Akai FORCE User Manual

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Akai FORCE User Manual | Manualzz

Manual Version 1.0

User Guide

English

Table of Contents

Introduction ............................................................. 6

Tutorial ................................................................... 14

Support .............................................................. 6

About This User Guide ..................................... 6

Important Notes ............................................... 6

Setup ........................................................................ 7

2

Features ................................................................... 8

Top Panel .......................................................... 8

Display ....................................................... 11

Rear Panel ....................................................... 12

Front Panel ...................................................... 13

Starting Up ...................................................... 14

Launching Clips .............................................. 14

Editing Clips & Tracks .................................... 17

Clip Edit Mode ........................................... 18

Region View ................................................... 20

Event View ...................................................... 22

List View ......................................................... 23

Track Edit Mode ........................................ 24

Renaming & Saving ........................................ 27

Using the Browser ..................................... 29

Mixing Tracks ................................................. 30

Cueing Tracks ............................................ 32

Recording Clips .............................................. 33

Recording with Note Mode ........................ 33

Recording with the Step Sequencer ......... 35

Operation ............................................................... 37

General Features ............................................ 37

Control Types ............................................ 37

Knobs ............................................................. 37

Parameter Values ............................................ 38

Drop-Down Menus / Lists ............................... 38

Selectors ......................................................... 39

Buttons ........................................................... 39

Checkboxes .................................................... 39

Tabs ............................................................... 39

Sliders ............................................................. 40

Envelopes ....................................................... 40

Event View Tools ............................................. 41

Audio Region Edit Tools .................................. 42

Pad Modes ................................................ 43

Launch Mode .................................................. 43

Note Mode ...................................................... 44

Drum Note Mode ........................................ 44

Melodic Note Mode .................................... 45

Launch & Note Mode ...................................... 47

Step Sequencer .............................................. 48

Drum .......................................................... 48

Melodic ....................................................... 49

Lanes ......................................................... 49

Tracks ........................................................ 50

About Tracks .................................................. 50

Audio Tracks ................................................... 51

Drum Tracks ................................................... 52

Keygroup Tracks ............................................. 54

Plugin Tracks .................................................. 56

MIDI Tracks ..................................................... 58

CV Tracks ....................................................... 59

Menu .......................................................... 60

Save ............................................................... 61

Preferences .................................................... 62

Info............................................................. 62

Wi-Fi .......................................................... 62

Bluetooth ................................................... 63

Sequencer ................................................. 63

Sync .......................................................... 64

Hardware ................................................... 64

Project Defaults .......................................... 65

Project Load/Save ...................................... 65

Record/Export ............................................ 65

General ...................................................... 65

Sync ............................................................... 66

Mode .............................................................. 66

System Resources.......................................... 67

Timing Correct (TC).................................... 68

Metronome (Click/Metro) ........................... 70

Automation ................................................ 71

Arpeggiator ................................................ 72

Effects ........................................................ 74

Overview ........................................................ 74

Insert Effects................................................... 76

Pads .......................................................... 76

Keygroups .................................................. 77

Tracks ........................................................ 78

Masters ...................................................... 79

Send/Return Effects ....................................... 80

Pads .......................................................... 81

Keygroups .................................................. 82

Audio and Plugin Tracks ............................. 83

Plugins ....................................................... 84

Bassline .......................................................... 84

Electric ........................................................... 87

Hype .............................................................. 91

TubeSynth ...................................................... 96

Standalone vs. Computer Mode .............. 103

3

4

Modes ............................................................ 104

Matrix Mode ............................................. 105

Step Sequencer ....................................... 107

XYFX Mode .............................................. 111

Navigate Mode ........................................ 114

Browser .................................................... 115

Clip Edit Mode ......................................... 118

Clip View ....................................................... 118

Event View .................................................... 120

Editing Events ........................................... 123

Region View .................................................. 128

List View ....................................................... 131

Track Edit Mode ...................................... 135

Drum Tracks ................................................. 135

Master ...................................................... 138

Samples ................................................... 139

Pan Velocity .............................................. 146

Filter/Envelope .......................................... 147

LFO Modulation ........................................ 148

Effects ...................................................... 150

Keygroup Tracks ........................................... 152

Master ...................................................... 153

Samples ................................................... 156

Pan Velocity .............................................. 162

Filter/Envelope .......................................... 163

LFO Modulation ........................................ 164

Effects ...................................................... 166

Plugin Tracks ................................................ 168

MIDI Tracks ................................................... 169

CV Tracks ..................................................... 170

Anatomy of an Envelope ............................... 171

Sample Edit Mode ................................... 172

Settings ........................................................ 174

Trim Mode .................................................... 175

Assigning Samples ................................... 178

Processing Slices & Samples .................... 180

Chop Mode .................................................. 184

Converting or Assigning Slices .................. 187

Processing Slices ..................................... 190

Sampler .................................................... 193

Auto Sampler ............................................... 197

Looper ...................................................... 199

Knobs ....................................................... 203

Screen .......................................................... 204

Project .......................................................... 205

Track ............................................................ 208

Volume ......................................................... 210

Pan .............................................................. 210

Sends ........................................................... 210

Mixer ........................................................ 211

Volume ......................................................... 212

Pan & Volume ............................................... 212

Sends ........................................................... 213

Inserts & I/O ................................................. 214

Pad Mixer ................................................. 215

Volume ......................................................... 216

Pan & Volume ............................................... 216

Sends ........................................................... 217

Inserts & I/O ................................................. 218

Pad Color Mode ....................................... 219

Appendix .............................................................. 221

Effects & Parameters ................................... 221

Reverbs .................................................... 221

Delays ...................................................... 225

Flangers ................................................... 229

Chorus ..................................................... 230

Autopans .................................................. 231

Tremolos .................................................. 231

Phasers .................................................... 232

HP (High-Pass) Filters .............................. 233

LP (Low-Pass) Filters ............................... 234

Filters (Other) ........................................... 235

Parametric EQs ........................................ 236

Distortions ................................................ 238

Compressors ........................................... 240

Bit Reducers ............................................ 241

Other ........................................................ 242

Glossary ........................................................ 249

SATA Drive Installation ................................ 254

MIDI Machine Control (MMC) ..................... 255

Technical Specifications ............................. 256

Trademarks & Licenses ............................... 257

5

Introduction

Thank you for purchasing the Force. At Akai Professional, we know how serious music is to you. That’s why we design our equipment with only one thing in mind—to make your performance the best it can be.

Support

For the latest information about this product (documentation, technical specifications, system requirements, compatibility information, etc.) and product registration, visit

akaipro.com

.

For additional product support, visit

akaipro.com

/

support

.

About This User Guide

This manual should help you get familiar with using the Force. For consistency, the terminology throughout is based on the Force parameter names. We also used specific formatting to indicate particular topics of significance:

Important

/

Note

/

Tip

: Important or helpful information on a given topic.

Names of buttons, controls, parameters, settings, and other options are written in

bold

characters throughout the manual.

Examples

: Press the

Play

button.

Turn

Knob 4

.

Tap the

Mute

icon.

The

Velocity

ranges from

0

to

127

.

Set the

Sample Play

selector to

One Shot

.

Tap

BPM

, and then use the numeric keypad to enter a

120

as the tempo.

Some parts of this manual refer to other relevant chapters or sections, which are cited in

bold, italic blue

characters.

Click the text to skip immediately to that section.

Examples

: Read the

Important Notes

section before proceeding.

For more information about launching clips, see

Tutorial

>

Launching Clips

.

To learn more about using send effects, see

General Features

>

Effects

>

Send

/

Return Effects

.

Important Notes

Read the included safety & warranty manual before using Force.

Before getting started and connecting devices to Force or turning the hardware on/off, make sure all devices are switched off.

6

Setup

Here is just an example of how to use Force in your setup. Items not listed under

Introduction

>

Box Contents

of your included Quickstart Guide are sold separately.

Synthesizer

Powered Monitors

Guitar

USB

Flash

Drive

MIDI Keyboard

Remember to remove the protective film from the Force touchscreen!

SD

Card

Headphones

Microphone

Power

Note

: We highly recommend checking

akaipro.com

for any available updates to the Force firmware and/or drivers.

7

8

27

28

29

32

21

24

25

26

Features

This chapter explains the features and functions of your Force.

Top Panel

3

2

4

7

10

13

15

5

8

11

14

6

9

12

1

22

33

16

17

18

19

20

23

30

34

31

1.

Display:

This full-color multi-touch display shows information relevant to Force’s current operation. Touch the display (and use the hardware controls) to control the Force interface. See

Display

to learn how to use some basic functions.

2.

Menu:

Press this button to open the menu. You can tap an option on the menu screen to enter that mode, view, etc.

3.

Master Volume

: Turn this knob to adjust the volume level of the

Master L

/

R outputs

.

4.

Play:

Press this button to start transport playback.

5.

Stop:

Press this button to stop transport playback. Double

-

press this button to immediately stop all sound.

6.

Record:

Press this button to start or stop transport recording.

Press

Shift

and this button to view the Record Configuration window.

7.

Undo:

Press this button to undo your last action.

Press

Shift

and this button to redo the last action you undid.

8.

Load:

Press this button to open the Browser, where you can load projects, clips, and more.

9.

Save:

Press this button to save your project, sample or track, or to start a new project from scratch.

10.

Matrix:

Press this button to open Matrix View, an overview of your project with an 8x8 view of your clips.

11.

Clip:

Press this button to open Clip View, which gives you finer detail of a single clip.

12.

Press

Shift

and this button to open Track Edit View, where you can edit parameters of your drum kit, plugin, MIDI or CV tracks.

Mixer:

Press this button to open Mixer View, where you can control each track's volume, pan and send controls, as well as add plugin insert effects.

Tip:

While in any of the pad modes, you can press and hold the button for another mode to momentarily switch to that mode. You will return to the previous mode when you release the button.

When using a drum track, press

Shift

and this button to open Pad Mixer View, where you can control each pad's volume, pan and send controls, as well as add plugin insert effects.

13.

Navigate:

Press this button to open the Navigate view, which gives you an overview of the entire project. Tap a section to jump the Matrix view directly to that section, or use the

cursors

to move the Matrix View.

Press

Shift

and this button to open the XYFX View.

14.

Cursors

: Press these buttons to move the Matrix View and the pads by one row or column at a time.

Press

Shift

and press these buttons to move by eight rows or columns at a time.

15.

Shift:

Press and hold this button to access secondary functions on some buttons and display modes.

16.

Data Dial

: Turn this dial to scroll through the available menu options or adjust the parameter values of the selected field in the display. Pressing the dial also functions as an

Enter

button.

Press

Shift

and turn this dial to adjust parameters in finer detail.

17.

/

+

: Press these buttons to increase or decrease the value of the selected field in the display.

18.

Assign A/Assign B:

Press one of these buttons and a

Track Assign button

to assign the corresponding track to the crossfader A or B grouping.

Press

Shift

and press one of these buttons to clear all crossfader A or B assignments.

19.

Crossfader:

Use this crossfader to mix between clips assigned to the A or B grouping.

20.

Assignable Knobs:

Use these knobs controls track panning, track send levels, or other user-assignable parameters. Use the

Knobs

button to change the active knob bank or mode (described below). The display strip above each knob indicates the parameter it is controlling and its current value or setting.

21.

Knobs Button:

Press this button to cycle between up to two banks of knobs for the currently active mode. The display strip above the knobs will indicate the currently active parameters.

Press and hold this button to quickly select one of several preset knob control modes.

Press

Shift

and this button to open Knobs Mode, where you can edit knob assignments.

22.

Clip Launch Pads:

Use the velocity-sensitive pads in this 8x8 to launch clips, play notes, and more, depending on the active mode.

23.

Scene Launch Buttons:

Press one of these buttons to launch the corresponding scene, represented by the row of clips to its left.

Press the

Edit button

and one of these buttons to quickly insert a new row, capture the currently playing clip(s) as a new scene or clear a row.

9

24.

Launch/Config:

Press this button to set the

Clip Launch Pads

to Launch mode. In Launch mode, each pad represents a single clip slot. The eight columns represent eight tracks while the eight rows represent eight scenes.

You can launch the entire scene by pressing the

Scene Launch

buttons to the right of the row of clips.

Press

Shift

and press this button to configure the Launch mode settings.

25.

Note/Config:

Press this button to set the

Clip Launch Pads

to Note mode. In Note mode, you can use the pads to play a configurable scale of MIDI notes.

When in Note mode and using a Keygroup, Plugin, MIDI or CV track, press and hold this button to select different play modes, such as scales, chords, progressions and more. When in Note mode and using a Drum track, press and hold this button to select a time division for note repeat.

Press

Shift

and press this button to configure the Note mode settings, such as scale and root note. You can also press and hold this button to quickly select a mode.

26.

Step Seq/Config:

Press this button repeatedly to cycle through three different pad views for using the Step

Sequencer.

When in Step Sequencer mode, press and hold this button to quickly select a step sequencer view, select a Step

Sequence page, or change the step size.

Press

Shift

and press this button to configure the Step Sequencer's settings.

27.

Edit Buttons:

Press and hold one of these buttons to edit a clip or track according to the following:

Select:

Press and hold this button to view the currently select clip. While holding, tap another

Clip Launch Pad

to select another clip. This button can also be used to select a drum pad in a drum kit or select a note in the

Step Sequencer without sounding the note.

Edit:

Press and hold this button then tap a

Clip Launch Pad

or

Track Selector

button to edit a clip or track, respectively.

Hold this button and press any

Scene Launch

button to open the Edit Row window, where you can quickly add or clear rows in the Matrix.

Copy:

Press and hold this button to copy a clip or track. While holding, tap the

Clip Launch Pad

or

Track

Selector

button of the clip or track you would like to copy, then tap a new pad or button to copy it.

Delete:

Press and hold this button then tap a

Clip Launch Pad

or

Track Selector

button to delete it.

28.

Arp/Config:

Press this button to enable or disable the internal Arpeggiator, whose rate is based on the current

Tempo and Time Division settings.

Press

Shift

and this button to configure the Arpeggiator's settings.

29.

Tap Tempo:

Tap this button at the desired rate to enter a new tempo.

Press

Shift

and this button to open the Tempo window, where you can enter a new tempo.

30.

Track Selectors:

Press one of these buttons to select a track, represented by the column of clips just above it. The right-most button (labeled

Master

) selects the Master track.

Press and hold

Shift

and then press one of these buttons to select a Global Quantization setting:

None

,

8 Bars

,

4

Bars

,

2 Bars

,

1 Bar

,

1/4

,

1/8

, or

1/16

.

31.

Master:

Press this button to view the Master and Return channels.

32.

Assign Mode Buttons:

Press one of these buttons to set the function of the

Track Assign

buttons when pressed:

Mute:

Solo:

Press this button to mute the track.

Press this button to solo the track.

Rec Arm:

Press this button to record-arm the track.

Clip Stop:

Press this button to stop the clip that is playing in the track.

Tip:

Hold

Shift

and press

Mute

or

Solo

to open the Mixer Config window, where you can set the solo button and crossfader behaviors.

33.

Track Assign:

Press one of these buttons to apply an assignment to a track, represented by the column of clips just above it. Use the

Assign Mode buttons

to set the assign function.

Press and hold

Shift

and then press one of these buttons to access secondary functions, printed below the buttons.

34.

Stop All Clips:

Press this button to stop all clips when they reach the end.

10

Display

Here is some general information about how to use the Force

display

:

Tap a button or option to select it. Use the

data dial

or

/

+

buttons to change its setting or value.

In Matrix View, tap a filled clip slot to launch the clip.

Double-tap a control to access advanced editing options. In some cases, this will show a numeric keypad that you can use to enter a value (an alternative to the

data dial

or

/

+

buttons). Tap the upper-left part of the display to return to the previous view.

In Matrix View, double-tap an empty clip slot in your track to create a new clip.

Spread two fingers to zoom in (into a section of a waveform, for example). Pinch two fingers to zoom out.

11

Rear Panel

15

12 13 14

2

16

7 7

3

11 11

8

9 10 9

8

6 5 4 1

1.

Power Input

: Connect the included power adapter (19 V, 3.42 A, center-positive) to this jack then into an electrical outlet.

2.

Power Adapter Restraint

: Secure the power adapter cable to this restraint to prevent it from accidentally unplugging.

3.

Power Switch

: Press this button to turn Force’s power on or off.

4.

Link:

Connect a standard Ethernet cable to this port to use Ableton Link and other compatible devices with Force.

See

Operation

>

General Features

>

Menu

>

Preferences

>

Sync

for more information.

5.

USB-B Port

: Use the included USB cable to connect this high-retention-force USB port to an available USB port on your computer.

6.

USB-A Ports

: Connect USB flash drives to these USB ports to access their files directly using Force.

7.

Input 1

/

2

(XLR or 1/4” / 6.35 mm): Use standard XLR or 1/4” (6.35 mm) TRS cables to connect these inputs to audio sources (microphone, mixer, synthesizer, etc.). When using a 1/4" cable, the Mic preamp is removed from the circuit, and the

Line/Inst

switch can be used to set the impedance.

Turn the

Gain

knobs to set the input level of each one.

8.

Gain:

Use these knobs to adjust the gain of the incoming signal from

Input 1

/

2

on the rear panel. Be careful when setting this knob at higher levels, which can cause the signal to distort.

9.

Line/Inst:

Use these switches to set

Input 1/2

to accept either a Line-level or Instrument-level sound source when using a 1/4" (6.35 mm) connection.

10.

Phantom Power

(

+48V

): This switch activates and deactivates phantom power for

Inputs 1

/

2

when using an XLR connection. When activated, +48V of phantom power will be supplied to both inputs. Note that most dynamic microphones do

not

require phantom power, while most condenser microphones

do

. Refer to your microphone’s documentation to check if it needs phantom power.

11.

Outputs

(1/4” / 6.35 mm): Use standard 1/4” (6.35 mm) TRS cables to connect these outputs to your monitors, mixer, etc. The

Master L

/

R

outputs are the same as

Outputs 1,2

.

12.

MIDI Out

: Connect compatible 1/8" (3.5 mm) MIDI devices to this output, or use the included 1/8"-to-MIDI adapter to connect a standard 5-pin MIDI cable from this output to the MIDI input of an external MIDI device (synthesizer, drum machine, etc.).

13.

MIDI In

: Connect compatible 1/8" (3.5 mm) MIDI devices to this input, or use the included 1/8"-to-MIDI adapter to connect a standard 5-pin MIDI cable from this input to the MIDI output of an external MIDI device (synthesizer, drum machine, etc.).

14.

MIDI Thru:

Connect compatible 1/8" (3.5 mm) MIDI devices to this thru-port, or use the included 1/8"-to-MIDI adapter to connect a standard 5-pin MIDI cable from this input to the MIDI output of an external MIDI device

(synthesizer, drum machine, etc.). Incoming MIDI from the

MIDI In

port will be passed along to this output.

15.

CV

/

Gate Out

: Use standard 1/8” (3.5 mm) TS cables to connect these outputs to optional modular devices. Force will send control voltage (CV) and/or Gate data over this connection.

16.

Kensington

®

Lock Slot

: You can use this slot to secure your Force to a table or other surface.

12

Front Panel

1 2 3 4

1.

SD Card Slot

: Insert a standard SD/SDHC card into this slot to access its files directly using Force.

2.

Phones

(1/4” / 6.35 mm): Connect standard 1/4” (6.35 mm) stereo headphones to this output.

3.

Phones Volume:

Turn this knob to adjust the volume of the

phones output

.

4.

Cue Mix

: Turn this knob to adjust the balance between the

Master

and

3

/

4

signals in your headphones.

Master

is the signal sent from the

Master outputs

.

3

/

4

is the signal sent from the

Outputs 3

/

4

.

13

Tutorial

This chapter describes how to get started doing basic tasks using your Force. We'll use one of Force's included Demo projects to illustrate some of the most important concepts and features. To get the most out of this chapter, we recommend reproducing each of the described steps.

Starting Up

Make sure you have connected your Force hardware to a power source using the included power adapter and powered it on.

When you first power on your Force, you can select a demo project to help get you started, select

Empty Project

at the bottom of the screen to load a blank template, or select

User Template

to load a saved custom template.

For this tutorial, tap the

Deep House - Colors

Demo project to load it.

Launching Clips

After loading the demo, Force will automatically open

Matrix Mode

. This display mode gives you an overview of your project and mirrors the 8x8 layout of the

clip launch pads

. Use the

cursor

buttons to move the current view of the matrix by one row or column at a time.

Each column in Matrix Mode represents a

track

. Tracks can be used to hold audio samples, drum kits, instrument plugins and more. On the display, you will see tracks labeled

Kick Loop

,

Top Loop

,

Fill

and more.

Each track is made up of

clips

, which are short sequences of audio or MIDI. Only one clip in a track can play at a time.

Let's try playing with a few clips to see how they work.

14

Press the

Launch

button to make sure the

clip launch pads

are in

Launch Mode

. In this pad mode, each pad represents a single clip in a track. The lighted pads represent the clips shown on the display, and the dim pads are empty clips.

Tap the first clip in

Track 8 – Drum Kit

to begin playing it. The

clip launch pad

will slowly blink green to indicate it is active, and the clip on the display will show the position of the playhead in the clip.

Now, while in Launch mode, press the

clip launch pad

below the pad that is currently playing. The second clip will start playing after the next bar.

See

Operation

>

General Features

>

Pad Modes

>

Launch Mode

to learn more.

Clips will continue to play until another clip in the same track is launched, until playback is stopped or until the clip is stopped while playback continues.

To stop playback,

press the

Stop

button.

To stop the clip,

first press the

Clip Stop

button to assign the

Track Assign

buttons to stop mode. Then, press the

Track Assign

button for the track with the clip playing. You can also press the

Stop All Clips

button to stop clips in all tracks.

15

In addition to launching clips in a track, you can launch multiple clips across tracks in the same row. Each row of clips is called a

scene

, and these can be used to arrange different parts of a song.

Press the top-most

Scene Launch

button to launch the first row of clips, and then continue launching other scenes in order.

While one scene is playing, try launching clips from other rows to experiment with different variations.

You can also assign Tracks to Force's crossfader. This allows you to seamlessly transition between clips from multiple tracks.

1.

Press and hold the

Assign A

button and press the

Track Assign

button for

Track 1 – Kick Loop

. The track name at the top of the display will now show an

A

icon.

2.

Next, press and hold the

Assign B

button and press the

Track Assign

button for

Track 4 – Hat Fill

. The track name at the top of the display will show a

B

icon.

3.

Launch the third scene and then use the crossfader to blend from one clip to the other by moving it from the A side to the B side and back.

To clear crossfader assignments,

hold

Shift

and press the

Assign A

or

Assign B

button.

To edit the slope profile of the crossfader,

open the

Mixer Config

window by tapping

Settings

when viewing the

Mixer, or by holding

Shift

and pressing

Mute

or

Solo

. Select

Linear

,

Exponential

or

Logarithmic

.

16

Editing Clips & Tracks

Now that you are familiar with the basics of launching clips, let's explore some of the modes and menus that let you edit clips and tracks for even more customization of your project.

Force's

Clip Edit Mode

is used to edit the parameters of individual clips. Clip Edit Mode features three additional pages, the appearance and function of which change based on what kind of clip you have selected.

In

Clip View

, you can view and edit the parameters of the clip container itself, such as its length, launch mode and quantization. When using an audio clip, this view will show the waveform of the sample. When using a MIDI clip, such as a drum kit clip or a plugin clip, this view will show either all available pads in a vertical view with their corresponding data or a vertical “piano roll” keyboard.

For audio clips, the second page in Clip Edit Mode is

Region View

, which is used to edit the audio sample in the clip and its parameters, such as length, volume and tuning. Use the toolbar at the top of the display to select, move, erase, cut and mute parts of the waveform below. This page also contains Force's powerful Warp tool, which can be used to adjust the tempo of any sample to match your project's tempo without changing the pitch.

For MIDI clips such as those in drum, keygroup or plugin tracks,

Event View

in Clip Edit Mode is used to edit note events and their parameters, such as length, velocity and transposition. Use the toolbar at the top of the display to add, erase, or select notes and move around the grid, and use the Edit menu to further edit the MIDI note events.

Additionally, MIDI clips can be edited using

List View

in Clip Edit Mode. This view gives you many of the same features as Event Mode, but in a list workflow. You can use this view to filter your MIDI events by a particular type, for instance, Aftertouch messages or Track Automation.

Force's

Track Edit Mode

is used to edit the parameters of the track itself. This mode is not available for audio tracks.

For drum tracks, you can edit the parameters of the four layers as well as all synthesis parameters and insert effect settings.

For keygroup tracks, you can set the keygroup note ranges and edit the parameters of each keygroup and set their note ranges. You can also edit all synthesis parameters and insert effect settings.

For plugin tracks, you can parameters of the plugin using the graphic interface for built-in plugins, or an overview of all plugin parameters with a slider for each for other plugins.

Each of these sections is explained in further detail below and in the

Operation

>

Modes

chapter.

17

Clip Edit Mode

First, let's look at

Clip Edit Mode

, where you can view and edit clip information and parameters.

To enter Clip Edit Mode

, do either of the following:

Press

Clip

.

Press

Menu

and then tap

Clip Edit

.

When you first enter Clip Edit Mode, you will see the

Clip View

page. In Clip View, you can view and edit the parameters of the clip container itself, such as length, launch mode, and quantization. The appearance of Clip View depends on what kind of track the clip belongs to:

For audio tracks, the waveform of the audio clip is shown:

For drum tracks, the left column shows you all available pads in a vertical view with their corresponding events in the grid to the right:

For keygroup, plugin, MIDI and CV tracks, the left column shows a vertical “piano roll” keyboard with the corresponding events in the grid to the right:

18

Let's edit one of the clips in our demo project:

1.

Make sure the

clip launch pads

are in Launch Mode by pressing the

Launch

button.

2.

Press and hold the

Select

button, then press the first clip launch pad for

Track 7 – SFX

.

3.

Now, try making some of the edits to the clip described below. At any time, press

Undo

to revert to the previous state.

To adjust the length of the clip,

use the

Start

,

Loop Start

and

Loop Length

fields

.

Alternatively, use the

Set

Start

and

Set End

buttons during playback. The start or end point will be placed at the position of the playhead when the button was pressed.

To adjust the launch quantization setting

, tap the

Launch Quantization

field, and then use the

data dial

or

–/+

buttons to set the timing of how the clip is launched. This can be set separately from the global launch quantization. For instance, you may keep the global launch quantization at

1 Bar

to keep longer clips in sync, but set sound effects or other "one shots" to a smaller launch quantization, such as

1/8 Bar

.

To change the clip launch behavior,

tap the

Launch Mode

field, and then use the

data dial

or

–/+

buttons to change the mode. Select

Toggle

for the clip to start or stop with each successive press. Select

Trigger

for the clip to start at the beginning with each press. Toggle is useful for clips of full phrases, whereas Trigger is useful for one shot sound effects.

To adjust the timing correction

, tap the

TC

button to open the Timing Correct window. This window contains

various settings to help quantize the events in your clip (learn about this feature in

Operation

>

General

Features

>

Timing Correct

(

TC

)

).

To trim an audio clip,

use the

Loop Length

field to set the preferred length, then tap

Trim Clip

to trim the whole clip to this size.

To carry the playhead position from one clip to another in the same track

, tap the

Legato

button. When active, the playhead will continue from the same position as it was in the previous clip of the same track when switching between clips. This is useful for creating seamless fills in drum breaks, working with an acapella track or other scenarios where you would like a clip to play across multiple scenes.

To enable or disable clip looping,

tap the

Looping

button. Clips like sound effects, drum hits and other "one shots" should usually have

Loop

set to

Off

. For longer melodic or rhythmic phrases, set

Loop

to

On

.

To adjust the loop

, hold

Shift

and tap the

<<Loop

or

Loop>>

buttons to shift the loop left or right, or hold

Shift

and tap the

/2

or

2X

buttons to halve or double the loop size.

19

In Clip Edit Mode, depending on the type of clip selected, you can also edit an audio clip using

Region View

or edit

MIDI note events using

Event View

.

Region View

In Region View, you can edit parameters of the audio clip itself, such as length, levels, tuning and BPM.

Let's start by making some edits to an audio clip using Region View.

1.

Launch the first clip in

Track 1 – Kick Loop

.

2.

Press the

Clip

button to open Clip Edit Mode, or press

Menu

and tap

Clip Edit

.

3.

In Clip Edit mode, tap the

Region

icon at the top of the display.

4.

Now, try making some of the edits to the audio clip described below. At any time, press

Undo

to revert to the previous state.

To select part of the clip

, tap the

select box

icon in the upper-right corner, then tap and drag in the lower-half of the waveform.

To move all or part of the clip

, tap the

pointer

icon in the upper-right corner, and then tap and drag at the top part of the waveform.

To shorten or lengthen a clip region

(or multiple selected clip regions), tap the

select box

or

pointer

icons in the upper-right corner, and then tap and drag the lower third of it left or right.

To split the clip into multiple parts,

tap the

scissors

icon in the upper-right corner, and then tap anywhere in the waveform.

To mute all or part of a clip,

tap the

speaker

icon in the upper-right corner, and then tap in the waveform.

Alternatively, select the part of the waveform you want to mute, and then press the

Mute

button.

To scroll through or change the zoom level of the waveform

, tap the

magnifying glass

icon. Then, tap and drag to scroll through the waveform, pinch with two fingers to zoom out, or spread with two fingers to zoom in.

To change the level of the clip

, tap the

Level

field, and then use the

data dial

or

–/+

buttons.

To change the tuning of the clip

, tap

Semi

or

Fine

, and then use the

data dial

or

–/+

buttons.

To reverse the clip (or a section of it)

, tap the

Reverse

button.

