAMETERS
Note that the LFO depth is a high-resolution parameter, with CC LSB value.
LFO
Parameter
CC MSB
NRPN MSB
NRPN LSB
Speed
102
CC LSB
1
32
Multiplier
103
1
33
Fade In/Out
104
1
34
Destination
105
1
35
Waveform
106
1
36
Start Phase
107
1
37
Trig Mode
108
1
38
Depth
109
118
1
39
CC LSB
NRPN MSB
NRPN LSB
A.7 FX PARAMETERS
DELAY
Parameter
CC MSB
Delay Time
85
2
0
Pingpong
86
2
1
Stereo Width
87
2
2
Feedback
88
2
3
Highpass Filter
89
2
4
Lowpass Filter
90
2
5
Reverb Send
91
2
6
Mix Volume
92
2
7
NRPN MSB
NRPN LSB
REVERB
Parameter
CC MSB
CC LSB
Predelay
24
2
8
Decay Time
25
2
9
Shelving Freq
26
2
10
Shelving Gain
27
2
11
Highpass Filter
28
2
12
Lowpass Filter
29
2
13
Mix Volume
31
2
15
67
INDEX
INDEX
+DRIVE 14, 23
A
AUDIO TRACK PARAMETERS 36
Amp 39
Filter 38
LFO 40
Source 36
Trig 36
N
NAMING SCREEN 17
O
BIT REDUCTION 37
OS UPGRADE 57
OVERBRIDGE 17
OVERDRIVE 40
C
P
CHAINS 35
CHROMATIC MODE 21
CONDITIONAL LOCKS 33, 34
CONNECTORS 12
COPY, PASTE AND CLEAR 34
CREDITS AND CONTACT INFORMATION 65
PANEL LAYOUT 10
PARAMETER LOCKS 33
PATTERNS
Grid recording mode 28
Live recording mode 28
Parameter locks 33
Pattern control 27
Selecting a pattern 27
Tempo 27
Trig Types 27
PATTERNS, KITS, SOUNDS, AND SAMPLES 23
Assigning a sample 26
Editing a sound 25
Playing a sound 25
Sound Browser 23
Sound Manager 24
PROJECT MANAGER 52
PROJECTS 52
Load 52
Project Manager 52
Save 52
Write protection 52
B
D
DATA STRUCTURE 14
Patterns 14
Project 14
Samples 14
Sounds 14
DELAY 47
DIRECT SAMPLING 50
E
EARLY STARTUP MENU 59
F
FACTORY RESET 59
FILL MODE 34
FILTER 38
FX PARAMETERS 47
Delay 47
Reverb 48
K
KEY COMBINATIONS 63
KITS 23
L
LFO 40, 45
M
MICRO TIMING 29
MIDI CC & NRPN 66
MIDI CONFIG 55
MIDI TRACK PARAMETERS 43
Amp (CC select) 44
Filter (CC value) 44
68
LFO 45
Source 43
Trig 43
MUTE MODE 22
Q
QUANTIZATION 31
QUICK SCROLLING 17
QUICK START 19
R
RECORDING MODES
Grid recording mode 28
Live recording mode 28
RETRIG MENU 29
REVERB 48
S
SAFETY AND MAINTENANCE 3
SAMPLES 52
Create a new destination directory 55
Loading 53
Replacing 54
INDEX
Transferring from computer 54
Unloading 54
SAMPLING 49
Assigning a sample from +Drive 50
Direct sampling 50
Sample playback 50
Sampling audio 20, 49, 50
SCALE SETUP
Length per pattern mode 31
Length per track mode 32
SEQUENCER 27
Conditional locks 33, 34
Editing a pattern 27
Metronome 31
Micro timing 29
Parameter locks 33
Pattern control 27
Retrig Menu 29
Scale Menu 31
Selecting a pattern 27
Swing 34
Trig parameters page 31
SETTINGS 52
MIDI config 55
Project 52
Sample management 52
System 57
SETUP EXAMPLES 60
Controlling a synthesizer using the MIDI tracks 61
Digitakt with a monophonic bass machine 60
Sampling from a smart phone 61
SOUND ARCHITECTURE 13
SOUND BROWSER 23
SOUND MANAGER 24
SOUNDS
Audio track parameters 36
Editing a Sound 25
Playing a Sound 25
SWING 34
T
TECHNICAL INFORMATION 65
TEMPORARY SAVE AND RELOAD 35
TRIG PARAMETERS PAGE 31
TRIGS 27
Lock trigs 27
Note trigs 27
Parameter locks 33
U
USER INTERFACE 16
69
4116ENG-D
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