To rename the clip,

tap the

keyboard icon

under the waveform, then use the keyboard on the display to enter a new name.

20

In Region View, you can also use Force's powerful tool to adjust the tempo of any sample to match your project's tempo without changing the pitch.

To sync an audio clip to the project tempo:

1.

Load the desired sample to an empty clip launch pad using the

Browser

.

2.

With the clip launch pad selected, open

Clip View

by pressing

Clip

or by pressing

Menu

and tapping

Clip Edit

.

3.

Tap

Region

to open

Region View

.

4.

If your sample is already cut to a set number of bars and beats, you can continue to the next step.

If your sample is not already evenly cut, you can use the

Edit

Start

and

Edit End

tools to isolate the section of the sample you would like to use. Alternatively, use the

scissors

icon to cut the audio.

5.

Tap the

Warp

button to enable warping of the sample. This will allow you to lengthen or shorten the selected clip region to the desired loop length without changing the sample pitch.

6.

To adjust the BPM of the sample, tap the

Detect

button to open the

Edit BPM

window. From here, you can set the BPM in one of three ways: i.

Press

Detect

to have Force analyze the BPM for you. ii.

Play the clip and use the

Tap Tempo

button to input the

BPM. iii.

Enter the BPM manually if you know it.

7.

As the BPM of the sample is changed, the number of bars and beats it covers will also change.

See

Operation

>

Modes

>

Clip Edit Mode

>

Region View

to learn more about this feature.

21

Clip Edit Mode will appear differently when using a clip with MIDI data. Drum, Keygroup, Plugin, MIDI and CV tracks all use Event View instead of Region View, which allows you to edit MIDI data.

Event View

Event View for a drum track

Now let's make some edits to a MIDI clip using Event View.

Event View for a keygroup, plugin, MIDI or CV track

1.

Launch the first clip in

Track 2 – Top Loop

.

2.

Press the

Clip

button to open Clip Edit Mode, or press

Menu

and tap

Clip Edit

.

3.

In Clip Edit mode, tap the

Event

icon at the top of the display.

4.

Now, try making some of the edits to note events described below. At any time, press

Undo

to revert to the previous state.

To add a note,

tap the

Pencil

icon in the upper-right corner of the display. Then, in the grid, tap a square.

To erase a note,

tap the

Eraser

icon in the upper-right corner. Then, in the grid, tap a note.

To select a note,

tap the

select box

in the upper-right corner. Then, in the grid, tap a note. You can also drag your finger to select multiple notes.

To move the selected notes

, tap

Nudge

at the bottom of the screen, and then use the

data dial

or

/

+

buttons to shift the notes left or right. By default, you can position notes only by quantization values defined by the

Time

Correct

value (learn about this feature in

Operation

>

General Features

>

Timing Correct

(

TC

)

).

To adjust the start point or end point of the selected notes

(without changing their position), tap

Edit Start

or

Edit End

at the bottom of the screen, and then use the

data dial o

r

/

+

buttons.

To transpose the selected notes up or down

, tap

Transpose

at the bottom of the screen, and then use the

data dial o

r

/

+

buttons.

To adjust the velocity of the selected notes

, tap

Velocity

at the bottom of the screen, and then use the

data dial o

r

/

+

buttons. The numeric value will appear on the screen.

To show or hide the velocity lane

, tap the

up arrow

(

) button in the lower-right corner of the screen to show the velocity lane below the grid. Each note’s velocity is represented by a vertical bar. The higher and more red the bar is, the higher the velocity is.

Tap the

up arrow

(

) button once more to show a taller version of the velocity lane, after which it will turn into a

down arrow

(

) button, which you can then tap to hide the velocity lane.

See

Operation

>

Modes

>

Clip Edit Mode

>

Event View

to learn more about this feature.

22

List View

List View in Clip Edit Mode is similar to Event View, but uses a scrolling list workflow to display MIDI note event parameters. This allows you to quickly filter your MIDI events by a particular type using the

View

menu or by the current playhead position using the

time counter

at the top of the display. You can also insert, delete, play and nudge note events using the buttons at the bottom of the display.

See

Operation

>

Modes

>

Clip Edit Mode

>

List View

to learn more about this feature.

23

Track Edit Mode

In addition to editing MIDI note events using Clip Edit Mode, you can edit the parameters of a track using

Track Edit

Mode

. This mode is not available for audio tracks.

To enter the Track Edit Mode

, do either of the following:

Press

Menu

and then tap

Track Edit

.

Hold

Shift

and press

Clip

.

Now, let's make some simple edits to the sounds in a drum track. Try making these edits while a clip is playing to hear the difference.

1.

In Matrix Mode, press and hold the

Track Select

button for

Track 8 – Drum Kit

to select the track.

2.

Press the

Note

button to set the

clip launch pads

to Note mode. The lower left quadrant will now show a typical

16-pad drum kit.

3.

Press the kick drum pad (A01) to select it.

4.

In the

Master

tab of Track Edit Mode, adjust the

Volume

knob up or down.

5.

Press the snare drum pad (A02) to select it.

6.

Tap and drag the

Pan

knob up or down to adjust the stereo panning. We recommend spreading the panning of the bright sounds (e.g., cymbals, snare drum) a little.

7.

Press the hi-hat pad (A03) to select it.

8.

Tap the

Samples

tab so the first square under it is lit.

9.

Use the

Semi

and

Fine

fields to adjust the tuning of the sample.

24

You can also apply effects to a track with Track Edit mode. Let's try adding an effect to the bass track.

1.

While in Track Edit Mode, press and hold the

Track Select

button for

Track 6 – Classic Bass

to select the track.

2.

Tap the

Effects

tab at the bottom of the screen to view the Insert

Effects tab.

3.

Double-tap the first effect slot. A list of effects will appear.

4.

Swipe up or down to move through the list.

5.

To load an effect

, double-tap it. Alternatively, tap it once and then tap

Select

or push the

data dial

. Let’s try adding the

AIR

Enhancer

.

6.

To close the list,

tap

Close

.

7.

Now that the effect has been added to the bass track, you can adjust its parameters to your liking.

To adjust the effect's parameters

, tap the

pencil icon

.

To adjust a parameter's value,

tap and drag your finger on a slider. Alternatively, tap the parameter and use the

data dial

or

–/+

buttons.

To empty the effect slot

, tap the

trash can icon

. Switch the effect on or off by tapping the

On

/

Off

button for the slot.

25

When a Plugin track is selected, Track Edit Mode shows the parameters of the loaded plugin.

1.

Press

Matrix

to enter Matrix Mode.

2.

Press and hold the

track selector button

for

Track 5 – Hype Chords

.

3.

Launch the first clip in

Track 5 – Hype Chords

.

4.

Enter Track Edit Mode.

5.

While the clip is playing, try making edits to the various plugin parameters. Use the tabs at the bottom of the page to view different sets of parameters.

26

Renaming & Saving

After making changes to clips and tracks, you may want to do some renaming and save your project before going further.

To rename a track:

1.

Press

Matrix

to enter Matrix mode.

2.

Double-tap the track name at the top of the display.

3.

Under

Name

, tap the keyboard icon.

4.

Use the virtual keyboard that appears to enter a new name (e.g., Synth Lead), and then tap

Do It

.

To rename a clip:

1.

Press

Matrix

to enter Matrix mode.

2.

Hold

Edit

press a

clip launch pad

.

3.

In the window that appears, tap the keyboard icon next to

Name

.

4.

Use the virtual keyboard that appears to enter a new name (e.g., Drum Fill), and then tap

Do It

.

27

Now that we've made changes to our demo, this would be a good time to save as a new project. You can save your project by doing either of the following:

Press

Menu

to show the Menu, and tap the

folder icon

at the top of the screen to open the

Project

window. Then, select

Save As

.

Press

Save

to open the Save window. Then, select

Save As

.

In the Save screen, do any of the following:

To select the storage device you want to view

, tap it in the

Storage

column on the left.

Internal

is the internal drive of Force.

Force Documents

is a shortcut to the

Force Documents

folder on the internal drive of Force.

If you have storage devices connected to the USB ports or SD card slot of Force, they will appear in this column, as well.

To enter a folder

, double-tap it. Alternatively, turn the

data dial

or use the

/

+

buttons to move through the list, and press the

data dial

to enter a folder. You can also tap one of the five

folder buttons

in the upper-right to jump

immediately to those pre-assigned file paths (see

Operation

>

Modes

>

Browser

to learn how to do this).

To create a new folder

, tap

New Folder

, use the virtual keyboard that appears to enter a name, and then tap

Do It

.

You will immediately enter the new folder.

To move up one folder level

, tap the

folder

/

icon

in the upper-left corner.

To name the file

, tap the

File Name

field at the bottom of the screen, and use the virtual keyboard that appears.

To save the file

, tap

Save

.

To cancel and return to the Menu

, tap

Cancel

. Alternatively, tap the

icon

in the upper-left corner.

28

Using the Browser

Force's Browser is where you can browse and load clips, samples, instruments and more from Force's internal library, as well as the library of any connected devices.

To open the Browser, do either of the following:

Press

Menu

to show the Menu, and tap

Browser

.

Press

Load

.

Let's try creating a new drum track and loading samples to it.

1.

Press

Matrix

to open Matrix view.

2.

Use the

right cursor

to scroll the Matrix view all the way to the right, until the last column shows a

+

sign above the clips.

3.

Tap the

+

symbol to open the Add Track window. Alternatively, you can press and hold the

Track Selector

button under an unused track to open the Add Track window.

4.

Select

Drum

to create a new drum track.

5.

Set the pads to

Note

mode by pressing the

Note

button.

6.

Tap a pad to select it. While in the Browser, the selected pad will be lit bright white. Since we are creating a drum kit, start by tapping the bottom-left pad.

7.

To search for drum samples, first open the

Content

tab, then select

Samples

.

8.

Start by searching for a kick drum sound. Tap in the

Search

bar, then use the keyboard that appears to type "kick" and tap

Do It

to perform the search. A list of all kick drum samples will now appear.

9.

To load a sample, tap the

Load

button.

10.

You can browse and preview samples in two ways:

Turn the data dial to scroll through the list, and tap the

Play

button to preview the sample. You can enable autopreview by tapping the

Speaker

icon and tapping the

Auto

button so it is highlighted.

You can also quickly audition samples by using the

Previous

and

Next

buttons on the display, or the

and

+

buttons on Force. When you move to a new sample, it will automatically be loaded to the selected pad. If you decide to not use the sample, the old sample will automatically be deleted when a new one is loaded to the same pad.

11.

Repeat this process to add a snare, hi-hat or anything else you can think of to your drum kit.

You can use this same general process for browsing and loading other files such as audio or MIDI clips, instruments, kits and projects.

29

Mixing Tracks

Force's mixer allows you to adjust parameters such as level, stereo panning and routing the same way you would with a traditional mixer or digital audio workstation.

To open the Mixer,

press

Mixer

. Alternatively, press

Menu

and tap

Mixer

.

The Mixer contains four tabs of pages that let you control different settings for the tracks and master. Tap and drag your finger to scroll through available tracks, or use the

cursor

buttons.

Let's start with the

Pan & Volume

tab. Tap the tab at the bottom of the display to select it. Launch a scene in your project and try making a few of the following adjustments to the tracks:

To adjust the track volume,

tap and drag your finger on the volume slider, or tap it and then use the

data dial

or

-/+

buttons.

To adjust the track panning,

tap and drag your finger on the

Pan slider, or tap it and then use the

data dial

or

-/+

buttons.

To mute or solo the track,

tap the

M

or

S

buttons, respectively.

To give a track a crossfader assignment,

tap the

A

or

B

buttons at the bottom of the display.

30

Next, tap the

Inserts & I/O

tab. On this page, you can add insert effects to tracks, as well as control input and output routing. Let's try adding an effect to a track:

1.

Tap an insert slot in

Track 4 – Hat Loop

to open the Inserts window. The insert slots are marked with a

+

sign.

2.

Double-tap the first effect slot. A list of effects will appear.

3.

Swipe up or down to move through the list, or turn the

data dial

.

4.

To load an effect

, double-tap it. Alternatively, tap it once and then tap

Select

or push the

data dial

. Let’s add the

Reverb

Small

effect.

5.

To close the list,

tap

Close

.

6.

Now that the effect has been added to the track, you can adjust the settings to your preference.

To adjust the effect’s parameters

, tap the

pencil icon

.

To empty the effect slot

, tap the

trash can icon

. Switch the effect on or off by tapping the

On

/

Off

button for the slot.

See

Operation

>

Modes

>

Mixer

to learn more about this feature.

31

Cueing Tracks

In addition to using the

Solo

button to isolate a track, you can use it to cue tracks. This allows you to preview the sound of a track using the

Phones

output or

Outputs 3/4

before sending it to the main mix for your audience to hear.

To cue tracks:

1.

Connect headphones to the

Phones

output, or connect

Outputs

3/4

to your monitors, mixer, etc.

2.

Open the

Mixer Config

window, either by pressing

Settings

while viewing the Mixer, or by holding

Shift

and pressing

Solo

or

Mute

.

3.

Set the

Solo Button Behavior

to

Cue Tracks

.

4.

Adjust the

Cue Mix

knob so that it is between

3/4

and

Master

.

You can adjust the exact mix to your preference. Turn the

Cue

Mix

knob toward

3/4

for more of the cued track audio, or more toward

Master

for more of the master mix audio.

5.

Press the

Solo

button.

6.

Press the

Track Assign

button for the track you would like to assign to the cue mix.

When viewing certain pages of the Mixer, the

S

icon in the channel strip will become a

Headphones

icon that is highlighted when enabled.

When viewing the Matrix, a

Headphones

icon will be added to the track heading.

7.

Launch a clip in the track you have cued. You should hear both the master mix and the audio of the cued track.

8.

Using headphones attached to the

Phones Output

on Force's front panel, and/or speakers connected to

Outputs 3/4

, listen to the cued audio to make sure it is in sync with your main mix.

9.

When you are ready to send the track audio to the main mix, press the

Solo

button and the

Track Assign

button for the track to disable cueing.

32

Recording Clips

Now that you're more familiar with the basics of clip launching and editing, let's try recording new clips to add to the project.

Before recording, let's create a new scene and an empty clip to record into:

1.

Press

Matrix

to open Matrix Mode on the display.

2.

Hold

Edit

and press the top

Scene Launch

button to open the

Edit Row

window.

3.

Tap the

Insert

icon. A new row will be created at the top of the

Matrix.

4.

On the display, double-tap an empty clip slot in your new scene to create a new clip. New clips are always created at the default length, which can be set by holding

Shift

and pressing the second

Track Assign

button.

Alternatively, you can create an empty clip using the

clip launch pads

. First, press the

Launch

button to enter Launch mode.

Then, hold the

Select

button and double-tap an empty pad.

Recording with Note Mode

In addition to using the clip launch pads for launching clips, you can use them to record notes chromatically as you would use a MIDI keyboard. This is enabled by pressing the

Note

button to enter

Note Mode

.

In the

Deep House – Colors

project, select

Track 6 – Classic Bass

and press

Note

to view Note Mode in action. In

Note Mode, the appearance of the pads will change. The root note or chord will be lit in one color, and the notes or chords in between will be lit white.

33

To configure the pads in Note Mode,

hold

Shift

and press

Note

to open the

Note Config

window. In this window, you can set the function of the pads, from playing notes in a scale to playing full chord progressions. For now, let's leave

Type

set to

Scales

and set

Pad

Rows

to

Start on root

.

See

Operation

>

General Features

>

Pad Modes

>

Note Mode

to learn more.

Now, let's prepare the clip and track for recording:

1.

Create an empty clip in

Track 6 – Classic Bass

following the directions above.

2.

Launch the clip to make sure it is playing.

3.

Press the

Rec Arm

button, then press the sixth

Track Select

button to record enable the track. A record symbol will appear under the track name.

4.

Finally, when you are ready to record, press the

Rec

button. On the display, the selected clip will turn red and show

Overdub

.

5.

Try recording a simple bassline using the

clip launch pads

in

Note mode. Press

Undo

at any time to undo any recorded note events.

6.

You have finished recording, press the

Rec

button again to stop recording.

You can also change the recording configurations to suit your preferences.

1.

Press

Matrix

to open Matrix Mode on the display.

2.

Hold

Shift

and press

Record

to open the Record Configuration window.

3.

Check the

Write automation when recording

box to capture automation while recording.

Use the

Record Mode

field to set how recording is initiated.

When set to

Pad

, tap any pad while the track is armed to begin recording. When set to

REC Button or Pad

, tap any pad while the track is armed to begin recording, or press the

Record

button to begin recording on the highlighted clip slot. When set to

REC

Button then Pad

, first press the record button, then tap any pad to begin recording. This is the default mode when Force is powered on.

Check the

Fixed Length Recording

box to stop recording after the clip length set in the

Fixed Length (Bars)

field. Leave unchecked to record for any desired clip length.

Use the

Record To

field to set the behavior when recording is completed, entering either

Overdub

or

Play

.

4.

When you are finished, tap

Close

to close the Record

Configuration window.

34

Recording with the Step Sequencer

When sequencing drums, you can use Force's built-in

Step Sequencer

to quickly enter note events by using the clip launch pads as "step buttons," simulating the experience of a traditional step-sequencer-style drum machine.

When using the Step Sequencer, you can assign the clip launch pads to three different modes:

Drum:

In this mode, the top four rows of pads represent each step in the clip. The bottom four rows of pads are split into two

4x4 quadrants: the left quadrant is used for selecting and triggering drum sounds, while the right quadrant is used to select the velocity of the note events. This mode is most useful for recording drum parts with the step sequencer.

Melodic:

In this mode, the top four rows of pads represent each step in the clip. The bottom four rows of pads are notes in the set scale, which can be adjusted by holding

Shift

and pressing

Step

Seq

. This mode is most useful for recording melodic parts such as a bassline with the step sequencer.

Lanes:

In this mode, each column of clip launch pads represents a step in the clip. The eight rows represent eight different pads.

You can set the base pad by holding

Shift

and pressing

Step

Seq

.

To cycle between these modes,

press the

Step Seq

button. You can also press and hold the

Step Seq

button while in any Step Sequence mode to quickly select another mode.

35

Let's use the Drum mode to sequence a drum pattern using the Step Sequencer.

1.

Select

Track 2 – Top Loop

and add a new empty clip as described above.

2.

Make sure the clip you are recording into is playing, otherwise you won't hear the pattern you are creating.

3.

Press

Menu

and then tap

Step Sequencer

on the display.

4.

Press the

Step Seq

button until

Drum

is shown on the display. The pads will now be in Drum mode.

5.

Select the bass drum sound by pressing its pad (A01).

Tip:

Press and hold the

Clip Select

button and then press a pad to select it without sounding the sample.

6.

Use the top four rows of

clip launch pads

to sequence a simple bass drum pattern.

You can also change portion of the clip you are viewing and editing by pressing and holding the

Step Seq

button and using the top row(s) of

clip launch pads

. The number of pages available depends on the selected step size and the number of bars in the clip.

7.

Next, select a snare drum sound (A02) and sequence a pattern.

8.

Finally, select a hi-hat sound (A03) and sequence a pattern. Try using the velocity pads to vary the velocity of the hihat sounds to make the clip sound more realistic.

See

Operation

>

General Features

>

Pad Modes

>

Step Sequencer Mode

and

Operation

>

Modes

>

Step

Sequencer

to learn more about this feature.

36

Operation

This chapter explains the complete features and functions of your Force hardware.

Important

:

When the left-most button at the bottom of the screen shows an upward arrow (

), it means there are additional buttons you can use when you press and hold

Shift

. Press and hold

Shift

to show the secondary buttons, and any of them, if desired. Release

Shift

to return to the previous buttons.

Many modes shown on the screen have 1–6 buttons at the bottom. Each of these buttons select a different tab in that mode or perform a specific function in that mode.

As an alternative to double-tapping an item on the screen to “enter” it, you can press the

data dial

.

When a parameter is highlighted and has a red outline, this means that it is selected. You can then change it by turning the hardware’s

data dial

or using the

/

+

buttons. If the parameter is a number, double-tap it to show a numeric keypad on the screen to enter a specific value.

General Features

Control Types

The Force touchscreen uses the following types of control elements:

Knobs

To set the value for a knob

, do any of the following:

Tap and drag the knob up or down.

Tap the knob to select it, and then use the

data dial

or

/

+

buttons to adjust the value.

Double-tap the knob to show it in a larger screen. Alternatively, press

data dial

when the knob is selected.

Tap and drag the larger version that appears, or use the

data dial

or

/

+

buttons to adjust the value.

If the knob is bipolar (has positive and negative values with the center as the default position), double-tap the larger version to reset it to the center/0 position.

Tap anywhere else to return to the previous screen.

Press and hold

Shift

while turning the

data dial

to adjust a value by smaller increments.

37

Parameter Values

To set the value for a parameter

, do either of the following:

Tap the field to select it, and then use the

data dial

or

/

+

buttons to adjust the value.

When the value has decimal places, you can sometimes press and hold

Shift

and then use the

data dial

or

/

+

buttons to adjust the value by smaller increments.

Double-tap the field or hold your finger on it for a second. In the screen that appears, type in a value using the number pad, or use the

data dial

or the

/

+

buttons to adjust the value. Alternatively, tap and drag the value up or down.

You can also tap /

2

to halve the value or

x2

to double it.

To confirm the value and remain on this screen

, tap

Apply

.

To confirm the value and return to the previous screen

, tap

Do It

.

To return to the previous screen

, tap the gray area in the upperleft corner of the screen. Unsaved changes made using the number pad will not be applied. All other changes will be saved.

Drop-Down Menus

/

Lists

To select an option for a drop-down menu

, do any of the following:

Tap the field to select it, and then use the

data dial

or

/

+

buttons to select an option.

Double-tap the field. In the list that appears (examples below), tap the desired option. Alternatively, use the

data dial

or the

/

+

buttons to select an option.

In some windows, tap the relevant button at the bottom of the screen to confirm your selection or to cancel without changing anything.

38

Selectors

Selectors show all available options. One of them is always selected. The selected option is highlighted while the others are dark.

To select an option

, tap it.

Buttons

Buttons usually have two states: selected and deselected (active or inactive, respectively). Some may have more than two states.

To switch between or cycle through a button’s states

, do either of the following:

Tap it.

If it is outlined in red (and is not a mute button), use the

data dial

or

/

+

buttons.

Checkboxes

Checkboxes have two states: checked and unchecked (enabled or disabled, respectively).

To check or uncheck a checkbox

, tap it.

Tabs

Some modes have buttons at the bottom of the screen that let you cycle through several similar tabs. For instance, you could view the send level that is routed to each of four returns—each level is shown on a separate tab. With each tap, you will move to the next tab, indicated by the squares below it.

To select a tab

, tap it. Each time you tap it, it will select the next tab.

39

Sliders

To adjust the position of a slider

, do any of the following:

Tap and drag the slider to the desired position.

Tap the desired position (this works only on some sliders).

Tap the slider to select it, and then use the

data dial

or

/

+

buttons to adjust the position (this works only on some sliders).

Double-tap the slider, and then tap and drag the larger version that appears, or use the

data dial

or

/

+

buttons to adjust the value. Tap anywhere else to return to the previous screen.

Envelopes

To set the stages of an envelope

, do either of the following:

Tip

: Tap the

expand-rectangle icon

above the envelope to show a close-up view.

Tap and drag a “handle” of an envelope stage in the desired direction.

Set the numeric value of an envelope stage by adjusting or entering it as a parameter value (described

earlier

).

The Filter/Envelope tab in Track Edit Mode.

40

Close-up of an AD-type filter envelope. Close-up of an AHDS-type amp envelope.

Event View Tools

In the Event View in Clip Mode, these four icons enable you to use different functions in the grid.

Tap one to select its mode:

Pencil

: Draw Mode:

To enter a note in an empty grid square

, tap the grid square.

To select a note

, tap it.

To move a note

, tap and drag it to another grid square.

To erase a note

, double-tap it.

Eraser

: Erase Mode:

To erase a note

, tap it. You can also tag and drag to erase multiple notes in the same row.

Select Box

: Select Mode:

Note

: Notes will remain selected if you switch to another mode. The selection will change, however, if you press a pad while

Hitting Pad Selects All Events

is set to

On

.

To select a note

, tap it.

To select multiple notes

, tap and drag across the grid to create a box around them.

To move a note

, tap and drag it to another grid square.

To move multiple notes

, select them as described above, and tap and drag them.

To erase multiple notes

, select them as described above, and then select the

eraser tool

and tap any of the selected notes.

Magnifying Glass

: Navigation Mode:

To move to another part of the grid

, tap and drag it.

To zoom in or out

, spread or pinch your fingers (respectively) on the grid. You can do this vertically, horizontally, or both at the same time.

41

Audio Region Edit Tools

In Audio Region Edit Mode in Clip Mode, these six tool icons enable you to use different functions in the waveform.

Tap one to select its mode:

Marquee

: Marquee Mode:

To select a track region

, tap the upper third of it.

To select multiple track regions

, tap and drag across the grid to create a box that highlights them.

To move a track region

(or multiple selected track regions), tap and drag the upper third of it left or right.

To split the track at two specific points

(creating a track region on either side and between them), tap and drag across the middle third of it to create a translucent white box, and then tap the upper third of that box.

To shorten or lengthen a track region

(or multiple selected track regions), tap and drag the lower third of it left or right.

Arrow

: Selection Mode:

To select a track region

, tap it.

To move a track region

(or multiple selected track regions), tap and drag the upper third of it left or right.

To shorten or lengthen a track region

(or multiple selected track regions), tap and drag the lower third of it left or right.

Eraser

: Erase Mode:

To erase a track region

(or multiple selected track regions), tap it.

Scissors

: Split Mode:

To split the track at a specific point

(creating a track region on either side), tap that point in the track.

To select a track region

, tap its left-most edge.

Mute

: Mute Mode:

To mute or unmute a track region

(or multiple selected track regions), tap it.

Magnifying Glass

: Navigation Mode:

To move to another part of the track

, tap and drag it.

To zoom in or out

, spread or pinch your fingers (respectively) on the grid. You can do this vertically, horizontally, or both at the same time.

42

Pad Modes

In addition to the various control functions used in the display, Force features three different control modes for the 8x8 grid of

clip launch pads

:

Launch Mode

,

Note Mode

, and

Step Sequencer Mode

. You can also control Launch and

Note Modes at the same time using

Launch & Note Mode

.

These modes are accessed by pressing their respective

Launch/Config

,

Note/Config

, and

Step Seq/Config

buttons on the Force hardware. At any time, you can also temporarily view any of the pad modes by pressing and holding the

Launch

,

Note

, or

Step Seq

buttons. This allows you to quickly make changes such as launching a different clip or editing the step sequencer.

Launch Mode

Launch Mode is used for launching and working with clips. The image to the right shows the pads in Launch Mode. The brightly lit pads each represent clips in the respective track columns.

To enter Launch Mode,

press the

Launch

button. In Launch Mode, you can do any of the following:

To launch a clip,

press the clip launch pad.

To select a clip,

hold

Select

and press a pad.

To create a new clip,

hold

Select

and double-press an empty pad.

To copy a clip,

hold

Copy

and press the pad you want to copy. Keep holding

Copy

and press the pad where you want to copy the clip.

To delete a clip,

hold

Delete

and press the pad you want to delete.

To set the quantization of launching clips

, hold

Shift

and press one of the

Track Select

buttons. The time division values are printed beneath them.

Launch Configuration

Press and hold

Shift

and press the

Launch/Config

button to open the

Launch Configuration window.

Use the

Default Length (Bars)

field to set the default length of new clips in bars.

Use the

Empty Slots

field to set the appearance of the

clip launch pads

that do not have a clip loaded.

Check

Tapping a clip selects it

to automatically select a clip for editing when tapped. When unchecked, tapping a clip will only launch it.

43

Note Mode

Note Mode is used for playing drum kits or melodic tracks like keygroups or plugins.

To enter Note Mode,

press the

Note

button while a drum, keygroup, plugin, MIDI or CV track is selected. The appearance of the clip launch pads will change depending on the type of track selected. When a drum track is selected, the clip launch pads will appear in

Drum Note Mode

; when a keygroup, plugin, MIDI or CV track is selected, the clip launch pads will appear in

Melodic Note Mode

.

Drum Note Mode

In Drum Note Mode, each quadrant of clip launch pads can be used like a traditional 4x4 drum pad layout to play samples. The image to the right shows a traditional layout when using Drum Note Mode.

In Drum Note Mode, you can do the following:

To play a sample,

press any of the lit clip launch pads.

To change pad banks,

hold

Shift

and press the

Track Assign

buttons labeled

Oct-

and

Oct+

.

To select a pad,

hold

Select

and press it.

To edit a sample in Track Edit Mode,

hold

Edit

and press a pad.

To copy a sample,

hold

Copy

and press the pad you want to copy. Keep holding

Copy

and press the pad where you want to copy the sample.

To delete a pad,

hold

Delete

and press the pad you want to delete.

To mute a pad,

hold

Mute

and press the pad you want to mute.

To solo a pad,

hold

Solo

and press the pad you want to solo.

To set the quantization of launching clips

, hold

Shift

and press one of the

Track Select

buttons. The time division values are printed beneath them.

Drum Note Configuration

Press and hold

Shift

and press the

Note/Config

button to open the

Drum Note Configuration

window, where you can adjust the settings of the drum pads.

Use the

Velocity

field to set the velocity level of the drum pads.

Select

As Played

for responsive velocities, or select

Half level

or

Full level

for fixed level velocities.

Use the

Bank

field to select the drum bank currently in view in the bottom left quadrant.

44

Melodic Note Mode

In Melodic Note Mode, the clip launch pads can be used like a traditional keyboard controller to play melodic notes and chords. For instance, the image to the right shows the clip launch pads set to play a scale in Melodic Note Mode. The pads with bright colors are the root notes of the scale, and the white pads in between are the other degrees of the scale.

To play a note,

press a clip launch pad.

To change the starting octave

, hold

Shift

and press the

Track

Assign

buttons marked

Oct-/Oct+

.

Melodic Note Configuration

Press and hold

Shift

and press the

Note/Config

button to open the

Melodic Note Configuration

window, where you can adjust the settings of how the notes or chords are laid out on the clip launch pads.

Use the

Type

selector to determine what will be mapped over the pads:

Chromatic

: Each pad is assigned a note, ascending by one semitone with each pad.

Scales

: Each pad is assigned a note, ascending by one scale degree with each pad.

Harmonize

: Each pad is assigned a chord, with the root note ascending by one scale degree with each pad. All available chords will play in the key determined by the

Scale

.

Chords

: Each pad is assigned a chord, with the root note ascending by one scale degree with each pad. You can play any chord type regardless of the key determined by the

Scale

. Essentially, this is like the Harmonize setting but with more options to play chords out of the set key.

Progressions

: Each pad is assigned a chord in a chord progression. You can play the pads in (or out of) order to construct songs quickly. The available chords are determined by the

Progression

field.

Tonnetz

: Each pad is assigned a note, ascending by a perfect fifth (7 semitones) going left to right along each row of pads, and ascending by a minor third (3 semitones) going from bottom to top along each column of pads.

Guitar

: The bottom six rows of pads are organized like a sixstring guitar, with notes ascending E-A-D-G-B-E from bottom to top in the first column of pads, and ascending by one semitone with each pad in each row.

Bass

: The bottom six rows of pads are organized like a sixstring bass, with notes ascending B-E-A-D-G-B from bottom to top in the first column of pads, and ascending by one semitone with each in pad in each row.

Piano

: Every two rows of clip-launch pads are organized like the traditional white-and-black keys layout of a piano, with the lower row representing the white keys and the upper row representing the black keys.

Note:

For Guitar, Bass and Piano types, changing the Root Note or Scale will not affect the layout of notes on the pads, but will change the highlighted root and scale notes according to the selection.

Note:

You can also press and hold the

Note

button while in Note

Mode to quickly select a Type on the display.

45

Use the

Pad Rows

field to determine how the notes are laid out on Force's 8x8 pad grid:

Continuous

Start on root

Start on 5th

Start on 4th

Start on 3rd

Start on 2nd

Use the

Base Note

and

Octave

fields to set the starting point of the scale (pitch and register). The available notes are all chromatic notes across the range of the pads. The pad that’s assigned the root note will be lit differently to indicate where the scale starts in each octave.

Use the

Scale

field to set the scale or mode based on the root note (this is disabled when

Type

is set to

Progressions

).

The available scales are:

Major Blues

Natural Minor Flamenco

Harmonic Minor Gypsy

Whole

Chromatic

Mixolydian

Aeolian

Locrian

Pentatonic Minor Persian Phrygian

Use the

Velocity

field to set the velocity of the pads when played:

As played 26% 53%

6% 33%

13% 40%

60%

66%

20% Half 73%

80%

86%

93%

Full

Use the

Scale Chord

and

Chromatic Chord

fields to determine what chord type will play when pressing a pad. The chord will use those scale degrees based off of the pad’s root note. You can use this only when the

Type

is set to

Harmonize

or

Chords

.

When set to

Harmonize

, the available

Scale Chords

are:

1-3-5 (major/minor) 1-3-5-7 (major7/minor7)

1-4-5 (sus4) 1-3-5-7b (dominant)

1-2-5 (sus2)

When set to

Chords

, the available

Chromatic Chords

are:

Sus2 Major9

Sus4 Minor9

46

Launch & Note Mode

In addition to using the entire 8x8 pad matrix for Launch Mode or Note Mode, you can split the rows of clip launch pads into half Launch Mode and half Note Mode.

To enter Launch & Note Mode,

press the

Launch

and

Note

buttons at the same time.

The top four rows of pads can be used for launching clips, and the bottom four rows of pads can be used for melodic or drum note playing, depending on the track selected.

In this mode, you can perform any of the same actions that you would in either

Launch Mode

or

Note Mode

.

Launch & Note Mode

(Melodic Note Mode)

Launch & Note Mode

(Drum Note Mode)

47

Step Sequencer

The Step Sequencer pad mode is used to create or edit clips by using the pads as "step buttons," simulating the experience of a traditional step-sequencer-style drum machine. This pad mode is often used in conjunction with the

Step Sequencer

mode on the display, but can be used while any mode is on the display.

To enable Step Sequencer pad mode,

press the

Step Seq

button. Each time you press this button, the pads will cycle through three different appearances:

Drum Mode

,

Melodic Mode

, and

Lanes Mode

. See below for more details.

Press and hold the

Step Seq

button to do any of the following:

Quickly select a Step Sequencer Mode using the

Step Seq Mode

window that appears.

Use the top row(s) of pads to select the active page of the step sequencer. The number of pages available depends on the selected step size and the number of bars in the clip.

Use the bottom row of pads to select the beat division for the

Step Size

. The right-most pad can be used to enable or disable

Triplet

beat divisions.

Hold

Shift

and press

Step Seq/Config

button to open the Step

Sequence Configuration window. In addition to these common settings, some Step Sequencer modes have additional settings available in this window, described below.

Use the

Mode

field to set the Step Sequencer pad mode:

Drum

,

Melodic

or

Lanes

.

Use the

Velocity

field to set the velocity of new steps being entered. Select

As Played

for responsive velocity, or select one of the preset levels for fixed velocity of all steps.

Use the

Step Size

field to set the beat division for each step.

Drum

In Drum Step Sequencer Mode, the lower left quadrant of pads is used like a traditional 4x4 drum pad layout to play samples.

Press a

clip launch pad

to select it. Doing so will also play back the pad's sample. If you would like to select a pad without sounding the sample, hold

Select

and press the pad.

Hold

Shift

and press the

Track Assign

buttons marked

Oct-/

Oct+

to change the active pad bank.

The lower right quadrant of pads is used to quickly set the velocity of new steps.

Press the lower-left pad to select

As Played

for responsive velocity, or press the other pads to set a fixed velocity from low

(

6%

) to high (

Full

), going left-to-right.

The top four rows of pads represent the steps in the clip. The number of pads available depends on the

Step Size

setting.

Press a pad to insert a step at that beat for the selected drum sample. The top four rows will be lit dimly with the color of the selected drum sample.

Hold

Shift

and press

Step Seq

while in Drum Step Sequencer Mode to configure its settings. These are the same as mentioned

above

.

48

Melodic

In Melodic Step Sequencer Mode, the bottom four rows of the pads are used like

Melodic Note Mode

, with the pads representing notes in a scale.

Press a

clip launch pad

to select a note. The currently selected note will be lit bright white.

Hold

Shift

and press the

Track Assign

buttons marked

Oct-/

Oct+

to change the octave.

The top four rows of pads represent the steps in the clip. The number of pads available depends on the

Step Size

setting.

Press a pad to insert a step at that beat for the selected note.

Hold

Shift

and press

Step Seq

to open the

Configuration

window. In

addition to the fields mentioned

above

:

Use the

Note Settings

fields to set configure the

Root Note

,

Scale

and starting

Octave

.

Lanes

In Lanes Step Sequencer Mode, each column of pads represents one beat division, and each row of pads represents one drum sample in a drum bank or one note in a scale, depending on the type of track selected.

Press a

clip launch pad

to insert a step at that beat division for the respective drum sample or note.

Hold

Shift

and press the

Track Assign

buttons marked

Oct-/

Oct+

to change the octave or starting pad.

Hold Shift and press

Step Seq

to open the

Configuration

window. In

addition to the fields mentioned

above

:

When a drum track is selected:

Use the

Base Pad

field to set the starting pad for the 8 rows of clip launch pads.

When a keygroup, plugin, MIDI or CV track is selected:

Use the

Base Note

field to set the starting note for the 8 rows of clip launch pads.

Use the

Note Settings

fields to set configure the

Root

Note

and

Scale

.

49

Tracks

About Tracks

Each clip you create within a project is routed through a

track

. There are six types of tracks, each of which determines how the clip sounds or what it is used for. A single project can hold up to 128 tracks.

This chapter covers how to create each track type.

To learn about editing your tracks to your preference, see the

Modes

>

Track

Edit Mode

chapter.

An

Audio track

lets you record audio from an external source or by resampling another track to create a clip.

See

Audio Tracks

for more information.

A

drum track

uses one or more samples as its sound source. It contains (

1

) a list of samples and (

2

) the settings for each sample (i.e., pad assignments, loop points, pitch tuning, effects, etc.). Drum tracks are used mostly for creating drum parts and quickly and easily assigning samples to pads. See

Drum Tracks

for more

information.

A

plugin track

contains an instance of a plugin through which you can send your track’s MIDI data. See

Plugin Tracks

for more information.

A

keygroup track

uses one or more samples as its sound source. It contains (

1

) a list of samples and (

2

) the settings for each sample (i.e., pitch tuning, effects, etc.). Keygroup tracks are used to play samples chromatically with a MIDI keyboard or the Force pads. See

Keygroup Tracks

for more information.

A

MIDI track

lets you send your track’s MIDI data to an external MIDI device like a synth or drum machine.

See

MIDI Tracks

for more information.

A

CV track

lets you send your track’s MIDI data to an external device that uses control voltage (CV), like a synth. See

CV Tracks

for more information.

50

Audio Tracks

An audio track uses recorded or imported samples as its sound source.

To create an audio track

:

1.

Press

Matrix

to enter Matrix Mode.

2.

At the top of the screen, press the

+ icon

to add a new track.

If you cannot see the

+ icon

, press the

right cursor

to move the matrix view until it is shown.

3.

In the window that appears, turn the

data dial

to select

Audio

as the track

type

.

Use the

Input

field to select which inputs the audio track will use.

Check the

Ascending

box to determine if the channel numbers of the input sources will ascend across the new audio tracks you create. When checked, the first new audio track will use the input source you set above

(e.g.,

Input 1

), the second new audio track will use the next input source

(e.g.,

Input 2

), etc. When unchecked, all of the new audio tracks you create in this instance will use the same input source. This feature is relevant only if you are creating more than one new audio track

(determined by

Number of Tracks

below).

Check the

Record Enable

box to set the new track to be automatically record enabled.

Use the

Input Monitoring

field to set the monitoring behavior:

Off

,

On

, or

Auto

.

If you would like to create more than one drum track at once, use the

Number of Tracks

field to select how many tracks you would like to create.

4.

Tap

Do It

to confirm, or tap

Close

, the

X

or outside the window to go back. A new drum track will be created and appended with a number

(e.g.,

Audio 002

).

Alternatively, press and hold the

track select

button of an unused track, then tap

Audio

.

To edit the track settings,

double-tap the

track name

at the top of the screen to open the

Track Settings

window.

To rename the track,

tap the track

name

field and use the virtual keyboard that appears to enter a new name, and then tap

Do It

to confirm or the gray bar at the top of the screen to cancel.

To change the track color

, tap the

color

field and use the

data dial

or

-/+

buttons to scroll through the options. You can also double-tap the

color

field and then swipe up or down, or use the

data dial

or

-/+

buttons to scroll through the options.

51

Drum Tracks

A drum track uses one or more samples as its sound source. It contains (

1

) a list of samples and (

2

) the settings for each sample (i.e., pad assignments, loop points, pitch tuning, effects, etc.). Drum tracks are used mostly for creating drum parts and quickly and easily assigning samples to pads.

To create a drum track

:

1.

Press

Matrix

to enter Matrix Mode.

2.

At the top of the screen, press the

+ icon

to add a new track.

If you cannot see the

+ icon

, press the

right cursor

to move the matrix view until it is shown.

3.

In the window that appears, select

Drum

as the track

type

.

If you would like to create more than one drum track at once, use the

Number of tracks

field to select how many tracks you would like to create.

4.

Tap

Do It

to confirm, or tap

Close

, the

X

or outside the window to go back. A new drum track will be created and appended with a number

(e.g.,

Drum 002

).

Alternatively, press and hold the

track select

button of an unused track, then tap

Drum

.

To edit the track settings,

double-tap the

track name

at the top of the screen to open the

Track Settings

window.

To rename the track,

tap the track

name

field and use the virtual keyboard that appears to enter a new name, and then tap

Do It

to confirm or the gray bar at the top of the screen to cancel.

To change the track color

, tap the

color

field and use the

data dial

or

-/+

buttons to scroll through the options. You can also double-tap the

color

field and then swipe up or down, or use the

data dial

or

-/+

buttons to scroll through the options.

To edit the pad colors

, uncheck the

Pads follow track color

field, then tap the

Edit Pad Colors

button. (See

Modes

>

Pad Color Mode

to learn more about editing pad colors).

To load a kit into a drum track

:

1.

Press

Load

or press

Menu

and tap

Browser

to show the Browser.

2.

Find and select a kit, and then tap

Load

to load it to the track. Repeat this for any other kits or samples you want to load into the project. (See

Modes

>

Browser

to learn more about using the Browser specifically.)

Tip

: Remember that a drum kit has 128 pads total—16 pads across eight banks.

52

Alternatively, assign samples in a drum track in Track Edit Mode in one of these two ways

:

1.

Press

Menu

, and then tap

Track Edit

to enter Track Edit Mode. Alternatively, press and hold

Shift

and press

Clip

.

2.

Tap the

Samples

tab. This lets you view the samples assigned to all four layers of the current pad as well as tuning and level parameters for each layer.

3.

Tap a pad to select it (and play its assigned samples, if any).

4.

Tap one of the

Layer

fields under the sample waveform to select a layer. Tap the

Sample

field, and then use the

data dial

or

/

+

buttons to select a sample. Alternatively, double-tap the field for a layer, and then tap a sample to select it.

1.

Press

Menu

, and then tap

Track Edit

to enter Track Edit Mode. Alternatively, press and hold

Shift

and press

Clip

.

2.

Tap the

Pan Velocity

tab. This lets you view the samples assigned to all four layers of the current pad as well as panning and velocity ranges of each layer.

3.

Tap a pad to select it (and play its assigned samples, if any).

4.

Tap one of the

Layer

fields to select a layer, and then use the

data dial

or

/

+

buttons to select a sample.

Alternatively, double-tap the field for a layer, and then tap a sample to select it.

53

Keygroup Tracks

A keygroup track uses one or more samples as its sound source. It contains (

1

) a list of samples and (

2

) the settings for each sample (i.e., pitch tuning, effects, etc.). Keygroup tracks are used to play samples chromatically with a MIDI keyboard or the Force pads.

To create a keygroup track

:

1.

Press

Matrix

to enter Matrix Mode.

2.

At the top of the screen, press the

+ icon

to add a new track.

If you cannot see the

+ icon

, press the

right cursor

to move the matrix view until it is shown.

3.

In the window that appears, turn the

data dial

to select

Keygroup

as the track

type

.

If you would like to create more than one keygroup track at once, use the

Number of tracks

field to select how many tracks you would like to create.

4.

Tap

Do It

to confirm, or tap

Close

, the

X

or outside the window to go back. A new keygroup track will be created and appended with a number

(e.g.,

Keygroup 002

).

Alternatively, press and hold the

track select

button of an unused track, then tap

Keygroup

.

To edit the track settings,

double-tap the

track name

at the top of the screen to open the

Track Settings

window.

To rename the track,

tap the track

name

field and use the virtual keyboard that appears to enter a new name, and then tap

Do It

to confirm or the gray bar at the top of the screen to cancel.

To change the track color

, tap the

color

field and use the

data dial

or

-/+

buttons to scroll through the options. You can also double-tap the

color

field and then swipe up or down, or use the

data dial

or

-/+

buttons to scroll through the options.

To transpose the keygroup track

, tap the

transpose

field and use the

data dial

or

-/+

buttons to set the transposition amount.

54

To assign samples in a keygroup track

:

1.

Press

Menu

, and then tap

Track Edit

to enter Track Edit Mode. Alternatively, press and hold

Shift

and press

Clip

.

2.

Tap

Samples

. This lets you view the samples assigned to all four layers of the current keygroup as well as tuning and level parameters for each layer.

3.

Tap the

Number of KG

field, and then use the

data dial

or

/

+

buttons to set the number of keygroups in the track (

1

128

). Alternatively, double-tap the

Number of KG

field, and then use the numeric keypad on the screen.

4.

Tap the

Keygroup

field, and then use the

data dial

or

/

+

buttons to select a keygroup. Alternatively, double-tap the

Keygroup

field, and then tap a keygroup to select it.

5.

Tap the field for a layer, and then use the

data dial

or

/

+

buttons to select a sample. Alternatively, double-tap the field for a layer, and then tap a sample to select it.

To create complex keygroup track, you can add more keygroups (up to 128). This is useful when working with multisamples (e.g., when programming a real piano).

Tip

: Remember that a keygroup track offers up to 128 keygroups, and each keygroup can hold up to four samples

(Layers 1–4). This is a total of 512 samples.

55

Plugin Tracks

A plugin track contains an instance of a plugin through which you can send your track’s MIDI data.

To create a plugin track

:

1.

Press

Matrix

to enter Matrix Mode.

2.

At the top of the screen, press the

+ icon

to add a new track.

If you cannot see the

+ icon

, press the

right cursor

to move the matrix view until it is shown.

3.

In the window that appears, turn the

data dial

to select

Plugin

as the track

type

.

If you would like to create more than one plugin track at once, use the

Number of tracks

field to select how many tracks you would like to create.

4.

Tap

Do It

to confirm, or tap

Close

, the

X

or outside the window to go back. A new drum track will be created and appended with a number (e.g.,

Plugin 002

).

Alternatively, press and hold the

track select

button of an unused track, then tap

Plugin

.

To edit the track settings,

double-tap the

track name

at the top of the screen to open the

Track Settings

window.

To rename the track,

tap the track

name

field and use the virtual keyboard that appears to enter a new name, and then tap

Do It

to confirm or the gray bar at the top of the screen to cancel.

To change the track color

, tap the

color

field and use the

data dial

or

-/+

buttons to scroll through the options. You can also double-tap the

color

field and then swipe up or down, use the

data dial

or

-/+

buttons to scroll through the options.

To transpose the plugin track

, tap the

transpose

field and use the

data dial

or

-/+

buttons to set the transposition amount.

56

To load a plugin to the track:

1.

Double-tap the

track name

at the top of the screen to open the

Track

Settings

window.

2.

Double-tap the

Plugin

field. In the list that appears, tap the desired plugin. Alternatively, use the

data dial

or the

/

+

buttons to select a plugin.

To sort your plugins by type or maker

, tap

Type

or

Manufacturer

.

3.

Tap

Select

to select the plugin, or tap

Close

to cancel.

To select the MIDI channel the track will use

, double-tap the

MIDI Ch

field. In the list that appears, tap the desired channel. Alternatively, use the

data dial

or the

/

+

buttons to select a channel. Use this setting when you are working with a virtual instrument plugin that supports multimode, or when an external device is controlling the track from a certain

MIDI channel.

To select a preset in your plugin

(if any), double-tap the

Preset

field. In the list that appears, tap the desired preset. Alternatively, use the

data dial

or the

/

+

buttons to select a preset.

Alternatively, use the Browser to load a plugin:

1.

Press

Load

or press

Menu

and tap

Browser

to show the Browser.

2.

Find and select a plugin preset, and then tap

Load

. A new plugin track will be created if no other tracks exist, otherwise the currently selected track will be converted into a plugin track. Repeat this for any other plugins you want to load into the project. (See

Modes

>

Browser

to learn more about using the Browser specifically.)

57

MIDI Tracks

A MIDI track lets you send your track’s MIDI data to an external MIDI device like a synth or drum machine.

To create a MIDI track

:

1.

Press

Matrix

to enter Matrix Mode.

2.

At the top of the screen, press the

+ icon

to add a new track.

If you cannot see the

+ icon

, press the

right cursor

to move the matrix view until it is shown.

3.

In the window that appears, turn the

data dial

to select

Midi

as the track

type

.

If you would like to create more than one MIDI track at once, use the

Number of tracks

field to select how many tracks you would like to create.

4.

Tap

Do It

to confirm, or tap

Close

, the

X

or outside the window to go back. A new MIDI track will be created and appended with a number (e.g.,

Midi 002

).

Alternatively, press and hold the

track select

button of an unused track, then tap

MIDI

.

To edit the track settings,

double-tap the

track name

at the top of the screen to open the

Track Settings

window.

To rename the track,

tap the track

name

field and use the virtual keyboard that appears to enter a new name, and then tap

Do It

to confirm or the gray bar at the top of the screen to cancel.

To change the track color

, tap the

color

field and use the

data dial

or

-/+

buttons to scroll through the options. You can also double-tap the

color

field and then swipe up or down, use the

data dial

or

-/+

buttons to scroll through the options.

To transpose the MIDI track

, tap the

transpose

field and use the

data dial

or

-/+

buttons to set the transposition amount.

To select the MIDI channel the track will use

, double-tap the

MIDI Ch

field. Use the number pad that appears to enter a value from

1

16

, then tap

Do It

. Alternatively, use the

data dial

or the

/

+

buttons to select a channel.

To select a MIDI program change value for the track to send,

double-tap the

MIDI Program Change

field. Use the number pad that appears to enter a value from

1

127

, then tap

Do It

. Alternatively, use the

data dial

or the

/

+

buttons to select a value. Clips will send this value when launched.

58

CV Tracks

A CV track lets you send your control voltage (CV) signals to an external device like a synth or drum machine that uses CV.

To create a CV track

:

1.

Press

Matrix

to enter Matrix Mode.

2.

At the top of the screen, press the

+ icon

to add a new track.

If you cannot see the

+ icon

, press the

right cursor

to move the matrix view until it is shown.

3.

In the window that appears, turn the

data dial

to select

CV

as the track

type

.

If you would like to create more than one CV track at once, use the

Number of tracks

field to select how many tracks you would like to create.

4.

Tap

Do It

to confirm, or tap

Close

, the

X

or outside the window to go back. A new CV track will be created and appended with a number (e.g.,

CV 002

).

Alternatively, press and hold the

track select

button of an unused track, then tap

CV

.

To edit the track settings,

double-tap the

track name

at the top of the screen to open the

Track Settings

window.

To rename the track,

tap the track

name

field and use the virtual keyboard that appears to enter a new name, and then tap

Do It

to confirm or the gray bar at the top of the screen to cancel.

To change the track color

, tap the

color

field and use the

data dial

or

-/+

buttons to scroll through the options. You can also double-tap the

color

field and then swipe up or down, use the

data dial

or

-/+

buttons to scroll through the options.

To transpose the CV track

, tap the

transpose

field and use the

data dial

or

-/+

buttons to set the transposition amount.

There are five additional settings to configure for a CV track: the

CV Port

, the

Gate Port

, the modulation wheel port

(

Mod Wheel Port

),

Velocity Port

and

Note Priority

. Tap each field and use the

data dial

or

-/+

buttons to edit the setting.

59

Menu

The Menu lets you select any of the 14 modes or save your project. You can also use it to set your preferences, save your project, set sync behavior or view your system resources.

To open the Menu

, press

Menu

, or tap the icon in the upper-left corner of the screen while on the normal page of your current mode.

When viewing the Menu, do any of the following:

To enter a mode

, tap it.

To return to the previous mode

, tap the gray area in the upper-left corner, or press

Menu

again.

Click a part of the screen above to skip directly to that part of this user guide.

60

Save

To save the project

, tap the

folder icon

at the top of the screen to open the

Project

window. The Project window shows an overview of all samples and tracks in the current project.

To open a new project

, tap

New

.

To save a project

, tap

Save

or

Save As

. If a project has not been saved before, both options will open the Save window, described below. If a project has been saved before, tapping

Save

will automatically overwrite the most recently saved version.

To delete samples from the project

(to create more free RAM space for sampling time, audio recording, etc.), tap

Purge

. In the screen that appears, tap

Unused Samples

to delete all unused samples from the project, tap

All

Samples

to delete all samples from the project (from all kits and audio or MIDI tracks), or tap

Cancel

to return to the previous screen.

To select the storage device you want to view

, tap it in the

Storage

column on the left.

Internal

is the internal drive of Force.

Force Documents

is a shortcut to the

Force Documents

folder on the internal drive of Force.

If you have storage devices connected to USB ports or SD card slot of Force, they will appear in this column, as well.

To enter a folder

, double-tap it. Alternatively, turn the

data dial

or use the

/

+

buttons to move through the list, and press the

data dial

to enter a folder. You can also tap one of the five

folder buttons

in the upper-right to jump

immediately to those pre-assigned file paths (see

Modes

>

Browser

to learn how to do this).

To create a new folder

, tap

New Folder

, use the virtual keyboard that appears to enter a name, and then tap

Do It

.

You will immediately enter the new folder.

To move up one folder level

, tap the

folder

/

icon

in the upper-left corner.

To name the file

, tap the

File Name

field at the bottom of the screen, and use the virtual keyboard that appears.

To save the file

, tap

Save

.

To save the file as a project template file

, tap the

Save as Template

checkbox to check it before tapping

Save

.

(This file will be shown in the

Template File

field in the Preferences’

Project Load

/

Save

tab.)

To cancel and return to the Menu

, tap

Cancel

. Alternatively, tap the

icon

in the upper-left corner.

Alternatively, press

Save

to quickly save the

Project

, save the

Project As

a new save, create a

New Project

, or save the

Track

.

61

Preferences

To open the Preferences,

tap the

gear icon

at the top of the screen.

To return to the Menu

, tap the

icon

in the upperleft corner. Changes to the

Preferences

are saved automatically.

To restore your Force hardware’s default settings

, tap

Reset

. In the screen that appears, tap

OK

to continue or

Cancel

to return to the Preferences. In the next window, tap

Save

to save your current project before restoring the default settings; tap

Cancel

to return to the Preferences; or tap

Don’t Save

to restore the default settings without saving your current project.

Info

This screen shows current information about your Force hardware: its current firmware version, which includes its standalone operating system (

Force Firmware

); its hardware

Serial Number

; and its current firmware for the

Control

Surface

.

To view legal information relevant to Force,

tap

Legal Info

. For complete legal information, visit

akaipro.com

/

product-legal

.

To enter Update Mode

, press and hold

Shift

and tap

Update

. In the screen that appears, tap

Save

to save your current project before entering Update Mode; tap

Cancel

to return to the Preferences; or tap

Don’t Save

to enter

Update Mode without saving your current project.

Wi-Fi

The settings on this screen will determine how your Force hardware’s wireless connection works, so you can use

Ableton Link, a new technology that synchronizes beat, phase and tempo of Ableton Live and Ableton Link-enabled applications over a wireless or wired network. These settings are available only for Force when used in Standalone

Mode.

To activate or deactivate wireless connectivity on your Force hardware

, tap the

On

/

Off

selector. The available wireless networks will appear in the panel below it.

To select a wireless network

, tap it.

To connect to a selected wireless network

, tap

Connect

. If the Wi-Fi network is password-protected, use the virtual keyboard that appears to enter the correct password to connect to it.

To view the information of a selected wireless network

, press and hold

Shift

and tap

Info

. The

Network

Information

window that appears will show the network name, IPv4/IPv6 address (including the subnet mask and gateway), type of security, and signal strength (as a percentage).

To disconnect from a connected wireless network

, tap

Disconnect

.

To clear the connection information

(e.g., the password)

from a selected wireless network

, tap

Forget

.

62

Bluetooth

The settings on this screen will determine how your Force hardware’s Bluetooth connection works, so you can use

Bluetooth MIDI controllers (e.g., LPD8 Wireless or LPK25 Wireless) or a Bluetooth computer keyboard with it. These settings are available only when used in Standalone Mode.

To activate or deactivate Bluetooth connectivity on your Force hardware

, tap the

On

/

Off

selector. The available

Bluetooth devices will appear in the panel below it under

Available Devices

. The Bluetooth devices that have already paired to your Force hardware will appear under

Paired Devices

.

To select a Bluetooth device

, tap it.

To pair a selected Bluetooth device

(in the Available Devices section), tap

Pair

.

To connect to a selected Bluetooth device

(in the Paired Devices section), tap

Connect

.

To disconnect from a connected Bluetooth device

(in the Paired Devices section), tap

Disconnect

.

To return an available Bluetooth device to its original state

, tap

Remove

.

Sequencer

The settings on this screen determine how sequencing works in the Event View and in the Step Sequencer.

Display Resolution

: This is the display resolution (in PPQN—pulses per quarter note) of pulse values in certain areas of the operating system. Please note that this setting affects the display resolution, not the timing.

Record Pad Aftertouch Events

: When enabled, pad aftertouch data (from the Force hardware’s pressure-sensitive pads) will be recorded. When disabled, pad aftertouch data will be ignored.

Place Events Recorded During Count-In at Start Point

: When enabled, pressing a pad during the recording’s pre-count will record that note event at the start of the recording (this is how the MPC3000 worked). When disabled, no notes will be recorded until the pre-count is finished and recording has begun.

Note

: This setting is ignored when recording with the Arpeggiator active.

Recording Note Length:

This determines if/how events are cropped if they exceed the length of the current Clip when recording:

Truncate to Clip Length

: If the length of an event exceeds the length of the clip, it will be truncated. This ensures that the event will not overlap itself when the clip loops.

Truncate to Clip End

: If an event exceeds the length of the clip, it will be truncated to the end of the current clip. In other words, the event will stop playing when the clip ends or loops.

As Played

: Events will play back exactly as they were recorded, even if they overlap themselves when the clip loops.

Bar 1 2 3 4 5 6 7 8

For example, if you record a note starting on the second bar of a 4-bar loop and hold it for 5 bars, the note would end: at bar 7 (As Played), at bar 6 (To Clip

Length), or bar 4 (To Clip End). See image for details.

As played

To Clip Length

To Clip End

Playback Note Length:

This determines if/how events are cropped if they exceed the length of the current Clip during playback:

As Recorded:

Events will play back exactly as they were recorded, even if they overlap themselves when the clip loops.

Truncate to Clip Length

: If the length of an event exceeds the length of the clip, it will be truncated. This ensures that the event will not overlap itself when the clip loops.

Knob Swing Control Applies TC Settings on Release

: When enabled, turning the knob assigned to

Swing

and then releasing it will immediately apply that Swing setting. When disabled, you must use the Timing Correct window to apply the Swing setting.

63

Sync

The settings on this screen determine how your Force hardware synchronizes with connected USB and MIDI devices.

Receive

: This determines whether your Force hardware receives MIDI Clock information (

MIDI Clock

), MIDI Time Code information (

MIDI Time Code

(

MTC

)), communication from Ableton Link (

Ableton Link

), or none of these (

Off

).

Receive MMC

: When enabled, your Force hardware will be able to receive MIDI Machine Control (MMC) information.

When disabled, your Force hardware will not receive this information. See

Appendix

>

MIDI Machine Control

(

MMC

)

to learn about this.

Send

: This determines whether your Force hardware sends MIDI Clock information (

MIDI Clock

), MIDI Time Code information (

MIDI Time Code

(

MTC

)), or neither (

Off

).

Send MMC

: When enabled, your Force hardware will be able to send MIDI Machine Control (MMC) information. When disabled, your Force hardware will not send this information. See

Appendix

>

MIDI Machine Control

(

MMC

)

to learn about this.

MTC Frame Rate

: This determines the frame rate used by MIDI Time Code (MTC), which is important for correct timing, especially when working on film scoring projects. In most cases, you should select

25

.

Start Time

: This is the starting time that will be sent when

Send MIDI

is set to anything other than

Off

. The time is formatted in

hours

:

minutes

:

seconds

:

frames

.

Send Port 1

: These are the MIDI ports over which MIDI Clock or MTC information will be sent.

Hardware

The settings on this screen determine the behavior of your Force hardware’s pads and touchscreen.

Empty Slots:

This determines how the clip launch pads appear when no clip is loaded.

Track Select Buttons:

This determines the behavior of the Track Select buttons

Pad Threshold

: This determines how much force is required to strike the pads for them to trigger.

Pad Sensitivity

: This determines how the pads respond to touch. At lower values, you need to use more force to generate a high-velocity note. At higher values, it is easier to generate high-velocity notes, even if you do not use much force while pressing a pad.

MIDI

Velocity

Pad Curve

: This determines how striking the pads translates into velocity values. The

A

curve is essentially linear, while the

B

,

C

, and

D

curves are exponential (see graphic here).

Velocity

&

Aftertouch

: View these meters when striking and pressing the pads to help gauge the force and pressure you are applying to them. These meters are useful when adjusting the Pad Threshold and Pad Sensitivity parameters (above).

Applied

Force

Screen Dimming

: This determines how much time must pass before your Force hardware automatically dims its touchscreen.

Screen Brightness

: This determines the brightness of the screen during normal operation: normal brightness (

Day

) or dimmed (

Night

).

Date

: This is the current date, formatted as

Month

/

Day

/

Year

. When saving files on Force in Standalone Mode, the file will include the current date in its metadata.

Time

: This is the current time, formatted as

Hour

:

Minute

. When saving files on Force in Standalone Mode, the file will include the current time in its metadata.

Time Zone

: This is the current time zone, formatted as

Continent

/

City

, which you can change here.

Ethernet:

This is the settings for connecting to the internet using the

Link

port:

Tap the

Enabled

box to establish to a wired internet connection.

Address Method:

This determines how Force will connect using Ethernet. Select

Automatic

to have Force set the Ethernet connection, or

Manual

to set it yourself. When setting the Ethernet connection manually, tap the

IP

Address

,

Subnet Mask

,

Gateway

, and

DNS

fields to input the values.

64

Project Defaults

The settings on this screen determine various default values for any new project that you create.

New Project Dialog

: This determines what options you see when you start a new project. When set to

Off

, a new project will be empty with no preconfigured settings except for the project defaults shown here. When set to

Demo

, you can choose to load a demo project (from several different genres) as a starting point or an empty project. When set to

Demo

/

Template

/

Recent

, you can choose to load a demo project, a project template file, or an empty project. You must have a project in the

Template File

field of the

Project Load

/

Save

tab to select a template in this window.

Default Tempo

: This is the default tempo in BPM.

Default Pad Slice

: This determines how new samples will play when you load them or record them into a project.

When set to

Pad

, the

Slice

menu in Track Edit Mode will be set to

Pad

, which lets you set the start point, end point, etc. for the layer. When set to

All

, the

Slice

menu in Track Edit Mode will be set to

All

, in which the entire sample plays.

Default Drum

/

Keygroup Filter

: This determines the default type of filter that drum and keygroup tracks will use.

See

Appendix

>

Glossary

>

Filter

to learn about this.

Default Plugin Synth

: This determines the default instrument plugin that a new plugin track will use. Use the window that appears to select it.

Project Load

/

Save

The settings on this screen determine if (and how) projects are automatically saved.

Auto Save Enabled

: When enabled, your project will automatically save after each

Timeout

interval. When disabled, your project will not be automatically saved; you may save only manually.

Timeout

: Use this field to select how often your project will automatically save.

Template File

: Use this field to select a project template that will load automatically when you select

User

Template

in the

New Project Dialog

window. (If you select the

Save as Template

box when saving a file, it will be shown in this field.) In order for the

User Template

option to be available,

New Project Dialog

(in the

Project

Defaults

tab) must be set to

Demo

or

Demo

/

Template

/

Recent

.

Record/Export

The settings on this screen determine the settings for recording and exporting audio.

Recording Bit Depth:

This determines the bit depth of recorded audio.

General

The settings on this screen determine how other features work in the hardware and operating system.

Tap Tempo

: This determines how many times you have to press the

Tap

button before the new tempo is recognized.

Flash Tap Tempo Light

: When enabled, the

Tap

button’s light will flash in time with the tempo. When disabled, the

Tap

button’s light will be off.

Filter

All Notes Off

CC

: When enabled, “All Notes Off” (“MIDI panic”) messages will be ignored. This is useful if you are using an external MIDI device that can send these types of messages but you want to filter them out. When disabled, “All Notes Off” messages will be received normally.

Vintage Mode

: This determines the type of emulation applied to the audio output. You can apply the particular sonic qualities of, for example, the

MPC3000

or

MPC60

, or of course no emulation (

None

).

Audition Auto Play

: This determines how long a sample will sound when auto-previewing it.

65

Sync

Audition Outputs

: This determines which pair of outputs will play any auditioned sounds. These sounds include: samples, tracks, and projects in the Browser; sample playback,

Cue Preview

, and

Slice Preview

in Sample Edit

Mode; and sample playback in the

Keep or Discard Sample

window in the Sampler.

Cue Preview

: This determines if/how audio is played as you move the cue playhead. As you move the cue playhead through a sample waveform, you can set it to play the small part of the sample before the cue playhead (

Before

), play the small part of the sample after the cue playhead (

After

), or not play at all (

Off

). You can also set this in

Sample Edit Mode (see

Modes

>

Sample Edit Mode

>

Settings

).

Slice Preview

: This determines if/how audio is played as you move a slice marker. As you move the slice marker through a sample waveform, you can set it to play the small part of the sample before the slice marker (

Before

), play the small part of the sample after the slice marker (

After

), or not play at all (

Off

). You can also set this in Sample Edit

Mode (see

Modes

>

Sample Edit Mode

>

Settings

).

Audio Warp Algorithm

: This determines how a sample is “warped” when you adjust the length of a sample without changing its pitch (e.g., the

Warp

function in Audio Region Edit Mode for audio tracks or in Track Edit Mode for clip tracks).

Note

: The Warp algorithms are very CPU-intensive and can result in audio drop-outs during playback if used too freely. Be mindful of how (and how often) you use the warp function. You can reduce the CPU resources required by using the

Basic

warp algorithm, which is less CPU-intensive.

Audio Track Auto Warp

: This determines how recorded audio track regions are warped. When set to

On

, any audio track region that you record will be warped automatically to match the current project tempo. You can then adjust the project tempo while the audio track region remains in time.

Note

: When you record an audio file, the current project tempo will be embedded with it. This information is stored within the sample file when you save the project. When you warp an audio track region, the warping algorithm uses this project tempo and the current value in the

BPM

field to generate the “stretch factor.”

BPM Auto Detection:

This enables automatic detection of BPM from loaded samples.

BPM Detection Range

: This defines the range of detectable BPM values when you use any automatic BPM detection function in the software or when you press the

Tap

button to enter a new tempo.

Tap the

Sync

field (in the center of the top of the screen) and then turn the

data dial

or use the

/

+

buttons to set whether your Force hardware receives MIDI Clock information (

MIDI Clock

), MIDI Time

Code information (

MTC

), communication from

Ableton Link

, or none of these (

Off

). Alternatively, double-tap

Sync

and tap the desired option to select it.

This is the same setting as the

Receive

menu in

Sync

tab of your

Preferences

. See

Preferences

>

Sync

for more information.

Note

: Ableton Link is a new technology that synchronizes beat, phase and tempo of Ableton Live and Ableton Link-enabled applications over a wireless or wired network. See

Preferences

>

Wi-Fi

or

Preferences

>

Hardware

>

Ethernet

to learn how to connect to a network.

Mode

Tap this icon to switch Force to Computer Mode. In the screen that appears, select whether you want to continue to

Computer Mode

or

Cancel

and return to your current mode and project. It is recommended to save your project before switching to Computer Mode since you cannot freely switch between

Standalone and Computer Modes without also closing your current project.

See

Standalone vs. Computer Mode

to learn more.

66

System Resources

Tap one of these icons to show the System Resources window for Force.

The indicators in this window show current usage statistics:

CPU

: The

CPU

indicator shows the current

CPU

as a percentage.

RAM Usage

: The

Mem

indicator shows your Force hardware’s current RAM usage.

Important

: If you encounter a warning that there is not enough memory to complete an action while using your

Force hardware, do the following to make more memory available:

Make sure all audio tracks in your project are

not

record-armed.

Delete samples from your project’s sample pool that were there before the warning appeared.

If you are still seeing the warning, do the following:

1.

Manually

undo the last action you performed before seeing the warning (you may not be able to use the

Undo

button for this due to how the undo history is stored in RAM).

2.

Save your project.

3.

Do one of the following, and then load your saved project again.

In

Main Mode

, tap the

folder icon

at the top of the screen, and then tap

New

at the bottom of the screen.

Power your Force hardware off and then on again.

Press

Menu

and then tap the

gear icon

to open the

Preferences

. In the Preferences, tap

Reset

at the

bottom of the screen, tap

OK

, and then tap

Restart

to reset the Preferences.

Enter Computer Mode and then reenter Standalone Mode.

Important

: Although you can load multiple files at once, any samples you load into a project will be automatically converted to full-quality uncompressed audio files, so they may use more storage space than they do on your external storage device. If you are unable to load multiple files at once due to this, select fewer files and try again.

Drives

: The

Drives

indicator shows the available storage space on any detected external storage devices or the internal drive of Force.

To delete samples from the project

(to create more free RAM space for sampling time, audio recording, etc.), tap

Purge

. In the screen that appears, tap

Unused Samples

to delete all unused samples from the project, tap

All Samples

to delete all samples from the project (from all kits, audio or MIDI tracks), or tap

Cancel

to return to the previous screen.

To close the System Resources window

, tap

OK

, the

X

in the upper-right corner, or anywhere outside the window.

67

Timing Correct

(

TC

)

The

Timing Correct

window contains various settings to help quantize the events in your project. You can quantize note events on MIDI tracks or track regions on audio tracks (though you cannot apply all types of quantization to audio tracks).

To open the Timing Correct settings:

Press and hold

Shift

and press the track 6

Track Assign

button.

In

Step Sequencer Mode

or

Clip Edit Mode

, tap

TC

at the bottom of the screen.

In

Event Edit Mode

or

Audio Region Edit Mode

, press and hold

Shift

and tap

TC

at the bottom of the screen.

In

List Edit Mode

, tap

TC

at the top of the screen.

To apply the settings you selected

, tap

Do It

.

To cancel and return to the previous screen

, tap

Close

.

Use the

Type

selector to set how timing corrections are applied.

Start

: The start points of note events or audio track regions will be extended or shortened to align with the closest time division marker in the grid. The end points will remain untouched. You can apply this to MIDI tracks or audio tracks.

End

: The end points of note events will be extended or shortened to align with the closest time division marker in the grid. The start points will remain untouched. You can apply this to MIDI tracks only.

Length

: The end points of note events will be extended or shortened so that each event’s length is a multiple of the time division, regardless of where it is in the grid. The start points will remain untouched. You can apply this to MIDI tracks only.

Legato

: The end points of note events will be extended or shortened to create a long, unbroken phrase from the first note event’s start point to the last note event’s end point. Each note event will sustain until another note event starts. If multiple note events start at the same time (and are not the last note events), their lengths will become identical. Selecting

Legato

disables all other options in this window. You can apply this to MIDI tracks only.

Without legato applied. With legato applied.

68

Use the

Time Division

selector to set the quantization value. Events will “snap” to these time divisions on the grid. The

T

indicates a triplet-based value.

Use the

Swing

field to set the amount of swing from

50%

to

75%

. Swing lets you “shuffle” your beats—from subtle to extreme.

Use the

Shift Timing

field to shift all events by clock ticks.

Use the

Window

field to set how many events around a quantize value will be quantized. Any events outside this range will not be quantized; events inside will.

Use the

Strength

field to set how strictly events will be quantized (i.e., shifted toward the quantize value). Lower values move events a little bit towards the closest quantize value, resulting in a less mechanical feel than a strict quantization (a higher value).

Use the

Events

selector to set the target range for the time correction.

You can apply the time correction to

All

note events or to just the

Selected

ones.

To select note events to which to apply time correction, either use the various tools in Event View or Region View or press the pad with the desired events (while

Hitting Pad Selects All Events

is set to

On

).

You must do this

before

opening the Timing Correct window.

When

Range

is selected, you can define the locations (

From

and

To

) as well as the pads or keys that will be quantized.

69

Metronome

(

Click

/

Metro

)

The

Click

/

Metro

window contains all settings regarding the metronome (click track).

To open the metronome settings

, press and hold

Shift

and press the track 5

Track Assign

button.

Use the

Count-In

field to set if/when the metronome counts before recording.

Off

disables the metronome pre-count.

Record

enables the pre-count during recording only.

Record + Play

enables pre-count in both Record and Playback Modes.

Use the

Enable

field to set if/when the metronome is enabled.

Off

disables the metronome.

Play

enables the metronome sound during playback only.

Record

enables the metronome sound during recording only.

Record + Play

enables the metronome to happen in both Record and Playback Modes.

Use the

Rate

field to select the metronome click’s time division:

1

/

4

,

1

/

4T

,

1

/

8

,

1

/

8T

,

1

/

16

,

1

/

16T

,

1

/

32

or

1

/

32T

.

T

indicates a triplet-based time division.

Use the

Sound

field to select the sound that you want to hear for the metronome:

Sidestick 1

,

Sidestick 2

,

Clap

,

Metroclick

,

Shake

,

Tambourine

, or

Force Click

.

Use the

Volume

knob to set the volume of your metronome click.

Tap the

On

/

Off

button to enable or disable the metronome.

Use the

Output

field to set which pair of outputs will play the metronome click:

Out 1,2

,

Out 3,4

or an individual

Out

1

4

.

70

Automation

You can set the automation for individual tracks to be “written,” “read,” or disabled entirely by using the track automation button in the channel strip in the

Mixer

.

Tap the

track automation button

to cycle through its three states:

When

off

, the track will ignore automation data. If you have already recorded or entered automation, tapping this will switch between

Read

(

R

) and

Write

(

W

) only, but you can override this and turn it off by pressing and holding

Shift

while pressing or tapping the button.

Important

: If you have already recorded automation and turn it off, the track will still use the effect and its parameter values at the point where you turned it off.

When set to

Read

(

R

), the track will read automation data but will not record any additional automation over it. (Think of this as a protective feature to prevent accidental changes to your automation while recording.)

When set to

Write

(

W

), the track can record automation. (If you have any knobs assigned to automatable parameters, make sure not to touch any accidentally while you are recording.)

To quickly clear automation from a track:

1.

Make sure the track is selected by pressing and holding its

Track Select

button.

2.

Hold

Shift

and press the

Track 4 Track Assign

button, with

Clear Automation

written underneath.

3.

All automation on the track will be immediately removed.

Alternatively, you can delete individual automation events using

List View

in

Clip Edit Mode

.

71

Arpeggiator

Force includes a full-featured arpeggiator and phrase player for melodic track types, as well as traditional note repeat functionality.

To enable the arpeggiator,

press the

Arp

button.

To configure the arpeggiator setting,

hold

Shift

and press the

Arp

button to open the Arpeggiator window.

The

Setup

section of the Arpeggiator window sets what kind of arpeggiator will be used and its basic functions.

Use the

Action

field to set the type:

Arp

,

Note Repeat

,

Rhythm

and

Pattern

. See

below

for more details about

these types and their additional parameters.

Use the

Time Division

selector to set the note value of each arpeggiator step from

1/1

1/64

beats, including T

(triplet) variations. This parameter is not available when

Action

is set to

Pattern

.

Note:

This setting is tied to the project's Time Division setting, and will not function if Time Division has been set to

Off

.

Use the

Note Length

slider to set the length of the played note in each step, from

1

100%

.

Use the

Velocity

field to set the velocity of the arpeggiator notes. Choose

As played

,

From first note

,

Accented

,

Full

,

3/4

,

Half

or

1/4

.

Use the

Swing

field to set the amount of swing in the arpeggiator from

50%

to

75%

. Swing lets you "shuffle" your beats—from subtle to extreme.

72

The

Arp mode

section of the Arpeggiator window is available when the

Action

is set to

Arp

. When this action is selected, hold down a chord and the arpeggiator will play a pattern based on the notes held.

Use the

Pattern

field to set how the arpeggiator triggers the held notes.

Use the

Octaves

field to set how many octaves of the held notes the arpeggiator will cycle through.

Use the

Variation

field to apply rhythmic variation to the set pattern.

The

Rhythm

section of the Arpeggiator window is available when

Action

is set to

Note Repeat

or

Rhythm

. The Note Repeat action provides traditional MPC Note Repeat behavior. When the Rhythm arpeggiator action is selected, hold down a chord and the arpeggiator will play the held notes in a rhythmic pattern.

Use the

Spread

field to spread the timing of the held notes, creating a glissando effect.

Use the

Rhythm Pattern

field to choose the pattern played when notes are held. This is only available for the

Rhythm

action.

The

Pattern

section of the Arpeggiator window is available when the

Action

is set to

Pattern

. When this arpeggiator action is selected, hold down a single note to trigger a melodic phrase. As you change what note is held, the melodic phrase will be transposed.

Use the

Pattern

field to choose the pattern.

The

Settings

section of the Arpeggiator window offers additional options to control the arpeggiator.

If you have a sustain pedal connected, you can enable

Sustain

Pedal Latches

to use it to control latching.

Use the

Latch Mode

setting to set the action of the sustain pedal, either

Reset

or

Add

.

73

Effects

You can apply various effects to the pads, keygroups, tracks and master outputs, using

insert

and

send

/

return

effects.

This chapter can help you get a good overall understanding of how the effects work.

See

Appendix

>

Effects & Parameters

for a list of all available effects (with a brief description of each) and their editable parameters.

Overview

In a track, each

pad

or

keygroup

can have up to

four insert effects

applied to it. See

Insert Effects

>

Pads

or

Keygroups

to learn more about this.

An entire

track

can also have up to

four insert effects

applied to it, as well. See

Insert Effects

>

Tracks

to learn more about this.

Additionally, each

pad

,

keygroup

, and

track

can each be sent to (up to)

four return channels

, each of which can have up to

four insert effects

of their own. Their audio will be routed through the insert effects on those returns, and the processed audio will be sent to a master output. See

Send

/

Return Effects

to learn more about this.

Finally, you can apply up to

four insert effects

to each master output (a stereo pair of channels:

Outputs 1

/

2

or

Outputs 3

/

4

). See

Insert Effects

>

Masters

to learn more about this.

There are three other modes that handle effects differently:

The

Sampler

can use up to

four insert effects

, which are applied to the audio as you record it. This means that

the effects cannot be “removed” from the sound later. Learn more about the Sampler in the

Modes

>

Sampler

chapter.

Similarly, the

Looper

can use up to

four insert effects

, which are applied to the audio as you record it. This

means that the effects cannot be “removed” from the sound later. Learn more about the Looper in the

Modes

>

Looper

chapter.

In

XYFX Mode

, the effects act like a single insert effect on that track. In fact,

XYFX

is the name of the insert effect you have to load to the track before you can use this mode. Learn more about XYFX Mode in the

Modes

>

XYFX Mode

chapter.

74

To view, load, edit, or clear effects

, tap the area under the

Inserts

field. This usually appears in a channel strip (next to a

level slider

and

pan knob

).

When viewing loaded effects, you will see this window:

To select an effect

, use the field for each insert slot. A window

(described below) will appear.

To edit the parameters of a loaded effect

, tap the

pencil icon

next to the insert slot.

To clear the insert slot

, tap the

trash can icon

next to it.

To enable or disable an effect slot

, tap the

On

/

Off

button next to it.

To disable all four effect slots

, tap the

All On

/

All Off

button in the upper-right corner. Tap it again to reactivate the previously active effects.

When selecting an effect, you will see this window:

To move through the list

, swipe up or down. Alternatively, use the

data dial

or

/

+

buttons.

To sort or unsort the effects by type or manufacturer

, tap

Type

or

Manufacturer

in the lower-left corner.

To load an effect

, double-tap it. Alternatively, tap

Select

or the

data dial

.

To cancel

, tap

Close

or anywhere outside the list.

When you edit an effect, you will see this window:

To adjust a parameter

, tap and drag its slider. Alternatively, use the

data dial

or

/

+

buttons.

To make finer adjustments

, doubletap the pad and adjust the larger version of the slider that appears.

Tip

: Set the

Knobs

to

screen mode

to quickly adjust the corresponding parameters.

To select another page of parameters

, tap tabs at the bottom of the screen.

To enable or disable the effect

, tap the

On

/

Off

button in the upper-right corner.

To edit parameters for another insert effect on the same pad, track, etc.

, tap the

Insert -/+

buttons at the top of the screen.

To close the window

, tap

Close

or the upper part of the screen.

75

Insert Effects

Pads

You can load up to four insert effects to each pad. You can do this in the Pad Mixer or Track Edit Mode.

Tip

: When using pad insert effects, they will be applied to the selected pad only. This means that you could apply unique combinations of effects to each pad within a kit. If you want to apply the same effect to all pads, do this with a track insert effect (see

Insert Effects

>

Tracks

).

To load a pad insert effect in the Pad Mixer

:

1.

Tap the

Inserts & I/O

tab at the bottom of the screen.

2.

Press the desired

pad

to select it, or tap it on the screen. Swipe your finger to the left to scroll through the banks of pads.

3.

Tap an insert slot to open the effects window and use it to load or edit effects.

To load a pad insert effect in Track Edit Mode

:

1.

While using the desired track, press the desired

pad

to select it.

2.

Tap the

Effects

tab in the lower-right corner, and use it to load or edit effects.

76

Keygroups

You can load up to four insert effects to each keygroup. You can do this in the Pad Mixer or Track Edit Mode.

Important

: When using keygroup insert effects, they will be applied to that keygroup only. Keep this in mind if you load insert effects to multiple keygroups with overlapping note ranges—the effects will overlap in that range as well.

To load a keygroup insert effect in the Pad Mixer

:

1.

Tap the

Inserts & I/O

tab at the bottom of the screen.

2.

Tap an insert slot to open the effects window and use it to load or edit effects.

To load a keygroup insert effect in Track Edit Mode

, tap the

Effects

tab at the bottom of the screen and then use the screen that appears to load or edit effects.

Important

: Remember that the effect will be applied to that keygroup only.

77

Tracks

You can load up to four insert effects to each track. You can do this in the Mixer or XYFX Mode.

Note

: In XYFX Mode, the effects act like a single insert effect on that track. In fact,

XYFX

is the name of the insert effect that is loaded when use this mode.

To load a track insert effect in the Mixer

:

1.

Tap the

Inserts & I/O

tab at the bottom of the screen.

2.

Tap an insert slot to open the effects window and use it to load or edit effects.

To load XYFX for a track in XYFX Mode

:

1.

Select the desired track in another mode, and then enter XYFX Mode.

2.

If you have not yet used XYFX Mode for this track, tap

Insert XYFX

on the screen to load it and show the XY pad.

Note

: If you already have four insert effects loaded, you will need to clear one of the insert effect slots before doing this.

If you have already used XYFX Mode for this track, the XY pad will appear.

3.

Tap

XYFX Location

in the upper-left corner, and select

Track

.

4.

If the

Setup

panel is not shown, tap

Setup

in the lower-right corner to show it.

5.

Use the

Preset

field to load an effect. Use the controls below the

Preset

field to edit the effect.

78

Masters

You can load up to four insert effects to each master output (a stereo pair of channels:

Outputs 1

/

2

or

Outputs 3

/

4

).

You can do this in the Mixer.

To load a master insert effect in the Mixer

:

1.

Press the

Master

button to show the Returns and Master Outputs in the Mixer.

2.

Tap the

Inserts & I/O

tab at the bottom of the screen.

3.

Tap an insert slot to open the effects window and use it to load or edit effects.

79

Send

/

Return Effects

Send/return effects work in the following way:

1.

A

pad

or

drum

,

keygroup

,

plugin

or

audio track

sends its audio to a

return

at a designated

send level

.

2.

That audio is processed by the effects on the return. Each return can have up to

four insert effects

loaded and activated.

3.

The processed audio is sent to a pair of master outputs (stereo) or a single master output (mono).

You can load send/return effects and set return levels only in the Track Mixer, described below. The rest of this section describes the different ways to set the desired send levels for pads or tracks.

To load a send

/

return effect to a return

:

1.

In the Mixer, press the

Master

button on the hardware to show the

Returns

and

Master

.

2.

Tap the

Inserts & I/O

tab at the bottom of the screen.

3.

Tap an insert slot to open the effects window and use it to load or edit effects.

To set the return level

:

1.

In the Mixer, press the

Master

button on the hardware to show the

Returns

and

Master

.

2.

Tap the

Volume

or

Volume & Pan

tab in the lower-left corner.

3.

In the touchscreen, tap the

track

that corresponds to the desired return.

4.

To adjust the level of the currently selected return

, use the

data dial

or

/

+

buttons. Alternatively, use the

level slider

in the channel strip.

To make finer adjustments

, double-tap the

track

on the screen and adjust the larger version of the slider that appears.

80

Pads

You can set the send levels for individual pads in Track Edit Mode or the Pad Mixer.

To set the send levels for a pad in Track Edit Mode

:

1.

While editing the desired clip in Track Edit Mode, press the desired clip launch

pad

to select it.

2.

Tap the

Effects

tab in the lower-right corner.

3.

Use the

Send

knobs to set the send level for each return.

To set the send levels for a pad in the Pad Mixer

:

1.

Tap the

Sends

tab at the bottom of the screen.

2.

Press the desired

pad

to select it, or tap it on the screen.

3.

To set the send level

, use the

data dial

or

/

+

buttons.

To make finer adjustments

, double-tap the

knob

on the screen and adjust the larger version of the knob that appears.

81

Keygroups

You can set the send levels for keygroups in Track Edit Mode or the Pad Mixer.

To set the send levels for a keygroup in Track Edit Mode

:

1.

While using the desired track, press the desired

pad

to select its keygroup. Alternatively, use the

Keygroup

field at the top of the screen.

2.

Tap the

Effects

tab in the lower-right corner.

3.

Use the

Send

knobs to set the send level for each return.

To set the send levels for a keygroup in the Pad Mixer

:

1.

Tap the

Send

tab at the bottom of the screen.

2.

Press the desired

pad

to select its corresponding keygroup, or tap it on the screen.

3.

To set the send level

, use the

data dial

or

/

+

buttons.

To make finer adjustments

, double-tap the

pad

on the screen and adjust the larger version of the knob that appears.

82

Audio and Plugin Tracks

You can set the send levels for audio and plugin tracks in the Mixer only.

To set the send levels for an audio or plugin track

:

1.

Tap the

Send

tab at the bottom of the screen.

2.

In the touchscreen, tap the

send knob

in the desired track.

3.

To set the send level

, use the

data dial

or

/

+

buttons.

To make finer adjustments

, double-tap the

pad

on the screen and adjust the larger version of the knob that appears.

83

Plugins

Force includes four new plugins from AIR Music Technology to help you get started making music right out of the box.

To learn more about plugin tracks, see

Operation

>

General Features

>

Tracks

>

Plugin Tracks

.

Bassline

The AIR Bassline plugin emulates the sound of classic mono synths, with a contemporary twist.

Osc / Filter / Envelope

Use this tab to adjust the settings for the oscillators, as well as their filter and envelope settings.

Parameter Description Value Range

Oscillator Waveform Continuously variable waveshape for the oscillator. Saw Octave, Saw, Square, Sine

0–100%

Fifth Amount of fifth-oscillator.

Start Phase Position of the waveform when a note is triggered.

0–100%

Free, 0 degr., 180 degr.

10.0 ms – 2.00 s

Boost to the next note played.

Boosts the signal of the oscillator.

Freq. frequency of the boost.

0.0 dB – 48.0 dB

* 1.0 – * 240.0

Gain 100–0%, Off, Frequency

0–100%

Filter LP Cutoff

Reso section.

Adjust

Gain

to control the amount of boost.

Adjust

Frequency

to control the width of the boosted frequency.

Cutoff frequency for the low-pass filter.

Resonance of the filter.

Filter Envelope of the filter.

At negative values, decreases the cutoff value based on the filter decay value.

At positive values, increases the cutoff value based on the filter decay value.

HP Cutoff Cutoff frequency for the high-pass filter.

20.0 Hz – 20.0 kHz

0–100%

-100% – 0 – 100%

10.0 Hz – 500 Hz

Envelope Amp Attack

Amp Decay

Filter Decay

Length of time for the note to reach full volume.

Length of time for the filter to reset after being released.

100–0% Soft to 0–100% Hard

Length of time for the note to reach the sustained volume.

0–100%

0–100%

0–100% envelope.

84

Velocity / Master / Chorus

Use this tab to adjust the Velocity Control settings, Master volume. You can also apply and adjust the settings for the built-in Chorus effect.

Parameter Description Value Range

Velocity

Master

Amp Control

Filter Control

Boost Control

The amount of effect velocity has on amplitude control.

The amount of effect velocity has on filter control.

The amount of effect velocity has on boost control.

0–100%

0–100%

0–100%

Sets whether the envelope will retrigger when a note is played while another note is being held.

Off, On

Master Volume Sets the volume level.

Drive Type Choose one of two drive algorithms.

-inf dB – +6.0 dB

Overdrive, Clip

0–100%

0–12

Chorus

Bend Range

Rate

Depth

Number of semitones up or down controlled by MIDI pitch bend messages

Modulation speed of the chorus effect.

Modulation depth of the chorus effect.

Mix Wet/dry amount of the chorus effect.

Delay

On/Off Enables or disables the effect.

Use this tab to apply and adjust the settings for the built-in delay effect.

Parameter Description

0.40 Hz – 3.20 kHz

0–100%

0–100%

Off, On

Value Range

Time

Sync

Length of time of the delayed signal.

When

Sync

is set to

Free:

1 ms – 2.00 s

Set to

Free

to adjust

Time

When

Sync

is set to

Sync:

1/32 – 8/4 by milliseconds, or set to

Delay

Time

to the

Global Tempo

.

Sync

to match the

Free, Sync

Mix Wet/dry amount of the delay effect.

Feedback Amount of signal fed back into the delay line.

0–100%

0–100%

Damp

Reso

Center frequency of where the delay signal will be dampened.

Amount of resonance of the feedback signal.

Reso Freq Center frequency for feedback resonance.

Ratio

Reduces the delay

Time

in either the

Left

useful for creating offset, panned delays. or

Right

stereo field. This is

1.00 – 20.0 kHz

0–100%

100 Hz – 10.0 kHz

L 50:100, R 50:100

HPF

Width

On/Off

Center frequency for delay signal high-pass filter.

20.0 Hz – 1.0 kHz

Stereo width of delay signal. Higher values give wider stereo separation. 0–100%

Enables or disables the effect.

Off, On

85

Compressor / Hype

Use this tab to apply and adjust the settings for the built-in Compressor and Hype effects.

Parameter Description

Compressor Threshold

Hype

Mix

Knee

Attack

Release

On/Off

High

Low

On/Off

Value Range

Signal level after which the compressor will be applied. 0.0 – -60. dB

1.0:1 – 100.0:1

0.0 – +30.0 dB signal.

Wet/dry mix of the compressor effect.

0–100%

How gradually the compressor reacts as the threshold is reached.

Lower values apply a "soft" knee (compression is applied more slowly as signal approaches the threshold), and higher values apply a "hard" knee

(compression is immediately applied when the threshold is reached).

0–100%

Length of time to apply the compression.

Length of time for compressed signal to return to original level.

100 us – 300 ms

10 ms – 4.00 s

Enables or disables the effect.

Dampens or maximizes high end frequencies.

Dampens or maximizes low end frequencies.

Enables or disables the effect.

Off, On

-100 – 0 – +100%

-100 – 0 – +100%

Off, On

86

Electric

The AIR Electric plugin emulates the sound of classic electric pianos.

While viewing any of the tabs listed below, you can quickly enable or disable the

Bell

and

Noise

sounds, as well as the built-in effects

(

Tremolo

,

Tube

,

Chorus

,

Delay

and

Spring Reverb

).

When viewing a specific tab, you can enable or disable the sound or effect by pressing the circle in the upper-right corner of each section.

Pickup / Env

Use this tab to edit the settings for the emulated pickup and the sound envelope.

Parameter Description Value Range

Pickup Type

Height

Distance

Type of pickup emulated.

Height of the pickup to the tines.

Distance of the pickup to the tines.

Pickup, 0–100% Electro-

Static, 0–100% Electro-

Magnetic

0.0 – 5.0 mm

0.1 – 10.0 mm

Clip Amount of clipping applied to the signal.

Keytrack Ties the pickup parameters to the pitch being played.

At higher values, the

Distance

is increased as the pitch is increased.

0–100%

0–100%

Envelope Attack

Decay

Length of time for the note to reach full volume.

100–0% Hard,

0–100% Soft

100 ms – 20.0 s

Release

Peak Length

Keytrack

Length of time for the note to reach the sustained volume.

Length of time for the note to become silent after being released.

Length of time full volume is held before decaying.

Ties the envelope parameters to the pitch being played.

At higher values, the envelope time is decreased as the pitch is increased.

100 ms – 5.0 s

3 – 50 ms

0–100%

87

Bell / Noise

Use this tab to apply and adjust the settings for the Bell and Noise sounds.

Parameter Description Value Range

Bell Tune

Dry/PU

Volume

Tune Keytrack

Decay

Keytrack

Pitch of the bell sound, in semitones above the root pitch.

Mix of Dry versus Pickup signal for the bell sound.

Level of the bell sound.

0– 60 semitones

-100% – 0% – +100%

-inf dB – +6.0 dB

Ties the tuning of the bell sound to the pitches played. 0–100%

How long it takes for the bell sound to dissipate 100 ms – 7.0 s

Ties the amount of bell sound to the pitch being played.

At negative values, the bell sound is increased as the pitch increases.

At positive values, the bell sound is increased as the pitch decreases.

-100% – 0% – +100%

Noise Freq Center frequency of the noise effect 200 Hz – 16.0 kHz

Random 0–100%

Mix

Attack

Decay

Level of noise effect present -inf dB – +6.0 dB

Length of time for the noise effect to reach full level 1–50 ms

Length of time for the noise effect to dissipate

Keytrack

Freq

to the pitch being played.

Setup

Use this tab to adjust general settings for the plugin.

Parameter Description

100 ms – 3.00 s

0–100%

Value Range

Polyphony Number of voices available.

Master Volume Overall level of the plugin.

Velo Level

Velo Tone

Velo Attack

Adjusts how much incoming velocity is applied.

Ties the incoming velocity to tone.

At higher values, increased velocity increases tone brightness.

Ties the incoming velocity to the attack envelope.

At higher values, low velocities feature longer attack times.

1–16 Voices

-inf dB – +6.0 dB

0–100%

0–100%

0–100%

88

Trem / Tube / Chorus

Use this tab to apply and adjust the settings for the built-in Tremolo, Tube (Over Drive), and Chorus effects.

Parameter Description Value Range

Tremolo Rate Modulation speed of the effect.

When

Sync

is set to

Free:

0.25 – 13.00 Hz

Sync Sync the Tremolo run

Free

.

Rate

When

Sync

is set to

Sync:

8/4 – 1/16 to the

Global Tempo

or let it

Free, Sync

Mode

Pan

for stereo field modulation, or

Tremolo

for amplitude modulation.

Pan, Tremolo

0–100%

Tube Drive Amount of drive applied.

0–100%

-30.0 – 0.0 dB and the driven signal.

Chorus Rate

Time

Output Output level of the tube driven signal.

Modulation of the effect.

0–100%

-20.0 – 0.0 – +20.0 dB

0.40 – 3.20 Hz

0–100%

0–100%

Delay

Mix Wet/dry amount of the chorus effect.

Use this tab to apply and adjust the settings for the built-in Delay effect.

Parameter Description Value Range

Amount of time between the dry signal and the delayed signal.

When

Sync

is set to

Free:

1 ms – 2.00 s

Sync

Mix Wet/dry amount of the delay effect.

Feedback Amount of signal fed back into the delay line.

When

Sync

is set to

Sync:

Sync the Delay

Time

to the

Global Tempo

or set to

Free

to adjust

Time

by milliseconds.

1/32 – 8/4

Free, Sync

0–100%

0–100%

Damp

Ratio

Center frequency of where the delay signal will be dampened.

Reso Amount of resonance of the feedback signal.

Reso Freq Center frequency for feedback resonance.

Reduces the delay

Time

in either the

Left

useful for creating offset, panned delays. or

Right

stereo field. This is

HPF

Width

1.00 – 20.0 kHz

0–100%

100 Hz – 10.0 kHz

L 50:100, R 50:100

Center frequency for delay signal high-pass filter.

20.0 Hz – 1.0 kHz

Stereo width of delay signal. Higher values give wider stereo separation. 0–100%

89

Spring Reverb

Use this tab to apply and adjust the settings for the built-in Spring Reverb effect.

Parameter Description

Pre-Delay

Time

Mix

Diffusion

Width

Low Cut

Length of time between dry signal and reverberated signal.

Length of reverb tail.

Wet/dry amount of the reverb effect.

Rate of increasing density of reverb reflections.

At lower settings, the sound of individual reflections is more present.

At higher settings, reflections are more uniform.

Value Range

0 ms – 250 ms

1.0 – 10.0 s

0–100%

0–100%

Stereo width of reverb signal. Higher values give wider stereo separation. 0–100%

Center frequency for reverb signal low-cut filter.

20.0 Hz – 1.00 kHz

90

Hype

The AIR Hype plugin is a modern style dual-oscillator synthesizer that includes a wide variety of built-in effects for endless combinations of sound, as well as convenient macro controls for lightning-fast adjustments.

Macro

Use this tab to adjust the macro settings for the plugin. You can access the Effect on/off switches in all tabs.

Parameter Description

Macros

Value Range

These six macro controls are unique to each preset. Varies

Cutoff

Reso

Mod

Distortion

Delay

Reverb

Pumper

Amount of filter cutoff applied.

Amount of filter resonance applied.

Amount of modulation effect applied.

Amount of distortion effect applied.

Amount of delay effect applied.

Amount of reverb effect applied.

Amount of pumper effect applied.

0–100%

0–100%

0–100%

0–100%

0–100%

0–100%

0–100%

-inf – +6.0 dB

91

Filter / Amp

Use this tab to adjust the filter and amplitude envelope settings.

Parameter Description Value Range

Amp Envelope Attack

Decay

Sustain

Release

Velocity

Cutoff for the filter.

Filter Envelope Attack

Decay

Sustain

Release

Length of time for the filter to reach full level.

Length of time for the filter to reach sustain level.

Length of time for the filter to hold sustain level.

0–100%

0–100%

0–100%

Length of time for the filter to dissipate when released. 0–100%

Envelope 0–100%

Depth

0–100%

Velocity envelope.

Amp Spike Applies additional velocity to the amplitude attack.

Spike Decay Length of time for the Spike to decay.

0–100%

0–100%

Length of time for the note to reach full level.

Length of time for the note to reach sustain level.

Length of time for the note to hold sustain level.

0–100%

0–100%

Length of time for the note to dissipate when released. 0–100%

Amount of effect the note velocity has on the amplitude envelope.

0–100%

0–100%

0–100%

0–100%

0–100%

92

Effects 1

Use this tab to adjust the settings for the Low-Frequency Oscillator and Modulation, Distortion and Hype effects.

Parameter Description Value Range

LFO

Mod

Rate

Sync

Rate

Adjust

Mix

Distortion Drive

Hype

Bias

Output

Mix

Low

Lo-Mid

Hi-Mid

High

Speed of the low frequency oscillator.

When

Sync

is set to

1st Note

or

Each Note

Enables or disables LFO sync, and sets how it is synced when enabled.

: 0.03 – 30.00 Hz

When

Sync

is set to

Temp+Note

or

Tempo+Beat

: 8/4 – 1/64

Off, 1st Note, Each Note,

Tempo+Note,

Tempo+Beat

0–100%

Speed of modulation.

Length of time the wet signal is offset from the dry signal.

0.05 – 20.00 Hz

0.0 – 24.0 ms

Wet/dry mix of the modulation effect.

Amount of drive applied.

0–100%

0–100%

0–100%

Emulates amount of voltage sent to a tube power-amp. -100 – 0 – 100%

Output level of the distorted signal.

Wet/dry mix of the distortion effect.

0–100%

0–100%

Dampens or maximizes low end frequencies.

Dampens or maximizes low-mid frequencies.

Dampens or maximizes high-mid frequencies.

Dampens or maximizes high end frequencies.

-12.0 – +12.0 dB

-20.0 – +20.0 dB

-20.0 – +20.0 dB

-12.0 – +12.0 dB

93

Effects 2

Use this tab to adjust the settings for the Delay, Reverb, Compressor, Pumper and Limiter effects.

Parameter Description Value Range

Delay Time Amount of time between the dry signal and the delayed signal.

1/32 – 8/4

0–100%

0–100%

Mix signal.

Wet/dry amount of the delay effect.

L/R

Time

in either the

Left

or

Right

stereo field. This is useful for creating offset, panned delays.

Reverb Pre-Delay Length of time between dry signal and reverberated signal.

Time

Mix

Length of reverb tail.

Wet/dry amount of the reverb effect.

Compressor Threshold Signal level after which the compressor will be applied.

0–100%

L 50:100 – R 100:50

0.0 – 250.0 ms

0.0 – 30.0 s

0–100%

-30.0 – +10.0 dB

Attack Length of time to apply the compression.

1.0:1 – 20.0:1

0–100%

-20.0 – +20.0 dB

Pumper Rate signal.

Speed of the pumper effect.

Limiter Drive Amount of drive added after the limiter effect.

Bar, 1/2 – 1/32T

0–100%

0–100%

0.0 – 32.0 dB

94

Setup

Use this tab to adjust the plugin setup parameters.

Parameter Description

Setup Transpose

Tune

Master

MIDI Control

Mod Wheel Destination

Aftertouch

Mode

Del-Rev

LFO

Destination

Control LFO Sync

Glide Mode

LFO

Rate

Shape

Value Range

Transposition of the plugin, in semitones.

Fine tuning of the plugin, in cents.

-36 – +36

-100 – +100

0 ms – 32 s the next note played.

Enables or disables pitch gliding for all triggered notes or legato notes.

Off, Legato, On

Sets the plugin to polyphonic or monophonic

Level of the delay and reverb signals.

Overall level of the plugin.

Poly, Mono

-inf – +6.0 dB

-inf – +6.0 dB

Send Mod Wheel data to one of the following control destinations.

Pitch, Cutoff, Reso, Amp,

Pan

When

Destination

is set to

Pitch

: -12.0 – +12.0

When

Destination

is set to

Cutoff

,

Reso

,

Amp

or

Pan:

-100 – 0 – 100%

Ties the modulation to the Control LFO.

Off, On

Send Aftertouch data to one of the following control destinations.

Pitch, Cutoff, Reso, Amp,

Pan

0–100%

When

Destination

is set to

Pitch

: -12.0 – +12.0

When

Destination

is set to

Cutoff

,

Reso

,

Amp

or

Pan:

-100 – 0 – 100%

Ties the modulation to the Control LFO.

Off, On

Enables or disables Control LFO sync, and sets how the Control LFO is synced when enabled.

Speed of modulation of the Control LFO.

Off, First Note, Each

Note, BPM & Note, BPM

& Beat

When

Sync

is set to

First Note

or

Each Note

: 0.03 – 30.00 Hz

When

Sync

is set to

BPM & Note

or

BPM & Beat

: 8/4 – 1/64

Waveshape of the Control LFO.

Sine, Triangle, Sawtooth,

Square, S&H Random,

S&H Alternate, Random

Drift, Slow Drift

95

TubeSynth

The AIR TubeSynth plugin emulates the sound of classic vintage analog polysynths. TubeSynth is based on the highly acclaimed AIR

Vacuum Pro desktop synth plugin and also includes 5 integrated AIR effects.

Oscillator

Use this tab to adjust the settings for the two variable Oscillators and the Sub Oscillator.

Parameter Description Value Range

Oscillator 1 Octave

Fine

Coarse tuning of the oscillator by octaves.

The

Wide

setting provides additional

Fine

tuning controls.

Wide, 32', 16', 8', 4', 2'

Fine tuning of the oscillator by semitones.

When

Octave

is set to

Wide

: -70.00 – 0.00 – +70.00

When

Octave

is set to 32'–2': -12.00 – 0.00 – +12.00

Shape Waveshape of Oscillator 1 (continuously variable) Triangle, Saw, Square, Pulse

F-Env

Shape Amount of Filter Envelope output subtracted from or added to the value defined by the Osc 1

Shape

parameter.

-100 – 0 – +100%

Quad Enables or disables four-voice emulation for the oscillator.

Off, On

Detune

Quad

voices.

Oscillator 2 Octave Coarse tuning of the oscillator by octaves, all the way down to LFO speed.

Fine Fine tuning of the oscillator.

0–100%

LFO, 32', 16', 8', 4', 2'

When

Octave

is set to

LFO

: 0.01 – 20.00 Hz

When

Octave

is set to 32'–2': -12.00 – 0.00 – +12.00 semitones

Shape Waveshape of Oscillator 2 (continuously variable) Noise, Saw, Square, Pulse

F-Env

Shape Amount of Filter Envelope output subtracted from or added to the value defined by the Osc 2

Shape

parameter.

-100 – 0 – +100%

Sync Enables of disables syncing of Oscillator 2 to

Oscillator 1.

Off, On

Phase Position of the waveshape when the sound is triggered.

0–100%

0 – 360 degrees

Sub Oscillator Shape Waveshape of the sub oscillator (continuously variable).

Triangle, Saw, Square, Pulse

96

Mixer / Filter

Use this tab to control EQ for Oscillator 2, set the levels of the oscillators and effects, and edit the low-pass filter.

Parameter Description Value Range

Osc 2 EQ

Mixer

Gain

Keytrack

Osc 1

Osc 2

Sub Osc

Ring Mod

Drive

Amount of gain applied to the selected

Frequency

. -48 – 0 – +48 dB

25 – 10,000 Hz

Ties the EQ settings to the pitch being played

0–100%

0–100%

Level of Oscillator 1.

Level of Oscillator 2.

Level of the Sub Oscillator.

Level of Ring Modulation effect.

Level of Drive effect.

0–100%

0–100%

0–100%

0–100%

0–100%

LP Filter Cutoff Center frequency of the low-pass filter cutoff.

0–100%

0–100%

0 – 24 dB/oct frequency.

Env

Keytrack

Cutoff

to the pitch being played.

0–100%

Percentage of the envelope output subtracted from or added to the LP Filter

Cutoff

.

-100 – 0 – +100%

0–100%

97

Envelope

Use this tab to adjust the various envelope settings.

Parameter Description

Filter Envelope Attack

Decay

Sustain

Envelope 3

Release

Amp Envelope Attack

Decay

Sustain

Release

Start Level

Start Time

Length of time for the filter to reach full level.

Length of time for the filter to reach sustain level.

Level that a sustained note is held at, as a percentage of the maximum level.

Value Range

1.00 ms – 100 s

1.00 ms – 100 s

0–100%

Length of time for the filter to dissipate when released. 1.00 ms – 100 s

Length of time for the note to reach full level.

1.00 ms – 100 s

Length of time for the note to reach sustain level.

1.00 ms – 100 s

Level that a sustained note is held at, as a percentage of the maximum level.

0–100%

Length of time for the note to dissipate when released. 1.00 ms – 100 s

Initial velocity level of the envelope.

Length of time for the envelope to start.

0–100%

0–5000 ms

-100 – 0 – +100%

Destination

when a note is held.

-100 – 0 – +100%

Destination

when a note is released.

Off, Pitch, Osc 2 Pitch,

LFO 1/2 Rate, Osc1 Quad

Det., Osc 1/2 Shape, Osc

1/2 Level, Ring Level

98

LFO

Use this tab to adjust the settings for the low-frequency oscillators.

Parameter Description Value Range

LFO 1/LFO 2 Shape Waveshape of the low-frequency oscillator.

Sine, Square. Saw Up,

Saw Down, Pump, S&H,

Drift

LFO1:

Off, Pitch, Filter, Level,

Pan

LFO2:

Pitch, Osc 1/2 Shape,

Osc 1/2 Pitch, LPF, Quad

Detune, Osc 2 EQ Freq,

Osc 2 EQ Gain, Ring

Level

Rate Speed of modulation.

0–100%

0.00 – 20.00 s out,

No fade,

0.00 – 20.00 s in

Sync

Rate

to the

Global Tempo

or turn

Off

to adjust

Rate

by Hertz.

Off, On

Modulation Source

Destination

When

Sync

is

Off

: 0.01 – 20.00 Hz

When

Sync

is

On

: 8/4 – 1/32

Where the modulation signal is sent from.

Where the modulated signal is received.

Filter Env, Amp Env, Osc

1, Osc 2

Pitch, Osc 1/2 Shape,

Osc 1/2 Pitch, LPF, Quad

Detune, Osc EQ 2 Freq,

Osc 2 EQ Gain, Ring

Level

-100 – 0 – 100%

99

Setup

Use this tab to adjust plugin setup parameters.

Parameter Description

Controller Destinations

Velocity 1

Setup

Velocity 2

Modwheel

Aftertouch

Polyphony

Bend Range

Send Velocity data to one of the following control destinations.

Send Velocity data to one of the following control destinations.

Send Modwheel data to one of the following control destinations.

Send Aftertouch data to one of the following control destinations.

Value Range

Amp, Cutoff, Osc1

Shape, Osc2 Shape,

Osc1&2 Shape

0–100%

Amp, Cutoff, Osc1

Shape, Osc2 Shape,

Osc1&2 Shape

0–100%

Amp, Cutoff, Osc1

Shape, Osc2 Shape,

Osc1&2 Shape

-100 – 0 – 100%

LFO 1 Depth, Cutoff,

Osc1 Shape, Osc2

Shape, Osc1&2 Shape

-100 – 0 – 100%

Legato, Retrigger, 2, 3, 4 Number of allowable voices, and how voices are triggered.

Number of semitones up or down controlled by MIDI pitch bend messages

2–12 (semitones)

1.00 ms – 100 s

Glide All the next note played.

Enables or disables pitch gliding for all triggered notes, not just legato notes.

Off, On

0–100% applied when

Doubling

is enabled.

Doubling Enables or disables voice doubling.

Output Shape Amount of signal sent to a Tube Drive.

Width

Level

Stereo width of the audio signal. Higher values give wider stereo separation.

Overall output volume of the plugin.

Off, On

0–100%

0–100%

-inf dB – +12.0 dB

100

Chorus

Use this tab to apply and adjust the settings for the built-in Chorus effect.

Parameter Description Value Range

Rate Modulation the effect.

Delay Length of time the wet signal is offset from the dry signal.

Voices Number of voices used in the chorus effect.

LFO Wave Waveshape of the low-frequency oscillator for the chorus effect.

Depth

Width

Amount of pitch modulation of the effect.

Stereo width of the chorus effect. Higher values give wider stereo separation.

0.01 – 10.0 Hz

0.00 – 24.00 ms

3, 4, 6

Tri, Sine

0.00 – 24.00 ms

0–100%

Lo Cut

Time

Center frequency for the chorus low-cut filter.

Mix

Delay

Wet/dry amount of the chorus effect.

Use this tab to apply and adjust the settings for the built-in delay effect.

Parameter Description

20.0 Hz – 1.0 kHz

0–100%

Value Range

Length of time between the dry signal and the delayed signal.

When

Sync

is set to

Free:

1 ms – 2.00 s

Sync Enable to sync the Delay

Time

in milliseconds.

Time

to the

When

Sync

is set to

Sync:

1/32 – 8/4

Global Tempo

, disable to set the Off, On

Feedback Amount of delay signal fed back into the delay line.

Mix Wet/dry amount of the delay effect.

Damp

Reso

Center frequency of where the delayed signal will be dampened.

Amount of resonance of the feedback signal.

0–100%

0–100%

1.00 – 20.0 kHz

0–100%

Reso Freq Center frequency for feedback resonance.

Ratio Reduces the delay

Time

in either the

Left

useful for creating offset, panned delays. or

Right

stereo field. This is

HPF

Width

Center frequency for delay signal high-pass filter.

100 Hz – 10.0 kHz

L 100:50, R 50:100

20.0 Hz – 1.0 kHz

Stereo width of delay signal. Higher values give wider stereo separation. 0–100%

101

Reverb / Compressor / Hype

Use this tab to apply and adjust the settings for the built-in Reverb, Compressor and Hype effects.

Parameter Description Value Range

Reverb Mode

Time

Lo Cut

Hi Cut

Mix

Compressor Threshold

Hype

Mix

Knee

Attack

Release

High

Low

Type of reverb applied.

Length of reverb tail.

Center frequency for the reverb low-pass filter.

Center frequency for the reverb high-pass filter.

Wet/dry mix of the reverb effect.

Signal level after which the compressor will be applied.

Hall, Stadium, Room,

Abstract

0.4 s – +inf s

1 – 1000 Hz

1.0 – 20.0 kHz

0–100%

0.0 – -60. dB

0.0 – +30.0 dB signal.

Wet/dry mix of the compressor effect.

0–100%

1.0:1 – 100.0:1

How gradually the compressor reacts as the threshold is reached.

Lower values apply a "soft" knee (compression is applied more slowly as signal approaches the threshold), and higher values apply a "hard" knee

(compression is immediately applied when the threshold is reached).

0–100%

Length of time to apply the compression.

Length of time for compressed signal to return to original level.

100 us – 300 ms

10 ms – 4.00 s

Dampens or maximizes high end frequencies.

Dampens or maximizes low end frequencies.

-100 – 0 – +100%

-100 – 0 – +100%

102

Standalone vs. Computer Mode

Force can function in two ways:

Standalone Mode

and

Computer Mode

. By default, Force will power on in Standalone

Mode.

In Standalone Mode:

The Force hardware will

not

communicate with a computer over a USB connection.

Any files (projects, samples, etc.) that you save or load are in the internal hard drive on your Force or a connected USB drive or SD card.

In Computer Mode:

Force will communicate with a computer over USB connection.

Note:

Full Computer Mode support will be available in a forthcoming firmware update.

To enter Computer Mode:

1.

Make sure the

USB-B Port

on Force is connected to your computer.

2.

If Force is powered off, press the

power button

to turn it on.

3.

With Force in Standalone Mode, press

Menu

to open the Menu, and then tap the

computer icon

in the upper-right corner.

4.

When the

Enter Computer Mode

window appears, tap

Computer Mode

to continue. (If you tap

Cancel

, you can continue using Force in standalone mode.)

Looking for computer

may appear briefly on the display before your computer recognizes the USB connection as a controller.

While in Computer Mode, the display will show

Computer Mode

with a monitor icon and a button to return to

Standalone Mode.

To return to Standalone Mode:

1.

If Force is powered off, press the

power button

to turn it on.

2.

With Force in Computer Mode, press

Standalone

.

3.

A confirmation window will appear. Make sure that you have safely ejected all drives connected to Force, and then tap

Yes

to continue. (If you tap

Cancel

, you can continue using Force in computer mode.)

4.

Force will restart into Standalone Mode.

103

Modes

The Force hardware has a Menu page that lets you select any one of several modes. This chapter describes the various features and functions of each one.

Click a button below to skip directly to that chapter.

104

Matrix Mode

Matrix Mode gives you an overview of your tracks and clips.

To enter Matrix Mode

, do one of the following:

Press

Matrix

.

Press

Menu

, and then tap

Matrix

.

To create a new clip,

double-tap an empty clip slot.

To launch a clip,

tap an existing clip.

To launch a scene,

tap the scene launch icons on the far right of the display.

To add a new track

, tap the

+

icon at the top of the display. If your project already has 8 tracks, move the Matrix view to the right to show this icon.

To edit track settings,

double-tap the track name at the top of the display. See

General Features

>

Tracks

for more information on editing track settings.

To edit clip settings,

hold

Edit

and press a clip launch pad.

Use the

Name

field to rename the clip. Tap it and use the virtual keyboard that appears.

Use the

Color

field to set the clip color.

Use the

Launch Quantization

field to set the quantization amount for launching the clip.

Use the

Launch Mode

field to set the clip launch behavior. Select

Toggle

for the clip to start or stop with each successive press.

Select

Trigger

for the clip to start at the beginning with each press.

To move the current matrix display view,

use the

cursors

. To move the display by eight rows or columns at a time, hold

Shift

and use the

cursors

.

105

The clips in Matrix Mode will change appearance based on their current status:

Stopped, playback stopped

Stopped, playback active

(flashing)

Prepared to play

Prepared to record

Recording

Overdubbing

Playing Exiting recording

Prepared to stop

(flashing)

To open the Project Configuration window

, tap the upper left corner of the display where the BPM and Key are located. You can then do any of the following:

Use the

Tempo

field to set the project tempo. Use the

data dial

or

-/+

buttons to change the tempo, or double-tap the field to open the number pad. Alternatively, use the

tap tempo

button to set the tempo.

Use the

Note

and

Scale

fields to set the project key information.

Use the

Launch Quantization

field to set the global quantization amount for launching all clips.

Tap

Close

, the

X

or outside the window to close the Project

Configuration window and return to Matrix Mode.

To open the Record Configuration window,

hold

Shift

and press

Record

.

Check the

Write automation when recording

box to capture automation while recording.

Use the

Record Mode

field to set how recording is initiated. When set to

Pad

, tap any pad while the track is armed to begin recording. When set to

Pad and REC Button

, tap any pad while the track is armed to begin recording, or press the

Record

button to begin recording on the highlighted clip slot. When set to

REC Button then Pad

, first press the record button, then tap any pad to begin recording. This is the default mode when Force is powered on.

Check the

Fixed Length Recording

box to stop recording after the clip length set in the

Fixed Length (Bars)

field.

Leave unchecked to record for any desired clip length.

Use the

Record To

field to set the behavior when recording is completed, entering either

Overdub

or

Play

.

106

Step Sequencer

The Step Sequencer lets you create or edit clips by using the pads as “step buttons,” simulating the experience of a traditional step-sequencer-style drum machine.

This is available for MIDI tracks only, not audio tracks.

To enter the Step Sequencer

, press

Menu

, and then tap

Step Sequencer

. If you have not yet created a clip for the track, you will be prompted to do so.

Note:

Entering the Step Sequencer mode on the display will not also put the

clip launch pads

into their own Step

Sequencer pad mode. Press the

Step Seq

button to do so.

The top of the screen shows the track name and information as well as project and timing information.

The

Track

field shows the name of the current track.

Use the

BPM

field to adjust the tempo of the project.

The time counter at the top of the screen indicates the current playhead position.

107

To enter or delete steps in a clip

:

1.

Use the

Pad –

/

+

buttons at the bottom of the screen to select the pad whose steps you want to enter or delete. The current pad number is shown in the upper-left corner.

2.

Use the

Bar –

/

+

buttons at the bottom of the screen to select the bar of the clip whose steps you want to enter or delete. The current bar number is shown in the upper-left corner.

3.

Press the

pads

of your Force hardware, or tap a button at the bottom of the sequencer. Each pad corresponds to a step in the bar and will light with a color corresponding to its velocity.

For time divisions larger than 16, the bar’s steps will be represented by multiple pad banks. In this case, use the left and right arrows (

<

and

>

) by the step numbers (

1

16

,

17

32

, etc.) to change which steps are shown in the sequencer.

To adjust the velocities of the steps

, do any of the following:

Tap anywhere on the

velocity bar

of a step. The top of the velocity bar will jump to that point.

Use the

slider

on the right edge of the screen to increase or decrease the velocities of all steps.

Use the

Nudge <

and

Nudge >

arrows to shift each step left or right (respectively) one step. This is useful for experimenting with different rhythmic permutations.

Use the

slider

on the right edge of the screen to increase or decrease the velocities of all steps.

108

Use the

Flip Steps

button to switch which steps have notes entered and which do not have notes. Steps that previously had no notes will now have notes at full velocity (

127

). Steps that previously had notes will now be empty.

Tap

Presets

to show or hide the preset velocity controls. These controls let you manipulate and transform the velocities of the current bar in the clip.

The

first

button will apply ascending or descending velocities to the steps. Each time you tap it, it will cycle through these options:

The velocities will ascend to a single peak at the end of the bar.

The velocities will ascend to two peaks—one after each half of the bar.

The velocities will ascend to four peaks—one after each quarter of the bar.

The velocities will descend from a single peak at the start of the bar.

The velocities will descend from two peaks—one after each half of the bar.

The velocities will descend from four peaks—one at the start each quarter of the bar.

The

second

button will set the velocities of the steps to be at the maximum value (

127

) or minimum values

(

1

), depending on their position in the bar. Each time you tap it, it will cycle through these options:

The velocities of the first half of the bar will be set to

1

. The velocities of the second half will be set to

127

.

The velocities of the first and third quarters of the bar will be set to

1

. The velocities of the second and fourth quarters will be set to

127

.

The velocities of the first, third, fifth, and seventh eighths of the bar will be set to

1

. The velocities of the second, fourth, sixth, and eighth eighths will be set to

127

.

The velocities of the first half of the bar will be set to

127

. The velocities of the second half will be set to

1

.

The velocities of the first and third quarters of the bar will be set to

127

. The velocities of the second and fourth quarters will be set to

1

.

The velocities of the first, third, fifth, and seventh eighths of the bar will be set to

127

. The velocities of the second, fourth, sixth, and eighth eighths will be set to

1

.

109

The

third

button will apply ascending or descending velocities to the steps. Each time you tap it, it will cycle through these options:

Across the entire bar, the velocities will ascend to a peak and then descend from it.

In each half of the bar, the velocities will ascend to a peak and then descend from it.

In each quarter of the bar, the velocities will ascend to a peak and then descend from it.

Across the entire bar, the velocities will descend from a peak into a valley and then ascend back up to the peak.

In each half of the bar, the velocities will descend from a peak into a valley and then ascend back up to the peak.

In each quarter of the bar, the velocities will descend from a peak into a valley and then ascend back up to the peak.

The

fourth

button will swap the first half and second half of the bar. In other words, the first half of the bar will become a mirrored image of the second half, and vice versa.

The

fifth

button will invert the velocities of all steps with entered notes. The sum of the old and new velocities will equal

127

. The exception is a velocity of

127

or

1

as a step with a note cannot have a velocity of

0

.

Examples

:

Steps with velocities of

40

will now have velocities of

87

, and vice versa.

Steps with velocities of

75

will now have velocities of

52

, and vice versa.

Steps with velocities of

127

will now have velocities of

1

, and vice versa.

110

XYFX Mode

XYFX Mode turns the touchscreen into an XY pad where each axis represents the range of an effect parameter. As you move your finger on the XY pad, the current position will determine the current value of the two parameters. You can use this mode to create interesting effect automation on your tracks.

The effect you control in XYFX Mode acts like an insert effect on that track. In fact,

XYFX

is the name of the insert effect you have to load to the track before you can use this mode. Learn more about this in

General

Features

>

Effects

.

To enter XYFX Mode

, do either of the following:

Press

Menu

, and then tap

XYFX

.

Press and hold

Shift

and press

Navigate

.

When you first enter this mode in a project, you may be prompted to load XYFX to the track. Tap

Insert XYFX

to do this.

Note

: If you already have four insert effects loaded, you will need to clear one of the insert effect slots before doing this.

Use the

XYFX Location

field to select the signal to which the effects will be applied: the current track (

Track

) or a master output (a stereo pair of channels:

Output 1

/

2

or

Output 3

/

4

).

111

Touch or move your finger on the gridded part of the screen. A marker will follow your finger to indicate the current position. The X axis is the horizontal axis, increasing in value as you move right. The Y axis is the vertical axis, increasing in value as you move up. Each axis is labeled with its assigned parameter.

When an effect has a beat division parameter, the current division will be highlighted as an entire column.

Effects are differently colored for easy visual distinction: beat-synchronized effects are

blue

, while manually controlled effects are

green

.

XY Mode with a beat-synchronized effect.

While touching the

XY pad

, tap

Latch

in the lower-left corner to keep the marker on the XY pad even after you release it. The marker will remain there until you touch another part of the XY pad or until you tap

Latch

again.

Use the

Setup

button to show or hide the Setup panel, which controls how the XY pad behaves.

Use the

Preset

field to select the effect you want to use in XYFX Mode.

112

XY Mode with a manually controlled effect.

Use the

Attack

knob to set the length of the attack phase of the envelope, which is triggered when you touch the XY pad. In other words, this determines how long it takes the effect to fully respond to your touch.

Use the

Release

knob to set the length of the release phase of the envelope, which is triggered when you release the

XY pad. In other words, this determines how long it takes the effect to fully deactivate after you stopping touching the

XY pad.

Use the

Wet

/

Dry

knob to set the blend the original signal (dry) and the effect signal (wet).

The

X Axis

and

Y Axis

fields show which parameters are controlled by each axis. This varies depending on the effect you are using.

113

Navigate Mode

Navigate Mode lets you quickly select which 8x8 grouping of clips is currently in focus for the

clip launch pads

and Matrix Mode.

To enter Navigate Mode,

press

Navigate

.

To move the matrix view,

do any of the following:

Use the

cursors

to move the view one row or column at a time. You can also hold

Shift

and use the cursors to move eight rows or columns at a time.

Use your finger to tap or drag to the desired location.

114

Browser

The Browser lets you navigate your Force hardware’s internal and external hard disks to load samples, clips, songs, etc. Using filter buttons and user-definable folders, you can easily adapt it to your preferred workflow.

You can also audition (preview) your samples before loading them.

Important

: You can install an additional SATA drive in your Force hardware, allowing for even more storage

space. See

Appendix

>

SATA Drive Installation

to learn more about this.

Important

: Force supports read and write capability for

exFAT

,

FAT32

,

NTFS

, and

EXT4

file systems as well as read-only capability for

HFS+

file systems. We recommend using an exFAT file system as it is the most robust one supported by both Windows and macOS.

To show the Browser

, do any of the following:

Press

Menu

and then tap

Browser

.

Press

Load

.

In the

Browser

, you can do any of the following:

To browse your files by location

, tap

Places

on the left side of the screen.

Internal

is the internal drive of Force.

Force Documents

is a shortcut to the

Force Documents

folder on the internal drive of Force.

If you have storage devices connected to USB ports or SD card slot of Force, they will appear in this column, as well.

To browse your files by content

, tap

Content

and then tap the type of file:

Audio Clips

,

Plugin Presets

,

Midi

Clips

,

Kits

,

Samples

or

Projects

(see

below

to learn about these content buttons).

To browse your Expansions

, tap

Expansions

.

To move up one folder level

, tap the

folder

/

icon

in the upper-left corner.

To move through a list

, do any of the following:

Swipe up or down

Turn the

data dial

Use the

/

+

buttons

Tap

Previous

and

Next

at the bottom of the screen.

To select a file or folder

, tap it once.

To enter a folder

, double-tap it or tap

Open

in the lower-right corner. Alternatively, press the

data dial

to enter a selected folder. You can also tap one of the

folder buttons

(

1

5

) in the upper-right corner to jump immediately to those pre-assigned file paths (see

below

to learn how to assign these file paths).

115

To load a selected file

, double-tap it, tap

Load

, or press the

data dial

. If the file is a sample, it will be loaded to the project’s sample pool. If the file is a project, it will be loaded in its entirety (you will be asked if you want to close your current project).

When loading files such as clips, samples or kits, you can also use the hardware

-/+

buttons or the

Previous

and

Next

function buttons on the display to move through the files and automatically load the selected file to your clip, pad or track. If the previously selected file is not used elsewhere in your project, it will be deleted from memory.

To delete a selected file or folder

, press and hold

Shift

and then tap

Delete File

at the bottom of the screen.

To preview a selected sound

, tap and hold

Play

(

) at the bottom of the screen.

To enable or disable the audition function and set its volume level

, tap the

speaker icon

at the bottom of the screen. In the screen that appears, tap

Auto

to enable or disable it, and tap and drag the

level slider

up or down to set the volume level. Tap the

speaker icon

once more to hide the window.

To show the information for the current storage device

, press and hold

Shift

and then tap

Drive Info

at the bottom of the screen. The drive’s information will appear in a new window. Tap

OK

to return to the previous screen.

To format a storage device to use an exFAT file system

, select it in the

Browser

, press and hold

Shift

and then tap

Format Drive

at the bottom of the screen. In the window that appears, tap

OK

and then

Format

in the next window to format the device, or tap

Cancel

to return to the previous screen without formatting. This formatting process will set the device to use the exFAT file system, remove any partitions from the drive, and erase all of its content. (Devices that are uninitialized or do not have a file system will not be recognized by the Force hardware and consequently cannot be formatted.)

To get the most efficient use of the Browser, set the file paths to your favorite drive locations first. There are five

folder buttons

labeled

1

5

in the upper-right corner. You can set these to be shortcuts to five locations on your Force hardware’s internal drive and/or any connected storage devices, giving you quick access to your files.

To assign the current location to a folder button

, press and hold

Shift

, and then tap one of the

folder buttons

(

1

5

). Now, when you tap that folder button again, the Browser will show that folder’s content immediately.

Use the six filter buttons to show only specific types of files in the list below. Folders will still be shown in the list.

To show project files only

, tap the

P

/

page icon

.

To show pattern files only

, tap the

checkered square icon

.

To show kit files only

, tap the

four-squares icon

.

To show sample files only

, tap the

waveform icon

.

To show all file types

, tap the

three-pages icon

.

To show or hide Force project folders

, tap the

Force folder icon

.

116

Use the six

Content

buttons to show specific locations in the internal drive of Force and filter them automatically by file type:

Audio Clips

: Tap this button to enter the

Expansions

folder on the internal drive, viewing

audio

files only.

Instruments

: Tap this button to enter the

Expansions

folder on the internal drive, viewing

plugin preset

files only.

Midi Clips

: Tap this button to enter the

Expansions

folder on the internal drive, viewing

pattern

files only.

Kits

: Tap this button to enter the

Expansions

folder on the internal drive, viewing

kit

files only.

Samples

: Tap this button to enter the

Expansions

folder on the internal drive, viewing

sample

files only.

Projects

: Tap this button to enter the

Expansions

folder on the internal drive, viewing

project

files only.

117

Clip Edit Mode

Clip Edit Mode lets you view and edit clips from your project.

Clip View

The Clip View lets you view and edit the parameters of the clip container itself. This view has three different appearances: one of audio track, one for drum tracks and one for keygroup, plugin, MIDI and CV tracks.

To enter the Clip Edit View

, do either of the following:

Press

Menu

and then tap

Clip Edit

.

Press

Clip

.

For audio tracks, the waveform of the audio clip is shown.

For drum tracks, the left column shows you all available pads in a vertical view with their corresponding events in the grid to the right.

For keygroup, plugin, MIDI and CV tracks, the left column shows a vertical “piano roll” keyboard with the corresponding events in the grid to the right.

118

Use the

Start

fields to set the starting location of the clip when launched. Alternatively, drag the start marker.

Use the

Loop Start

fields to set the starting location of the clip loop. Alternatively, drag the loop start marker.

Use the

Loop Length

fields to set the total length of the loop. Alternatively, drag the loop end marker

Use the

Launch Quantize

field to set the quantization for launching the clip. This can be set separately from the global launch quantization.

Use the

Launch Mode

field to set how the clip is launched. Select

Toggle

for the clip to start or stop with each successive press. Select

Trigger

for the clip to start at the beginning with each press.

To open the Timing Correct window

, tap

TC

at the bottom of the screen. This window contains various settings to

help quantize the events in your clip (learn about this feature in

Operation

>

General Features

>

Timing Correct

(

TC

)

).

To adjust the clip start or end points,

tap

Set Start

or

Set End

while the clip is playing. The starting point or ending point will be set at the playhead location.

To trim a clip,

use the

Loop Length

fields to set the preferred length, then tap

Trim Clip

to trim the whole clip to this size.

To enable or disable legato,

tap

Legato

. When Legato is active, the playhead will continue from the same position as it was in the previous clip of the same track when switching between clips. This is useful for creating seamless fills in drum breaks or when using an a capella track.

To toggle the clip loop on or off,

tap

Loop

. Generally, turn Loop on for complete phrases and turn it off for one shots.

To shift the entire loop area left or right,

press and hold

Shift

and tap

<< Loop

or

Loop >>

.

To halve or double the loop size,

press and hold

Shift

and tap

/2

or

2X

.

119

Event View

The Event View lets you view and edit the note events of each clip of a track in a project and their velocities. This mode has two different appearances: one for drum tracks and one for keygroup tracks,

MIDI tracks, and plugin tracks.

To enter the Event View

, tap

Event

at the top of the screen in

Clip Mode

.

Note

: When an audio track is selected, Clip Mode will show an icon for Region View instead of Event View.

Event View of a drum track. Event View of a keygroup track or MIDI track.

For drum tracks, the left column shows you all available pads in a vertical view with their corresponding data.

For keygroup, plugin and MIDI tracks, the left column shows a vertical “piano roll” keyboard.

The top of the screen shows the timing information and editing tools.

The time counter at the top of the screen indicates the current playhead position.

120

In the Event View, these four tool icons enable you to use different functions in the grid.

Tap one to select its mode:

Pencil

: Draw Mode:

To enter a note in an empty grid square

, tap the grid square.

To select a note

, tap it.

To move a note

, tap and drag it to another grid square.

To erase a note

, double-tap it.

Eraser

: Erase Mode:

To erase a note

, tap it. You can also tap and drag to erase multiple notes in the same row.

Select Box

: Select Mode:

Note

: Notes will remain selected if you switch to another mode. The selection will change, however, if you press a pad while

Hitting Pad Selects All Events

is set to

On

.

To select a note

, tap it.

To select multiple notes

, tap and drag across the grid to create a box around them.

To move a note

, tap and drag it to another grid square.

To move multiple notes

, select them as described above, and tap and drag them.

To erase multiple notes

, select them as described above, and then select the

eraser tool

and tap any of the selected notes.

Magnifying Glass

: Navigation Mode:

To move to another part of the grid

, tap and drag it.

To zoom in or out

, spread or pinch your fingers (respectively) on the grid. You can do this vertically, horizontally, or both at the same time.

121

Regardless of which tool is selected, you can do any of the following to move, lengthen, shorten, or transpose any selected note/notes.

To automatically set the grid to view one pad bank and two bars

, tap the

grid-and-magnifying-glass icon

in the upper-left corner.

To undo your last action

, press

Undo

.

To redo the last action you undid

, press

Shift

+

Undo

.

To select all notes for a pad

, press the desired

pad

.

To move the selected notes

, tap

Nudge

at the bottom of the screen, and then use the

data dial o

r

/

+

buttons to shift the notes left or right. By default, you can position notes only by quantization values defined by the

Time

Correct

value (see

General Features

>

Timing Correct

(

TC

)

to learn about this).

To move the selected notes without restricting

(“snapping”)

them to the quantization grid

, tap and hold

Don’t

Snap

in the lower-left corner of the screen, and then use the

data dial o

r

/

+

buttons to shift the notes. In this case, each nudge is equivalent to four ticks.

To adjust the start point or end point of the selected notes

(without changing their position), tap

Edit Start

or

Edit End

at the bottom of the screen, and then use the

data dial o

r

/

+

buttons.

To transpose the selected notes up or down

, tap

Transpose

at the bottom of the screen, and then use the

data dial o

r

/

+

buttons.

To copy the selected notes instantly

, press and hold

Shift

and then tap

Copy

at the bottom of the screen. The selected notes will be duplicated and start immediately after the end of the last selected note. Nudge will be automatically selected so you can immediately use the

data dial

to move the copied notes.

To cut the selected notes,

press and hold

Shift

and then tap

Cut

at the bottom of the screen. The selected notes will be copied and removed from the grid.

To paste the copied notes,

press and hold

Shift

and then tap

Paste

at the bottom of the screen. The selected notes will be pasted at the playhead location.

To open the Timing Correct window

, press and hold

Shift

and then tap

TC

at the bottom of the screen. See

General

Features

>

Timing Correct

(

TC

)

to learn about this.

122

The Event View also contains a velocity lane where you can easily adjust note velocities.

The velocity lane in the Event View. The taller velocity lane in the Event View.

To show or hide the velocity lane

:

1.

Tap the up

arrow

(

) button in the lower-right corner to show the velocity lane.

2.

Tap the up

arrow

(

) button once more to show a taller version of the velocity lane. The button will now show a

down arrow

(

).

3.

Tap the

down arrow

(

) to hide the velocity lane.

Each note’s velocity is represented by a vertical bar. The higher and more red the bar is, the higher the velocity is.

Yellow bars indicate a lower velocity. Bars with a gray line at the top indicate a currently selected note.

To adjust the velocity of the selected notes

, tap

Velocity

at the bottom of the screen, and then use the

data dial

or

–/+

buttons.

Editing Events

Tap the pencil editing icon next to the List Mode icon to open the event editing window. You can use any of these functions as described below.

To return to Event View Mode

, tap

Cancel

or tap at the top of the screen.

The

Clear Events

function erases

all

events from the clip and resets

all

of its settings.

To confirm your choice

, tap

Clear

.

To return to the previous screen

, tap

Cancel

.

The

Double-Speed Events

function

immediately

halves the lengths of all note events in the clip as well as the distance between them. In other words, all notes are pressed closer together so the clip sounds like it is playing at twice the previous speed. This does not actually affect the pitches of notes or the tempo.

The

Half-Speed Events

function

immediately

doubles the lengths of all note events in the clip as well as the distance between them. In other words, all notes are spread further apart so the clip sounds like it is playing at half of the previous speed. This does not actually affect the pitches of notes or the tempo.

123

The

Pitch Quantize

function forces the pitches of note events into a specific scale.

To select the desired root note of the scale

, use the

Root Note

field.

To select a type of scale

, use the

Scale

field.

To determine which note events will be quantized

, tap the

Only apply to selected events

checkbox.

When

on

, only the currently selected note events will be quantized.

When

off

,

all

pitches in the current clip will be quantized.

To set lowest-possible and highest-possible pitches where the quantized note events will be placed

, use the

Start Note

and

End Note

fields (respectively). If a note event is originally outside of this range, it will be forced to the nearest pitch (within the scale) inside the range.

To continue and quantize the note events

, tap

Do It

.

To cancel

, tap

Close

.

The

Humanize

function applies randomization to the timing, length, and/or velocity of note events.

To select whether or not humanization will be applied to the timing of note events

, tap the

Humanize Time

checkbox.

To select the maximum number of pulses by which the timing of an event will be adjusted

, use the

Amount

(

Pulses

) slider.

To set how dramatically the humanization effect is applied to the timing

, use the

Eagerness

slider. Negative values correspond to playing “ahead of the beat” while positive values correspond to playing “behind the beat.”

To set whether or not humanization will be applied to the duration of note events

, tap the

Humanize Note Length

checkbox.

To set how dramatically the humanization effect is applied to note lengths

, use the

Length

(

%

) slider.

To set whether or not humanization will be applied to the velocities of note events

, tap the

Humanize Velocity

checkbox.

To set how dramatically the humanization effect is applied to note velocities

, use the

Strength

(

%

) slider.

To determine which notes will use these humanization values

, tap the

Only Apply to Selected Events

checkbox.

When

on

, just the currently selected notes will be humanized.

When

off

, all notes in the clip will be humanized.

To apply humanization and keep this window open

, tap

Apply

.

To apply humanization and close the window

, tap

Do It

.

To close the window without making any changes

, tap

Close

.

124

The

Generate Random Events

function creates random melodic or drum patterns in the current clip.

To select the type of events you want to create

, use the

Event

Type

field to select

Drum Events

or

Melodic Events

.

To select how the events will be created relative to the existing events on the track

, use the

Replace

field:

Replace All Events

: Select this option to replace all events in the clip with the randomly generated ones.

Replace Events in Note Range

: Select this option to replace all events in the designated note range in the clip with the randomly generated ones. Use the

Bank

or

Start Pad

and

End Pad

menus to set the note range for drum events or the

Start Note

and

End Note

menus to set the note range for melodic events.

Add to Existing Events

: Select this option to add the randomly generated events to the clip without replacing or overwriting the existing ones.

To set how many bars the events will use

, use the

Pattern Size

(

Bars

) field. The highest possible value is the number of bars in the current clip.

To select the duration of the events

, use the

Note Length

field.

(This feature is nonfunctional if

Legato

is enabled while generating melodic events.)

To generate the events and keep this window open

, tap

Apply

.

To generate the events and close the window

, tap

Do It

.

To close the window without generating any events

, tap

Close

.

If

Event Type

is set to

Drum Events

:

To select the pad bank that will be used to generate the events

, use the

Bank

field or select

Range

to use the

Start

Pad

and

End Pad

menus to define a specific pad range instead.

To define a specific pad range over which the events will be generated

, use the

Start Pad

or

End Pad

fields. You can use these fields only if the

Bank

menu is set to

Range

.

To set how closely together the events will be placed in the clip

, use the

Density

(

%

) slider.

To set how widely or narrowly the rhythmic patterns of the generated notes vary

, use the

Rhythm Variation

slider.

125

If

Event Type

is set to

Melodic Events

:

To define a specific note range over which the events will be generated

, use the

Start Note

or

End Note

fields.

To enable or disable legato

, tap the

Legato

checkbox.

When

on

, the generated notes will be extended or shortened to create a long, unbroken phrase from the first note event’s start point to the last note event’s end point.

Each note event will sustain until another note event starts. If multiple note events start at the same time (and are not the last note events), their lengths will become identical.

When

off

, the generated notes will use the duration set by the

Note Length

menu.

To set the maximum number of note events that can be sounding simultaneously in the track

, use the

Polyphony

field to select

1

8

.

To determine whether or not the notes will use a scale

, tap the

Constrain Notes to Scale

checkbox.

When

on

, the notes will be within the scale determined by the

Scale

menu.

When

off

, the notes will be chromatic.

To set how closely together the events will be placed in the clip

, use the

Density

(

%

) slider.

To set the root note of the scale that the notes will use

, use the

Root Note

field.

To select the scale or mode that the generated notes will use

, use the

Scale

field.

The

Split Note Events

process divides note events into an equal number of parts.

To set the number of parts note events will be split into, use the

Into

field.

To set the process to only affect selected notes, tap the

Only selected events

checkbox. When unchecked, all note events in the clip will be split.

126

The

Export as Pattern

function saves the current clip as a pattern

(

.mpcpattern

) to an external storage device or the internal drive of

Force.

To select the storage device you want to view

, tap it in the

Storage

column on the left.

Internal

is the internal drive of Force.

Force Documents

is a shortcut to the

Force Documents

folder on the internal drive of Force.

If you have storage devices connected to USB ports or SD card slot of Force, they will appear in this column, as well.

To enter a folder

, double-tap it. Alternatively, turn the

data dial

or use the

/

+

buttons to move through the list, and press the

data dial

to enter a folder. You can also tap one of the five

folder buttons

in the upper-right to jump immediately to those pre-

assigned file paths (see

Browser

to learn how to do this).

To create a new folder

, tap

New Folder

, use the virtual keyboard that appears to enter a name, and then tap

Do It

. You will immediately enter the new folder.

To move up one folder level

, tap the

folder

/

icon

in the upperleft corner.

To name the file

, tap the

File Name

field at the bottom of the screen, and use the virtual keyboard that appears.

To save the file

, tap

Save

.

To cancel and return to the Menu

, tap

Cancel

. Alternatively, tap the

icon

in the upper-left corner.

127

Region View

The Region View lets you view and edit the view and edit the clips of audio tracks. This mode is not available for other track types.

The top of the screen shows the timing information and editing tools.

The time counter at the top of the screen indicates the current playhead position.

In Region Edit Mode, these six tool icons enable you to use different functions in the clip.

Tap one to select its mode:

Marquee

: Marquee Mode:

To select a clip region

, tap the upper third of it.

To move a clip region

(or multiple selected clip regions), tap and drag the upper third of it left or right.

To split the clip at two specific points

(creating a clip region on either side and between them), tap and drag across the middle third of it to create a translucent white box, and then tap the upper third of that box.

To shorten or lengthen a clip region

(or multiple selected clip regions), tap and drag the lower third of it left or right.

Arrow

: Selection Mode:

To select a clip region

, tap it.

To move a clip region

(or multiple selected clip regions), tap and drag the upper third of it left or right.

To shorten or lengthen a clip region

(or multiple selected clip regions), tap and drag the lower third of it left or right.

Eraser

: Erase Mode:

To erase a clip region

(or multiple selected clip regions), tap it.

Scissors

: Split Mode:

To split the clip at a specific point

(creating a clip region on either side), tap that point in the clip.

To select a clip region

, tap its left-most edge.

128

Mute

: Mute Mode:

To mute or unmute a clip region

(or multiple selected clip regions), tap it.

Magnifying Glass

: Navigation Mode:

To move to another part of the clip

, tap and drag it.

To zoom in or out

, spread or pinch your fingers (respectively) on the grid. You can do this vertically, horizontally, or both at the same time.

Tap the

pencil

icon to open the Edit Regions menu.

Use

Trim Audio to Clip

to trim the audio sample to the size of the clip.

Use

Clear Regions

to clear the audio sample from the clip.

Regardless of which tool is selected, you can do any of the following to edit the selected audio clip regions.

Tip

: If you want to hear only the audio track while editing, press the

Solo

button and press the relevant

Track Assign

button to solo it.

To select a clip region

, tap the arrow icon to enter Selection Mode and tap a clip region. When a clip region is selected, all region parameters will be available to edit.

To undo your last action

, press

Undo

.

To redo the last action you undid

, press

Shift

+

Undo

/

Redo

.

To move the selected clip region

, tap

Nudge

at the bottom of the screen, and then use the

data dial o

r

/

+

buttons to shift the clip region left or right. Alternatively, if the

arrow tool

or

marquee tool

are selected, tap and drag the upper third of the selected clip region left or right. By default, you can move a clip region only by quantization values defined by the

Time Correct

value (see

General Features

>

Timing Correct

(

TC

)

to learn

about this).

To move the selected clip region without restricting

(“snapping”)

it to the quantization grid

, tap and hold

Don’t

Snap

in the lower-left corner of the screen, and then use the

data dial o

r

/

+

buttons to shift the clip region. In this case, each nudge is equivalent to four ticks.

To adjust the start point or end point of the selected clip region

(without changing its position), tap

Edit Start

at the bottom of the screen, and then use the

data dial o

r

/

+

buttons.

To split the clip at the current playhead position

(creating a clip region on either side), tap

Split

at the bottom of the screen.

To copy, cut, or paste the selected clip region

, press

Copy

or press and hold

Shift

, and then tap

Copy

or

Cut

. Turn the

data dial

to move the highlighted clip region, and then press the

data dial

to paste it at its current location. Alternatively, press and hold

Shift

, and then tap

Paste

(respectively).

To duplicate the selected clip region

, tap

Duplicate

at the bottom of the screen. The duplicate clip region will appear immediately after the original one.

To create a fade-in or fade out for the selected clip region

, use the

Fade In

or

Fade Out

fields, respectively. The fades will be shown as a sloped line at the start or end of the clip region.

To set the level of the selected clip region

, use the

Level

field. The waveform amplitude will change accordingly.

129

To reverse the selected clip region

, tap

Reverse

.

To mute the selected clip region

, tap

Mute

.

To lengthen or shorten the selected clip region without changing its pitch

, tap

Warp

, which will enable the

Semi

,

Fine

, and

BPM

fields next to it. Use the

BPM

field to change the tempo, which will change the length of the clip region accordingly. Use the

Semi

and

Fine

fields if you want to change the pitch (this is useful for matching the durations of two samples with different pitches).

Tip

: You can configure audio track recording to ensure the resulting clip region is warped automatically. You can then adjust the project tempo while clip region remains in time. See

Menu

>

Preferences

>

General

/

Other

to learn about

this.

Note

: When you record an audio file, the current project tempo will be embedded with it. This information is stored within the sample file when you save the project. When you warp an audio clip region, the warping algorithm uses this project tempo and the current value in the BPM field to generate the “stretch factor.”

Note

: The Warp algorithms are very CPU-intensive and can result in audio drop-outs during playback if used too freely. Be mindful of how (and how often) you use the warp function. You can reduce the CPU resources required by doing any/all of the following:

Minimize the amount of pitch adjustment (e.g., the

Semi

and

Fine

fields).

Avoid warping very small clip regions.

Warp as few tracks or clip regions as possible (i.e., reduce the number of total number of voices [of the polyphonic limit] that use the warp algorithm at a given time), especially instances where the warped regions start at the same time.

If you have warped samples used in a drum kit, consider using

the Flatten Pad

function to consolidate the

affected pad’s layers into one audio sample (see

here

to learn about this). After you flatten the pad, its sample/samples no longer need to be warped.

To open the Timing Correct window

, press and hold

Shift

, and then tap

TC

at the bottom of the screen. See

General Features

>

Timing Correct

(

TC

)

to learn about this.

To mute or solo the clip

, press and hold

Shift

, and then tap

Mute

or

Solo

(respectively) at the bottom of the screen.

130

List View

List View has some of the features of the Event View—as well as some additional ones—but with a different interface/workflow.

The time counter at the top of the screen indicates the current playhead position.

The clock icon at the top of the screen opens the

Timing Correct

window. See

General Features

>

Timing Correct

(

TC

)

to learn about this.

The

View

menu lets you select what type of events are shown in the list.

All

: Select this option to show all event types.

Notes

: Select this option to show only notes.

Aftertouch

: Select this option to show only aftertouch messages.

MIDI Automation:

Select this option to show only MIDI automation events.

Track Automation

: Select this option to show only track automation events.

Pitch Bend

: Select this option to show only pitch bend events.

Control Change

: Select this option to show only MIDI CC messages.

Program Change

: Select this option to show only MIDI program change messages.

Ch Pressure

: Select this option to show only channel pressure messages.

Solo

/

Mute

: Select this option to show only solo and mute events for clips, tracks, and pads.

Other

: Select this option to show other types of events not listed above, such as pad or keygroup parameters.

131

The

Settings

window lets you configure certain List Edit Mode settings.

To view the Settings

, tap the

gear icon

.

Use the

Hitting Pad Selects All Events

selector to turn the feature on or off. When

On

, pressing a pad will automatically select all note events for that pad in the selected clip on that track. When set to

Off

, pressing a pad will simply play its sound without selecting any note events.

Use the

Auto-Advance on Step Record

selector to turn the feature on or off. When set to

On

, pressing a pad when the track is record-armed will move the audio playhead forward by a length determined by the current

Time Division

setting in the

TC

/

Timing Correct

window. When set to

Off

, pressing a pad when the track is record-armed will not change the audio playhead position.

Use the

Auto-Scroll

selector to set how the screen behaves relative to the audio playhead.

Follow

: The list will scroll along in the background while keeping the audio playhead centered.

Page

: The list will move to the “next page” to follow the audio playhead.

Off

: The list will not move at all.

These functions also apply to the Grid View, Audio Edit Mode, and Sample Edit Mode.

The contents of the clip will be shown as a list of events, with the following parameters:

#

: This is the number of the note event.

Time

: This is the position of the note event in bars, beats, and ticks. If multiple note events occur at the same time, additional note events will be listed immediately below, but their

Time

values will be grayed out.

Event Type

: This icon indicates the type of event (e.g.,

Note

,

Aftertouch

,

Track Automation

, etc.). See the list of icons below showing the different types of events.

Pad

/

Note

: This is the pad and/or corresponding MIDI note number. For drum tracks, you will see the pad number.

For keygroup tracks, plugin tracks, and midi tracks, you will see the note.

Length

: This is the length of the note event in ticks.

Velocity

: This is the velocity of the note event with its corresponding color.

Mod Type

: This is the type of modifier used on the note event via automation.

Value

: This is the value of the modifier automation.

132

The

red arrow

(

) on the left side of the list represents the audio playhead’s current position. If your clip is playing, the arrow will move accordingly.

The following icons indicate the corresponding types of events:

Note

MIDI

Automation (

Volume

,

Pan

,

Mute

,

Solo

)

MIDI CC

Automation (

0

127

)

MIDI Parameter

Automation (

Aftertouch

,

Pitchbend

,

Channel Pressure

, or

Program Change

)

Mixer

Automation (

Volume

,

Pan

,

Mute

,

Solo

, or

Send 1

4

)

Mixer Parameter

Automation (options vary based on the type of track)

Track Insert Effect

Automation (options vary based on the effect)

Pad

/

Keygroup Mixer

Automation (

Level

,

Pan

,

Pad Mute

,

Pad Solo

, or

Send 1

4

)

Pad

/

Keygroup Parameter

Automation (options vary based on the type of track)

Pad

/

Keygroup Insert Effect

Automation (options vary based on the effect)

133

To select an event

, tap it.

To select multiple events

, press and hold

Shift

and tap each event.

To insert a note event

, press

Rec

or

Overdub

so the button is lit, and then press a

pad

. A note event will be created at the current location using the pad you pressed. You can keep pressing additional pads, which will continue to insert each press as a single note event in the order you pressed them (similar to a step sequencer). Press

Stop

to exit this function.

Note

: Depending on the

Auto-Advance on Step Record

setting, the current time position will either advance each time you press a pad or remain in place. See the earlier description of

Auto-Advance on Step Record

to learn about this.

To edit the Pad

/

Note

,

Length

,

or Velocity or numeric Value of an event

, tap the value to select it, and then use the

data dial

or

/

+

buttons to change the value. Alternatively, double-tap it and use the numeric keypad that appears to enter a value (for

Length

,

Velocity

, or numeric

Value

only).

To edit the Length of an event according to your Timing Correct settings

, tap the value to select it, and then press and hold

Shift

and use the

data dial

or

/

+

buttons to change the value.

To shift the Pad

/

Note of an event by pad bank

, tap the value to select it, and then press and hold

Shift

and use the

data dial

or

/

+

buttons to change the pad bank.

To turn a Solo

/

Mute event on or off

, tap the desired setting on the

On

/

Off

switch. Alternatively, tap the

On

/

Off

switch to select it, and then use the

data dial

or

/

+

buttons to change the value.

To move an event

, tap it to select it, tap

Nudge

at the bottom of the screen, and then use the

data dial

or

/

+

buttons to shift the event up or down. Repeat this for other events, or tap

Nudge

again to turn the feature off.

To move an event according to your Timing Correct settings

, tap the

Time

value to select it, and then press and hold

Shift

and use the

data dial

or

/

+

buttons to change the value.

To play an event

, tap it to select it, and then tap

Play

(

) at the bottom of the screen. This works with note events only.

To delete an event

, tap it to select it, and then tap

Delete

at the bottom of the screen.

134

Track Edit Mode

Track Edit Mode contains all parameters for editing your Tracks.

For

drum tracks

, this mode includes the parameters of four layers as well as all synthesis parameters and insert effect settings. See the

Drum Tracks

section to learn more.

For

keygroup tracks

, this mode contains slightly more parameters than drum tracks. See the

Keygroup Tracks

section

to learn more.

For

plugin tracks

, skip to

Plugin Tracks

to learn more.

For

MIDI tracks

and

CV tracks

, skip to

MIDI Tracks

and

CV Tracks

to learn more.

For more general information on the differences between the types of tracks, please see

General Features

>

Tracks

.

To enter Track Edit Mode

, do either of the following:

Press

Menu

, and then tap

Track Edit

.

Press and hold

Shift

and press

Clip

.

Drum Tracks

When using drum tracks, Track Edit Mode lets you edit the parameters for each pad.

To select a pad

, press it. Its parameters will appear on the screen immediately.

To view a specific tab of parameters

, tap the

Master

,

Samples

,

Pan Velocity

,

Filter

/

Env

,

LFO Modulation

, or

Effects

button at the bottom of the screen. You can tap the

Samples

button multiple times to cycle through its three available tabs.

135

Tap the

location icon

at the top of the screen (between the

Track

and

Pad

fields) to open the

Edit Zones

window, which is a feature for drum tracks. This window displays an overview of any selected pads. Use the

Mode

selector to set how the selected pads will be edited:

Current

: Only the currently selected pad can be edited.

Multiple

: All selected pads can be edited simultaneously.

All

: All pads can be edited simultaneously.

To close the window

, tap

Close

, the

X

, or anywhere outside the window.

Tip

: You can immediately select multiple pads while on any tab in Track Edit Mode (regardless of the current Edit Zones setting) by pressing and holding the

Shift

button and pressing each desired pad. The Edit Zones setting will automatically change to

Multiple

.

136

Tap the

down-arrow icon

at the top of the screen (next to the

Track

field) to open the

Flatten Pad

window, which renders all samples on a pad as an audio sample and places it on the first layer of that pad. The resulting sample is the audio signal produced by that pad at full velocity (

127

) after the pad channel strip, which means that it includes any assigned pad insert effects and the results of warping the sample.

This function is useful if you need to reduce how CPU-intensive a pad or track is by essentially “embedding” the warping and effects in the sample itself. By default, it will use the name of the first sample. This function works for drum tracks only.

To select the pad

, press it or use the

Pad

menu.

To set the length of the audio tail

, use the

Audio Tail

field. This will add extra seconds to the end of the resulting audio file. This is useful if you are using effects or samples whose sounds exceed the defined audio length (e.g., long reverb or delay, one-shot samples with long decays, etc.). We recommend using an audio tail of at least a couple of seconds.

To name the new sample

, tap the

Edit Name

field, and use the virtual keyboard that appears.

To confirm your choice

, tap

Do It

.

To cancel

, tap

Cancel

.

137

Master

In the Master tab, you can set the playback mode and tuning for the overall Track.

Polyphony

sets the playback mode for the track’s pads. In

Mono

Mode, only one pad will sound at a time. If a pad is played while another (or the same one) is still playing its sample/samples, the new pad will immediately mute all other currently playing pads in that track. In

Poly

Mode, several pads can be triggered at the same time (limited only by the total number of voices available).

Semi

lets you transpose the track up to 36 semitones up or down.

Fine

provides fine-tuning of the track up to 99 cents up or down.

Volume

controls the overall volume level of the loaded sample/samples.

Pan

controls the overall panning of the loaded sample/samples in the stereo field.

The

Simultaneous Play

section lets you set up to four pads that can be triggered by pressing one pad only. This function is useful for triggering a stack of sounds (e.g., layered kick drums). Use each

Pad

field to select the desired pad.

The

Mute Targets

tab lets you select up to four pads (in the same track) for the currently selected pad. When the currently selected pad is played, it will immediately silence its mute targets. Use each

Pad

field to select the desired mute target.

Tips

:

This feature is useful for programming realistic hi-hats, especially if only the open or closed hat should be heard.

This feature is similar to the mute group feature, available for both drum tracks and keygroup tracks.

138

Samples

Each pad can trigger up to four samples, which are assigned in four individual layers. Each layer has identical, independently assignable parameters.

Tap

Samples

to cycle through its three available tabs.

On all three sections, you can access the

Settings

window, which lets you configure certain settings in the Samples tab.

To view the Settings

, tap the

gear icon

.

To close the Settings

, tap

Close

, the

X

in the upper-right corner, or anywhere outside the window.

Use the

Link Slices

selector to set how the start point and end point of a slice in a larger sample is set. You can create these slices in Sample Edit Mode (Chop Mode).

When on, changing the start point of a slice will also change the end point of the previous slice. Similarly, changing the end point of a slice will also change the start point of the next slice. Disable

Link Slices

if you are trying to create slices that use non-contiguous parts of the sample. This is the same as the

Link Slices

button in Sample Edit Mode.

Use the

Loop Lock

selector to “link” or “unlink” the loop point from the start point. When on, the loop point is the same as the start point. When off, the loop point is independent from the start point and indicated by a separate loop marker.

This is the same as the

Loop Lock

button in Sample Edit Mode.

Use the

Zero Snap

selector to enable or disable the Zero Snap feature, which forces start points, end points, and loop points to occur only at the waveform’s “zero-crossings.” This can help to avoid clicks and glitches when playing a sample. This is the same as the

0 Snap

button in Sample Edit Mode.

139

The

first Samples

tab contains the sample waveform for each layer and controls for its pitch, timing, and playback.

The upper half of the screen shows the waveform of the sample on the currently selected layer. The lower half shows the editing controls.

The waveform display shows the “active” section of the sample waveform. Swipe left or right on the waveform to move through it.

Above the waveform is the timeline, shown in bars, beats, and ticks.

Tap each layer number (

Layer 1

4

) under the waveform to select it. When selected, its sample waveform will be shown in the upper half of the screen and its settings will be shown in the lower half.

Use the

Sample

field to select the sample file for that layer. Remember that the sample has to be loaded into the project’s sample pool beforehand. For information on how to load samples into a project, please see the

Browser

chapter.

Important

: The parameters in the

Samples

tabs work in conjunction with Chop Mode (in Sample Edit Mode). Here’s how it works:

When working in Sample Edit Mode and using Chop Mode to divide a sample into slices for your pads, you can convert a slice using

Non-Destructive Slice

or

Pad Parameters

.

A

Non-Destructive Slice

will let its pad to refer to that slice when you press it; the original sample remains intact and each slice marker is like a “bookmark” for a pad. In Track Edit Mode, you’ll see that the pad/layer to which it’s assigned has its

Slice

drop-down menu set to the corresponding

slice number

in the original sample. Playing that pad will cause it to refer to that slice marker like a “bookmark” instead of creating an entirely new sample of that slice. This means that you no longer have to clutter your project with a new sample for every slice (though you can still use this earlier method, if you prefer).

A slice converted using

Pad Parameters

is very similar to a non-destructive slice described above. The difference is that in Track Edit Mode, the pads/layers they’re assigned to have their

Slice

drop-down menus set to

Pad

(instead of the slice number), and the

start

and

end points

will correspond to the slice markers in the original sample.

140

The

green

/

S

marker and

red

/

E

marker are the start point and end point (respectively). These two points define the region of the sample that will be played.

To move the start point or end point

, do any of the following:

Tap and drag the

S

or

E

marker left or right.

Use the

Start

or

End

fields shown below the waveform.

When the

knobs

are set to

screen

mode, use

Knobs 1

and

5

to adjust the start point or

Knobs 2

and

6

to adjust the end point. Knobs 1 and 2 provide fine adjustment and Knobs 5 and 6 provide coarse adjustment.

Note

: When

Loop Lock

is on, the loop position (as determined by the

Loop

field, if enabled) is the same as the sample’s start point. When off, the loop position is independent from the start point.

Use the

Loop

field to determine the position where the sample’s playback will repeat when

Pad Loop

is activated.

Note

: When

Loop Lock

is on, the loop position is the same as the sample’s start point. When off, the loop position is independent from the start point.

Use the

Slice

field to select what part/parts of the sample will play:

All

: The entire sample will play.

Pad

: The sample will play from the

Pad Start

position to the

Pad End

position, described

earlier

. This also lets

you activate

Pad Loop

(if the

Sample Play

field in the

LFO Modulation

tab is set to

Note On

).

Slice 1, 2, 3, etc.

: If you have sliced the sample in Chop Mode, you can select which slice will play when you trigger the pad.

Semi

lets you transpose the selected layer 36 up to semitones up or down. This will affect the length of the sample (if

Warp

is off). This is the same as the

Semi

knob on the second Samples tab.

Fine

provides fine-tuning of each layer by cents. This will affect the length of the sample (if

Warp

is off). This is the same as the

Fine

knob on the second Samples tab.

141

Use the

Reverse

button to select in which direction the sample will play. When on, the sample will play in reverse. When off, the sample will play in the normal forward direction.

Use the

Pad Loop

button to cycle through the available Pad Loop modes.

Important

: For Pad Loop to work, you must (

1

) set the

Sample Play

field (in the

LFO Modulation

tab) to

Note On

instead of One Shot and (

2

) set the

Slice

field (in the first

Samples

tab) to

Pad

instead of All or a slice number.

Off

: The sample will not loop.

Forward

: You can hold down the

pad

to cause that sample to repeat from the

Loop Position

to the end of the sample. Release the

pad

to stop the repeating playback.

Reverse

: You can hold down the

pad

to cause that sample to play in reverse, repeating from the end of the sample to the

Loop Position

. Release the

pad

to stop the repeating playback.

Alternating

: You can hold down the

pad

to cause that sample to play from the

Loop Position

to the end of the sample and then play in reverse until it reaches the

Loop Position

again. This will repeat as long as you are holding the pad down. Release the

pad

to stop the repeating playback.

142

Tap

Warp

to enable or disable warping of the sample.

When enabled, lengthening or shortening the sample (based on the BPM) will not change its pitch.

When disabled, lengthening or shortening the sample will also change its pitch and vice versa.

Use the

Stretch

field to set the “stretch factor,” which affects how the sample is warped (if

Warp

is on).

Use the

BPM

field to enter a tempo, which affects how the sample is warped (if

Warp

is on).

Tap

BPM Sync

to enable or disable BPM Sync.

When BPM Sync and

Warp

are both enabled, the sample’s BPM will be “locked” to the tempo of the project.

When BPM Sync is disabled but

Warp

is enabled, the sample will be independent of the tempo of your project—use the

Stretch

field to lengthen or shorten a sample.

Note

: The Warp algorithms are very CPU-intensive and can result in audio drop-outs during playback if used too freely.

Be mindful of how (and how often) you use the warp function. You can reduce the CPU resources required by doing any/all of the following:

Avoid using extreme

Stretch

values.

Minimize the amount of pitch adjustment (e.g., the

Semi

and

Fine

parameters) of warped audio.

Avoid warping very small clip regions.

Warp as few clips or clip regions as possible (i.e., reduce the number of total number of voices of the polyphonic limit that use the Warp algorithm at a given time), especially instances where the warped regions start at the same time.

Avoid rapidly triggering samples that are warped.

If you have warped samples used in a drum kit, consider using the

Flatten Pad

function to consolidate the affected

pad’s layers into one audio sample (see

here

to learn about this). After you flatten the pad, its sample/samples no longer need to be warped.

143

The

second Samples

tab contains controls for its pitch and volume level.

Semi

lets you transpose the selected layer 36 up to semitones up or down. This will affect the length of the sample (if

Warp

is off). This is the same as the

Semi

field on the first Samples tab.

Fine

provides fine-tuning of each layer by cents. This will affect the length of the sample (if

Warp

is off). This is the same as the

Fine

field on the first Samples tab.

Level

lets you adjust each layer’s volume, letting you control the “balance” of the samples assigned to the pad.

144

The

third Samples

tab contains the control for its offset.

Use the

Offset

slider to determine a time offset for the sample’s playback.

Positive values

(right of center): When the pad is played, playback will start immediately but at a later point in the sample specified by the offset value.

Negative values

(left of center): When the pad is played, playback will be delayed by the amount specified by the offset value.

145

Pan Velocity

Use the

pan knob

to adjust the stereo placement of the respective layer.

Use the

Vel Start

and

Vel End

knobs to define the velocity range of each layer.

A range from

0

to

127

lets the layer respond to the entire velocity range which is input from the respective pad while, for example, a range from

100

to

127

lets the layer respond only to higher velocity levels. By assigning several samples of one instrument, you can create a realistic-sounding “multi-sample” by adjusting the velocity ranges of each layer accordingly.

For example, you may have three samples of a drum hit with low force, medium force, and high force. You can set each sample to a layer and set the Velocity ranges so only low velocities trigger the low-force sample, only mid-range velocities trigger the medium-force sample, and only high velocities trigger the high-force sample.

146

Filter

/

Envelope

Use the

Type

field to select a filter for the selected pad. See

Appendix

>

Glossary

>

Filter

for an explanation of the available filter types.

Use the

Cutoff

knob to set the cutoff frequency for low-pass and high-pass filter types or the center frequency for band-pass and band-stop filter types.

Use the

Reso

knob to set the resonance/emphasis of the frequencies around the cutoff point.

Tip

: Use values lower than

80

to give more brilliance to the sound. At values higher than

80

, the sound will result in a strong audible boost around the cutoff frequency.

Use the

Env

to determine the amount of influence the filter envelope has on the cutoff frequency. Higher settings will increase the modulation of the filter by the envelope; lower settings will result in only subtle changes of the filter

Cutoff

over time.

Tip

:

To give a sound a more distinctive attack

, increase the

Env

setting and set low

Atk

and

Decay

values as well as a medium-low

Sust

value of the

Filter Envelope

. This will start a sound with the filter opened and close it shortly afterward, giving it a bright start followed by a darker sustain. String sounds, on the other hand, can sound much more

“alive” with low

Env

settings and a high

Atk

value, resulting in a slight fade-in of the higher frequencies.

Use the

Modulation Sources

knobs to set how much velocity is required to modulate certain other parameters:

Vel

>

Sta

(Velocity

Start) sets how much velocity is needed (for a triggered pad) to modulate the sample start point.

Vel

>

Atk

(Velocity

Attack) sets how much velocity is needed (for a triggered pad) to modulate the Attack phase for the Amp envelope.

Vel

>

Env

(Velocity

Envelope) enables velocity information to control the amount of the filter envelope’s effect on the cutoff frequency.

Vel

>

Flt

(Velocity

Filter) uses the velocity of a pad to modulate the cutoff frequency directly.

The

Filter Envelope

controls affect the filter frequency. Use the fields or tap and drag the “handles” of the envelope to shape the envelope or time-variant modulation output. Adjust the envelope’s influence on the filter frequency with the

Env

knob. See the later

Anatomy of an Envelope

section to learn about the envelope parameters.

The

Amp Envelope

controls affect level changes over time. Use the fields or tap and drag the “handles” of the envelope to shape the envelope or time-variant modulation output. Adjust the envelope’s influence on the filter frequency with the

Env

knob. See the later

Anatomy of an Envelope

section to learn about the envelope parameters.

147

LFO Modulation

The

Modes

controls let you set the behavior for each pad’s samples in a drum track.

Use the

Mute Group

field to assign the selected pad to one of the 32 available groups. When pads assigned to the same mute group receive MIDI notes, the last pad played will silence all other pads in that mute group. A mute group affects pads within that track only; mute groups do not affect pads in other tracks.

Tip

: This feature is useful for programming realistic hi-hats, so only the open or closed hat is heard.

Use the

Layer Play

selector to determine how multiple samples assigned to the same pad are played:

Cycle

(

Cyc

): Each time the pad is played, it will play the next layer’s sample. In other words, the samples will cycle through the layers as follows: 1, 2, 3, 4, 1, 2, 3, 4… etc.

Velocity

(

Vel

): The pad will switch between layers depending on how hard you press a pad.

Random

(

Ran

): Each time the pad is played, it will play one of its layer’s samples at random.

Use the

Sample Play

selector to determine how much of the sample is played.

One Shot

: The entire sample will play from start to end. Use this when you want to play short sounds.

Note On

: The sample will play only as long as the pad is held. This is better for longer samples so you can control a sound’s duration by pressing and holding its corresponding pad.

148

Use the

Pad Polyphony

field to determine how the pad’s sound behaves when multiple hits are registered. When set to

Mono

, only one pad will sound at a time. If a pad is played while another (or the same one) is still playing its sample/samples, the new pad will immediately mute all other currently playing pads in that track. When set to

Poly

, several pads can be triggered at the same time (limited only by the total number of voices available). You can also select a specific number of pads (

2

32

) so that you can trigger up to this many pads at the same time (unless they exceed the total number of voices available).

The

Velocity Sensitivity

controls determine how much the velocity affects the pitch of the sound (

Pitch

), the attack of the filter envelope (

Attack

), the volume level of the filter envelope (

Amp

) and or the panning of the sound (

Pan

).

When you press a pad softly, only minimal modulation is applied. When you press it harder, the modulation amount also gets stronger depending on the setting of the corresponding knob.

A low-frequency oscillator (LFO) generates a periodic waveform with an adjustable frequency and shape which can be used for modulation purposes.

Use the

Wave

field to select the LFO waveform type:

Sine

(best suited for smooth modulations)

Triangle

(best suited for smooth modulations)

S&H

(samples a random value and holds it until the next value is generated)

Saw

(can generate interesting filter or volume changes)

Saw Down

(can generate interesting filter or volume changes)

Square

(interesting results with hard-panning modulations)

Noise

(generates random values and glides)

Use the

Rate

field to determine the LFO frequency. At lower values, it might take some time for the LFO to complete a cycle, while higher values will come closer to audible range.

Use the

Sync

field to set if the LFO’s rate is synchronized with the tempo. You can select one of several time divisions

(a

.

indicates a dotted note; a

T

indicates a triplet-based time division). When

None

is selected,

Sync

is off.

Use the

Destinations

sliders to determine how much the LFO affects the pitch of the sound (

Pitch

), the cutoff frequency of the filter (

Filter

), the volume level of the sound (

Amp

) and panning of the sound (

Pan

).

149

Effects

Inserts

You can select up to four insert effects for each pad. To learn how to use insert effects, please see

General Features

>

Effects

>

Insert Effects

.

To add an effect

:

1.

Double-tap the desired

Inserts

slot. A list of effects will appear.

2.

Swipe up or down to move through the list.

You can tap the

Type

and

Manufacturer

buttons to sort your effects by those categories.

3.

To load an effect, double-tap it

, or tap

Select

.

To close the list

, tap

Close

.

To remove an effect from its slot

, tap the

trash can icon

.

To enable or disable the effect

, tap the

On

/

Off

button for the slot.

To enable or disable all four insert effects

, tap the

All On

/

Off

button in the upper-right corner.

150

To adjust the effect’s parameters

, tap the

pencil icon

. Use the

sliders

to set the value of each parameter. These values affect only this instance of the effect; insert effects are not global.

To load an effect preset,

tap the

folder

icon next to the preset name at the top of the display to open the file browser.

To save a new effect preset,

tap the

disk

icon next to the insert selector at the top of the display.

Sends

The audio of the pad will be routed to send effects (if you have any loaded) at their designated send levels. The return channels will then send the audio to an assigned master output at the designated return levels.

Use the

Send

knobs to set the volume level of the signal the pad will route to each send effect.

Important

: To learn about send effects, please see

General Features

>

Effects

>

Send

/

Return Effects

.

151

Keygroup Tracks

When using keygroup tracks, Track Edit Mode lets you edit the parameters for each keygroup.

To select a keygroup

, press a

pad

within that keygroup. Its parameters will appear on the screen immediately.

Alternatively, use the

Keygroup

field at the top of the screen.

To view a specific tab of parameters

, tap the

Master

,

Samples

,

Pan Velocity

,

Filter

/

Env

,

LFO Modulation

, or

Effects

button at the bottom of the screen. You can tap the

Samples

button multiple times to cycle through its three available tabs.

Number of KG

(keygroups) lets you create up to 128 keygroups within a keygroup track. This is useful when working with multi-samples. For example, if you want to create a realistic piano, you can use different keygroups (e.g., 88 for a grand piano) with every keygroup containing its own sampled note (with up to four possible velocity layers).

Tap the

Keygroup

field to select a keygroup to edit. You can also select

All

to edit all keygroups simultaneously.

Tap the

piano-keys icon

to edit the note range of the current keygroup. This will open the

Set Keygroup Note Range

window. This lets you restrict the key range used for a sample’s playback. Only notes with a key number higher or equal (

Low Key

) or lower and equal

(

High Key

) to the selected value will trigger a sound.

Tips

:

Alternatively, you can set the current keygroup’s note range by using the

Lo

and

Hi

fields under

Note Range

in the

Master

tab.

Set the

Lo

parameter to

A0

and the

Hi

parameter to

C8

to emulate the range of a standard 88-key piano.

152

Master

In the Master tab, you can set the playback mode and tuning for the overall track.

Polyphony

sets the playback mode for the track’s keygroups. In

Mono

Mode, only one keygroup will sound at a time. If a keygroup is played while another (or the same one) is still playing its sample/samples, the new keygroup will immediately mute all other currently playing keygroups in that track. In

Poly

Mode, several keygroups can be triggered at the same time (limited only by the total number of voices available).

Semi

lets you tune the track up to 36 semitones up or down.

Fine

provides fine-tuning of the track up to 99 cents up or down.

Transpose

shifts the pitch of the MIDI notes sent to the track up to 36 semitones up or down.

KG Select

(Keygroup Select) lets you select a specific keygroup for editing. This parameter works in conjunction with the

Number of KG

(keygroups) parameter at the top of the screen, which lets you create up to 128 keygroups within one keygroup track. A default keygroup track contains only one single keygroup. When you have created more than one keygroup with

Number of KG

, use

KG Select

to select any keygroup for editing.

All

selects all available keygroups of a keygroup track for simultaneous editing.

Key Track

allows you to switch a sample’s automatic transposition on or off. If this is off, you will always hear the same pitch of the sample, no matter which note is triggered by pads or a connected MIDI keyboard.

153

Level

controls the overall volume level of the loaded sample/samples.

Pan

controls the overall panning of the loaded sample/samples in the stereo field.

Note Range

lets you restrict the key range used for a sample’s playback. Only notes with a key number higher or equal

(

Lo

) or lower and equal (

Hi

) to the selected value will trigger a sound. The settings for

Lo

and

Hi

are also shown in the virtual keyboard in the

Edit Layers

section. Alternatively, tap the

piano-keys icon

to open the

Set Keygroup Note

Range

window.

Tip

: Set the

Lo

parameter to

A0

and the

Hi

parameter to

C8

to emulate the range of a standard 88-key piano.

Semi

lets you transpose the sample 36 semitones up or down, while

Fine

provides fine-tuning of each layer up to 99 cents up or down.

Tip

: The

Edit Layers

section has some parameters similar to those in this section (

Level

,

Pan

,

Semi

,

Fine

,

Note

Range

). Remember that

Key Group

parameters control the overall settings for the sample, while

Edit Layer

parameters control the settings for each layer (up to 4).

Use the

KG Polyphony

(keygroup polyphony) field to determine how the keygroup will play. When set to

Mono

, only one pad will sound at a time. If a pad is played while another (or the same one) is still playing its sample/samples, the new pad will immediately mute all other currently playing pads in that track. When set to

Poly

, several pads can be triggered at the same time, limited only by the total number of voices available. You can also select a specific number of pads (

2

32

) so that you can play up to this many pads at the same time (unless they exceed the total number of voices available).

Use the

Mute Group

field to assign the selected keygroup to one of the 32 available mute groups. When keygroups assigned to the same mute group receive MIDI notes, the last keygroup played will silence all other keygroups in that mute group. A mute group affects keygroups within that track only; mute groups do not affect keygroups in other tracks.

154

Layer Play

determines how multiple samples assigned to the same pad are played:

Cycle

(

Cyc

): Each time the pad is played, it will play the next layer’s sample. In other words, the samples will cycle through the layers as follows: 1, 2, 3, 4, 1, 2, 3, 4… etc.

Velocity

(

Vel

): The pad will switch between layers depending on how hard you press a pad.

Random

(

Ran

): Each time the pad is played, it will play one of its layer’s samples at random.

Sample Play

determines how much of the sample is played:

One Shot

: The entire sample will play from start to end. Use this when you want to play short sounds.

Note On

: The sample will play only as long as the pad is held. This is better for longer samples so you can control a sound’s duration by pressing and holding its corresponding pad.

155

Samples

Each keygroup can trigger up to four samples, which are assigned in four individual layers. Each layer has identical, independently assignable parameters.

Tap

Samples

to cycle through its three available tabs.

On all three sections, you can access the

Settings

window, which lets you configure certain settings in the Samples tab.

To view the Settings

, tap the

gear icon

.

To close the Settings

, tap

Close

, the

X

in the upper-right corner, or anywhere outside the window.

Use the

Link Slices

selector to set how the start point and end point of a slice in a larger sample is set. You can create these slices in Sample Edit Mode (Chop Mode).

When on, changing the start point of a slice will also change the end point of the previous slice. Similarly, changing the end point of a slice will also change the start point of the next slice. Disable

Link Slices

if you are trying to create slices that use non-contiguous parts of the sample. This is the same as the

Link Slices

button in Sample Edit Mode.

Use the

Loop Lock

selector to “link” or “unlink” the loop point from the start point. When on, the loop point is the same as the start point. When off, the loop point is independent from the start point and indicated by a separate loop marker.

This is the same as the

Loop Lock

button in Sample Edit Mode.

Use the

Zero Snap

selector to enable or disable the Zero Snap feature, which forces start points, end points, and loop points to occur only at the waveform’s “zero-crossings.” This can help to avoid clicks and glitches when playing a sample. This is the same as the

0 Snap

button in Sample Edit Mode.

156

The

first Samples

tab contains the sample waveform for each layer and controls for its pitch, timing, and playback.

The upper half of the screen shows the waveform of the sample on the currently selected layer. The lower half shows the editing controls.

The waveform display shows the “active” section of the clip waveform. Swipe left or right on the waveform to move through it.

Above the waveform is the timeline, shown in bars, beats, and ticks.

Tap each layer number (

Layer 1

4

) under the waveform to select it. When selected, its sample waveform will be shown in the upper half of the screen and its settings will be shown in the lower half.

Use the

Sample

field to select the sample file for that layer. Remember that the sample has to be loaded into the project’s sample pool beforehand. For information on how to load samples into a project, please see the

Browser

chapter.

Important

: The parameters in the

Samples

tabs work in conjunction with Chop Mode (in Sample Edit Mode). Here’s how it works:

When working in Sample Edit Mode and using Chop Mode to divide a sample into slices for your pads (keygroups), you can convert a slice using

Non-Destructive Slice

or

Pad Parameters

.

A

Non-Destructive Slice

will let its keygroup to refer to that slice when you press a pad in that keygroup; the original sample remains intact and each slice marker is like a “bookmark” for a keygroup. In Track Edit Mode, you’ll see that the layer to which it’s assigned has its

Slice

drop-down menu set to the corresponding

slice number

in the original sample.

Playing that keygroup will cause it to refer to that slice marker like a “bookmark” instead of creating an entirely new sample of that slice. This means that you no longer have to clutter your project with a new sample for every slice (though you can still use this earlier method, if you prefer).

A slice converted using

Pad Parameters

is very similar to a non-destructive slice described above. The difference is that in Track Edit Mode, the layers they’re assigned to have their

Slice

drop-down menus set to

Pad

(instead of the slice number), and the

start

and

end points

will correspond to the slice markers in the original sample.

157

The

green

/

S

marker and

red

/

E

marker are the start point and end point (respectively). These two points define the region of the sample that will be played.

To move the start point or end point

, do any of the following:

Tap and drag the

S

or

E

marker left or right.

Use the

Start

or

End

fields shown below the waveform.

When the

knobs

are set to

screen

mode, use

Knobs 1

and

5

to adjust the start point or

Knobs 2

and

6

to adjust the end point. Knobs 1 and 2 provide fine adjustment and Knobs 5 and 6 provide coarse adjustment.

Note

: When

Loop Lock

is on, the loop position (as determined by the

Loop

field, if enabled) is the same as the sample’s start point. When off, the loop position is independent from the start point.

Use the

Loop

field to determine the position where the sample’s playback will repeat when

Pad Loop

is activated.

Note

: When

Loop Lock

is on, the loop position is the same as the sample’s start point. When off, the loop position is independent from the start point.

Use the

Slice

field to select what part/parts of the sample will play:

All

: The entire sample will play.

Pad

: The sample will play from the

Pad Start

position to the

Pad End

position, described

earlier

. This also lets

you activate

Pad Loop

(if the

Sample Play

field in the

Master

tab is set to

Note On

).

Slice 1, 2, 3, etc.

: If you have sliced the sample in Chop Mode, you can select which slice will play when you trigger the pad.

Semi

lets you transpose the selected layer 36 up to semitones up or down. This is the same as the

Semi

knob on the second

Samples

tab.

Fine

provides fine-tuning of each layer by cents. This is the same as the

Fine

knob on the second

Samples

tab.

158

Use the

Reverse

button to select in which direction the sample will play. When on, the sample will play in reverse. When off, the sample will play in the normal forward direction.

Use the

Pad Loop

button to cycle through the available Pad Loop modes.

Important

: For Pad Loop to work, you must (

1

) set the

Sample Play

field (in the

Master

tab) to

Note On

instead of One

Shot and (

2

) set the

Slice

field (in the first

Samples

tab) to

Pad

instead of All or a slice number.

Off

: The sample will not loop.

Forward

: You can hold down the

pad

to cause that sample to repeat from the

Loop Position

to the end of the sample. Release the

pad

to stop the repeating playback.

Reverse

: You can hold down the

pad

to cause that sample to play in reverse, repeating from the end of the sample to the

Loop Position

. Release the

pad

to stop the repeating playback.

Alternating

: You can hold down the

pad

to cause that sample to play from the

Loop Position

to the end of the sample and then play in reverse until it reaches the

Loop Position

again. This will repeat as long as you are holding the pad down. Release the

pad

to stop the repeating playback.

159

The

second Samples

tab contains controls for its pitch and volume level.

Semi

lets you transpose the selected layer 36 up to semitones up or down. This will affect the length of the sample (if

Warp

is off). This is the same as the

Semi

field on the first Samples tab.

Fine

provides fine-tuning of each layer by cents. This will affect the length of the sample (if

Warp

is off). This is the same as the

Fine

field on the first Samples tab.

Level

lets you adjust each layer’s volume, letting you control the “balance” of the samples assigned to the pad.

160

The

third Samples

tab contains the control for its offset.

Use the

Offset

slider to determine a time offset for the sample’s playback.

Positive values

(right of center): When the pad is played, playback will start immediately but at a later point in the sample specified by the offset value.

Negative values

(left of center): When the pad is played, playback will be delayed by the amount specified by the offset value.

161

Pan Velocity

Use the

Pan knob

to adjust the stereo placement of the respective layer.

Use the

Vel Start

and

Vel End

knobs to define the velocity range of each layer.

A range from

0

to

127

lets the layer respond to the entire velocity range which is input from the respective pad while, for example, a range from

100

to

127

lets the layer respond only to higher velocity levels. By assigning several samples of one instrument, you can create a realistic-sounding “multi-sample” by adjusting the velocity ranges of each layer accordingly.

For example, you may have three samples of a piano key with low force, medium force, and high force. You can set each sample to a layer and set the Velocity ranges so only low velocities trigger the low-force sample, only mid-range velocities trigger the medium-force sample, and only high velocities trigger the high-force sample.

Use the

Root Note

menu to set the starting note of each loaded sample.

Smp

denotes the sample’s default pitch.

162

Filter

/

Envelope

Use the

Type

field to select a filter for the selected pad. See

Appendix

>

Glossary

>

Filter

for an explanation of the available filter types.

Use the

Cutoff

knob to set the cutoff frequency for low-pass and high-pass filter types or the center frequency for band-pass and band-stop filter types.

Use the

Reso

knob to set the resonance/emphasis of the frequencies around the cutoff point.

Tip

: Use values lower than

80

to give more brilliance to the sound. At values higher than

80

, the sound will result in a strong audible boost around the cutoff frequency.

Use the

Env

to determine the amount of influence the filter envelope has on the cutoff frequency. Higher settings will increase the modulation of the filter by the envelope; lower settings will result in only subtle changes of the filter

Cutoff

over time.

Tip

:

To give a sound a more distinctive attack

, increase the

Env

setting and set low

Atk

and

Decay

values as well as a medium-low

Sust

value of the

Filter Envelope

. This will start a sound with the filter opened and close it shortly afterward, giving it a bright start followed by a darker sustain. String sounds, on the other hand, can sound much more

“alive” with low

Env

settings and a high

Atk

value, resulting in a slight fade-in of the higher frequencies.

Use the

Modulation Sources

knobs to set how much velocity is required to modulate certain other parameters:

Kbd

>

Flt

(Keyboard

Filter) sets how much the note value will be added to the filter cutoff. This allows samples to sound brighter as they are played higher on the keyboard.

Vel

>

Atk

(Velocity

Attack) sets how much velocity is needed (for a triggered pad) to modulate the Attack phase for the Amp envelope.

Vel

>

Env

(Velocity

Envelope) enables velocity information to control the amount of the filter envelope’s effect on the cutoff frequency.

Vel

>

Flt

(Velocity

Filter) uses the velocity of a pad to modulate the cutoff frequency directly.

The

Filter Envelope

controls affect the filter frequency. Use the fields or tap and drag the “handles” of the envelope to shape the envelope or time-variant modulation output. Adjust the envelope’s influence on the filter frequency with the

Env

knob. See

Anatomy of an Envelope

to learn about the envelope parameters.

The

Amp Envelope

controls affect level changes over time. Use the fields or tap and drag the “handles” of the envelope to shape the envelope or time-variant modulation output. Adjust the envelope’s influence on the filter frequency with the

Env

knob. See

Anatomy of an Envelope

to learn about the envelope parameters.

163

LFO Modulation

The

Velocity Sensitivity

controls determine how much the velocity affects the pitch of the sound (

Pitch

), the attack of the filter envelope (

Attack

), the volume level of the sound (

Amp

), and the panning of the sound (

Pan

).

When you press a pad softly, only minimal modulation is applied. When you press it harder, the modulation amount also gets stronger depending on the setting of the corresponding knob.

A low-frequency oscillator (LFO) generates a periodic waveform with an adjustable frequency and shape which can be used for modulation purposes.

Use the

Wave

field to select the LFO waveform type:

Sine

(best suited for smooth modulations)

Triangle

(best suited for smooth modulations)

S&H

(samples a random value and holds it until the next value is generated)

Saw

(can generate interesting filter or volume changes)

Saw Down

(can generate interesting filter or volume changes)

Square

(interesting results with hard-panning modulations)

Noise

(generates random values and glides)

164

Use the

Rate

field to determine the LFO frequency. At lower values, it might take some time for the LFO to complete a cycle, while higher values will come closer to audible range.

Use the

Sync

field to set if the LFO’s rate is synchronized with the tempo. You can select one of several time divisions

(a

.

indicates a dotted note; a

T

indicates a triplet-based time division). When

None

is selected,

Sync

is off.

Use the

Destinations

sliders to determine how much the LFO affects the pitch of the sound (

Pitch

), the cutoff frequency of the filter (

Filter

), the volume level of the sound (

Amp

) and the panning of the sound (

Pan

).

The

Controller Mod

section determines the influence of additional play controllers on various sound parameters.

Important

: To use these parameters, make sure that a connected MIDI device can send pitch bend messages as well as aftertouch and modulation wheel data.

Pitch Bend

sets the range (in semitones) of a connected MIDI keyboard’s pitch-bend wheel.

Wheel

>

LFO

determines how much a connected MIDI keyboard’s modulation wheel affects the LFO intensity.

Aft

>

Filt

(Aftertouch

Filter Cutoff) determines how much a connected MIDI keyboard’s aftertouch data affects the filter cutoff.

165

Effects

Inserts

You can select up to four insert effects for each keygroup. To learn how to use insert effects, please see

General

Features

>

Effects

>

Insert Effects

.

Important

: When using keygroup insert effects, they will be applied to that keygroup only. Keep this in mind if you load insert effects to multiple keygroups with overlapping note ranges—the effects will overlap in that range as well.

To add an effect

:

1.

Double-tap the desired

Inserts

slot. A list of effects will appear.

2.

Swipe up or down to move through the list.

You can tap the

Type

and

Manufacturer

buttons to sort your effects by those categories.

3.

To load an effect

, double-tap it, or tap

Select

.

To close the list

, tap

Close

.

To remove an effect from its slot

, tap the

trash can icon

.

To enable or disable the effect

, tap the

On

/

Off

button for the slot.

To enable or disable all four insert effects

, tap the

All On

/

Off

button in the upper-right corner.

166

To adjust the effect’s parameters

, tap the

pencil icon

. Use the

sliders

to set the value of each parameter. These values affect only this instance of the effect; insert effects are not global.

To load an effect preset,

tap the

folder

icon next to the preset name at the top of the display to open the file browser.

To save a new effect preset,

tap the

disk

icon next to the insert selector at the top of the display.

Sends

The audio of the track will be routed to send effects (if you have any loaded) at their designated send levels. The return channels will then send the audio to an assigned master output at the designated return levels.

Use the

Send

knobs to set the volume level of the signal the track will route to each send effect.

You can select up to four send effects for each keygroup, but remember that they will be applied to that keygroup only.

Keep this in mind if you load insert effects to multiple keygroups with overlapping note ranges—the effects will overlap in that range as well.

Important

:

To use a send effect

, you have to load an effect into the corresponding send effect slot in the Mixer. See

General Features

>

Effects

>

Send

/

Return Effects

to learn more how to do this.

167

Plugin Tracks

For plugin tracks, you will see an overview of all available plugin parameters with a slider for each, or a visual representation of the plugin interface.

Use the

sliders

to set the value of each parameter, or use the plugin interface.

Use the

tabs

at the bottom of the screen to access the available parameters.

To load a plugin preset,

tap the

folder

icon next to the preset name at the top of the display to open the file browser.

To save a new plugin preset,

tap the

disk

icon next to the insert selector at the top of the display.

168

MIDI Tracks

For MIDI tracks, you will see an overview of all available MIDI CCs with a slider for each.

Use the

sliders

to set the value of each parameter.

Use the six

tabs

at the bottom of the screen to access the available parameters.

169

CV Tracks

For CV tracks, you will see an overview of all available CV outputs with a slider for each.

Use the

sliders

to set the value of each parameter.

Use the six

tabs

at the bottom of the screen to access the available parameters.

170

Anatomy of an Envelope

An envelope creates a variable control signal. It can be used, for instance, to modulate the filter settings of a sound over a given period of time.

For drum tracks, use the

AD

/

AHDS

selector to select an AD or AHDS envelope. When

Sample Play

is set to

Note-On

, it will use an ADSR envelope.

Keygroup tracks always use

AHDS

envelopes. When

Sample Play

is set to

Note-On

, it will use an

ADSR

envelope.

With

AHDS

envelopes, the following happens when you trigger a sample:

1.

Within the period of time you have defined with the attack (

Atk

), the sample volume rises to its maximum value.

2.

The sample’s maximum volume will be maintained during the

Hold

phase.

3.

During the

Decay

phase, the sample’s volume will gradually drop to the sustain level.

4.

The sample’s volume will stay at the sustain level (

Sust

) until the pad is released.

With

AD

envelopes, the following happens when you trigger a sample:

1.

Within the period of time you have defined with the attack (

Atk

), the sample volume rises to its maximum value.

2.

The sample’s maximum volume will be maintained until its

Decay

phase, when the sample’s volume will gradually drop to zero over the set duration. Tap the

Type

drop-down menu to select how the decay functions:

Decay From Start

: The volume will start decreasing immediately after reaching its maximum level.

Decay From End

: The maximum volume will be maintained for a hold phase until it reaches the decay phase.

With

ADSR

envelopes, the following happens when you trigger a sample:

1.

Within the period of time defined by

Attack

, the sample volume rises to its maximum value.

2.

During the

Decay

phase, the sample’s volume will gradually drop to the

Sustain

level.

3.

The sample’s volume will stay at the

Sustain

level until the note is released.

4.

The sample’s volume will drop to “zero” over the duration set by

Release

.

171

Sample Edit Mode

Sample Edit Mode lets you edit samples using various functions.

To enter Sample Edit Mode

, press

Menu

, and then tap

Sample Edit

.

To select a sample to edit

, use the

Sample

field at the top of the screen.

To edit the name of the sample

, tap the

keyboard icon

next to the name at the top of the screen, and use the virtual keyboard that appears.

To delete the sample

, tap the

trash-can icon

next to the name at the top of the screen. In the screen that appears, you will see the tracks that use this sample within your project. Tap

Delete Sample

to continue, or tap

Cancel

to return to the previous screen.

172

The upper half of the screen shows the waveform. The lower half shows the editing controls.

The waveform display shows the “active” section of the sample waveform. Swipe left or right on the waveform to move through it.

Above the waveform is the timeline, shown in

Samples

,

Time

(in seconds and milliseconds), or

Beats

. You can select the measurement units you want to show in the

Settings

.

To zoom in or out

, do any of the following:

When the

magnifying-glass icon

(in the upper-right corner) is selected, spread or pinch your fingers

(respectively) on the waveform.

Tap the

Zoom +

or

Zoom –

buttons (respectively) at the bottom of the screen.

Turn

Knob 8

when the knobs are set to

screen

mode.

To scroll through the waveform

, do either of the following:

When the

magnifying-glass icon

(in the upper-right corner) is selected, swipe the waveform left or right.

Turn

Knob 7

when the knobs are set to

screen

mode.

The green marker and red marker are the start point and end point (respectively). These two points define the region of the sample that will be played.

To move the start point or end point of the selected region

, do any of the following:

Tap and drag its marker left or right.

Use the

Start

or

End

fields shown below the waveform.

When the

knobs

are set to

screen

mode, use

Knobs 1

and

2

to adjust the start point or

Knobs 3

and

4

to adjust the end point. Knobs 1 and 3 provide fine adjustment and Knobs 2 and 4 provide coarse adjustment.

Tip

: A recorded sample may have some silence at the beginning or end, which makes it difficult to time it correctly in a musical context. Fix this by adjusting the start point. You can also adjust end point to remove any extra silence or unwanted audio at the end. In addition to making your workflow easier, having a “tight,” well-edited sample can enhance your production or performance.

You can use Sample Edit Mode in two different ways:

Trim Mode

or

Chop Mode

. The options for each mode are slightly different. Please refer to the following

Trim Mode

and

Chop Mode

parts of this chapter to learn how each

works. Before using these modes, though, you may want to configure your settings—see the following

Settings

chapter to do this.

173

Settings

The Settings window lets you configure certain Sample Edit Mode settings.

To view the Settings

, tap the

gear icon

.

Use the

Cue Play Mode

selector to set how the cue playhead will play audio.

One Shot

: Tapping

Play Cue

will play the entire sample from the cue playhead.

Toggle

: Tapping

Play Cue

once will start playback from cue playhead. Tapping it once more will stop playback.

Use the

Cue Preview

selector to set if any audio plays as you move the cue playhead. As you move the cue playhead through the sample waveform, you can set it to play the small part of the sample before the cue playhead (

Before

), play the small part of the sample after the cue playhead (

After

), or not play at all (

Off

). You can also set this in your overall

Preferences (see

General Features

>

Menu

>

Preferences

>

General

).

Use the

Slice Preview

selector to set if any audio plays as you move a slice marker. As you move the slice marker through the sample waveform, you can set it to play the small part of the sample before the slice marker (

Before

), play the small part of the sample after the slice marker (

After

), or not play at all (

Off

). You can also set this in your overall

Preferences (see

General Features

>

Menu

>

Preferences

>

General

).

Use the

Auto-Scroll

selector to set how the screen behaves relative to the audio playhead.

Follow

: Depending on the zoom setting, the waveform will scroll along in the background, keeping the audio playhead centered.

Page

: The waveform display will move to the “next page” to follow the audio playhead.

Off

: The waveform display will not move at all.

These functions also apply to the sample waveform in the Grid View.

Use the

Timeline Units

selector to set the measurement units shown above the sample waveform. You can select one of the following options:

Time

: hours:minutes:seconds:frames

Samples

: number of samples

Beats

: bars:beats:ticks

174

Trim Mode

We recommend using Trim Mode to crop the start and/or ends from a sample.

To enter Trim Mode

, tap the

Trim

/

Chop

button in the lower-left corner so it says

Trim

.

Use the

Start

and

End

fields to set the position of the start point and end point of the sample (respectively).

Alternatively, tap and drag the start (

S

) or end (

E

) marker left or right, or use

Knobs 1

and

2

to adjust the start point or

Knobs 3

and

4

to adjust the end point when the knobs are in

screen

mode.

Trim Mode includes a loop function. When on, the region of the sample between the loop point and end point will repeat.

This is useful when trying to find an ideal spot to begin the sample. The loop cannot be earlier than the start point.

To adjust the loop point

, do any of the following:

Use the

Loop

field.

Tap and drag the start (

S

) marker (if

Loop Lock

is on) or the

loop

marker (if

Loop Lock

is off).

When the

knobs

are in

screen

mode, use Knobs 5 and 6 to adjust the loop marker. Knob 5 provides fine adjustment and Knob 6 provides coarse adjustment.

To turn Loop Lock on or off

, tap the

Loop Lock

button. When on, the loop point is the same as the start point. When off, the loop point is independent from the start point and indicated by a separate loop marker.

To turn the loop function on or off

, tap the

Loop

button to cycle between the four modes:

Off

: The sample will not loop.

Forward

: When the loop reaches its end point, it will start playing again from the loop point.

Reverse

: When the loop reaches its end point, it will play in reverse. When it reaches the loop point again, it will return to the end point and continue playing in reverse.

Alternating

: When the loop reaches its end point, it will play in reverse. When it reaches the loop point again, it will start playing forward again from the loop point.

To switch between Forward and off

, press and hold

Shift

, and then tap

Loop

at the bottom of the screen.

175

Use the

Tune

field to transpose the sample up or down from its original pitch.

Tap

From BPM

to open the

Edit Tuning

window, which lets you tune a sample to the project.

Use the

Beats

field to match the number of beats in the sample.

To tune the sample to the project

, tap

Match

. The

Tune

field will adjust automatically and close the window. The sample is now tuned to the project.

To tune the sample to the project and adjust the

project

tempo

, tap

To Sequence

. This is the same as tapping

Match but it also changes the project's tempo to the BPM shown in the Tempo field on the right.

To close the window

, tap

Close

.

To enter a tempo manually

, use the

BPM

field.

To detect the tempo automatically

, tap

Detect

. In the

Edit BPM

window that appears, you can do any of the following:

Use the

BPM

field to enter a tempo manually.

Tap

Detect

to detect the tempo automatically.

Tap

Tap Tempo

at the bottom of the screen at the desired rate to use it as the tempo.

Tap

Close

, the

X

, or anywhere outside the window to close it.

176

Use the

Root Note

field to set the root note of the sample. This defines which note will play the sample at its original pitch when in a keygroup track.

Tap

X-Fade

to open the

X-Fade

window, which lets you apply real-time crossfade looping to sample playback. Before applying a crossfade, make sure the

Loop Lock

setting is

Off

and the

Loop

function is set to

Forward

. Then, you can set the

Length

of the crossfade and the

Type

, either

Equal Power

or

Linear

.

To select a slice to edit

, (after you have created slices in Chop Mode), use the

Slice

field.

When

Link Slices

is enabled (after you have created slices in Chop Mode), changing the start point of a slice will also change the end point of the previous slice. Similarly, changing the end point of a slice will also change the start point of the next slice. Disable

Link Slices

if you are trying to create slices that use non-contiguous parts of the sample.

To enable or disable this feature

, tap the

Link Slices

button.

Important

:

Link Slices

must be disabled to make slices non-sequential, noncontiguous, or overlapping.

0 Snap

forces start points, end points, and loop points to occur only at the waveform’s “zero-crossings.” This can help to avoid clicks and glitches when playing a sample.

To enable or disable 0 Snap

, press and hold

Shift

, and then tap

0 Snap

at the bottom of the screen.

To enable or disable the loop function

, press and hold

Shift

, and then tap

Loop

at the bottom of the screen. This switches the loop function between

Forward

and

off

. The loop function is described

earlier

.

Tip

: You can use Trim Mode for a specific slice of the sample, previously created and selected in Chop Mode. This allows for a more detailed view of a single slice than in Chop Mode and gives you more options for auditioning the slice.

You can easily switch between Trim Mode and Chop Mode while doing this.

To use both Trim Mode and Chop Mode to edit a sample slice

:

1.

Tap

Trim

/

Chop

at the bottom of the screen so it says

Chop

.

2.

Set all fields as desired to create your sample slices.

3.

Select the desired slice.

4.

Tap

Trim

/

Chop

at the bottom of the screen so it says

Trim

. The region you are now editing is indicated by the normal start point and end point markers rather than slice markers.

5.

Tap

Trim

/

Chop

at any time to return to Chop Mode.

177

Assigning Samples

You can assign your new sample directly to a pad from Trim Mode.

To assign a sample

, tap

Assign

at the bottom of the screen to open the Assign Sample window.

Important

: Assigning a sample to a pad in this way will replace the sample on the first layer of the pad.

If you set the

Assign To

field to

Assign slice to a pad

, the pad will simply refer to the slice in this sample instead of creating a new sample. This is useful for reducing clutter in your project.

Use the

Pad

field to select the desired pad. Alternatively, press the desired pad.

Use the

Slice Type

field to select how the pad’s layer settings will

be set when the slice is assigned to it (see

Track Edit Mode

to learn more about the parameters mentioned below):

Non-Destructive Slice

: The pad’s

Slice

setting will be set to the slice number.

Pad Parameters

: The pad’s

Slice

setting will be set to

Pad

. The

Pad Start

and

Pad End

will be set to the slice’s start point and end point values, and the

Loop Position

will be set to the slice’s start point but with

Pad Loop

deactivated.

Use the

Track

field to specify the track to which you want to add the slice.

To assign the sample

, tap

Do It

.

To cancel the operation

, tap

Close

, the

X

, or anywhere outside the window.

178

If you set the

Assign To

field to

Make new sample

, this will create a new sample in your project. (The original sample will remain as it is.)

Use the

Pad

field to select the desired pad. Alternatively, press the desired pad.

Check the

Crop Sample

box to delete the unused parts from the sample when it’s created and assigned. This feature is destructive, though the project will still contain your original sample.

Leave this box unchecked to keep the unused parts of the sample when it is created and assigned. This way, you will still be able to edit the entire sample further even though you are using only part of it at the moment.

Use the

Track

field to specify the track to which you want to add the slice.

To assign the sample

, tap

Do It

.

To cancel the operation

, tap

Close

, the

X

, or anywhere outside the window.

179

Processing Slices & Samples

Tap the

Process

button to open the Process window, where you can select an editing option for the sample.

Use the

Function

field to select an editing process. Double-tap it or tap

Function

at the bottom of the screen to open the Function window, which displays an overview of all available editing processes.

You can use any of these functions as described below.

To return to Sample Edit Mode

, tap

Cancel

.

To return to the Process window

, tap the top of the screen.

Note

: All

Slice

processes will affect only the part of the sample between the start point and the end point. The

Sample

processes (

Bit Reduce

and

Stereo -

>

Mono

) will affect the

entire

sample regardless of its start point or end point.

The

Discard

process deletes the regions before the start point and after the end point.

The

Delete

process deletes the region between the start point and end point and closes the gap between them.

180

The

Silence

process replaces the region between the start point and end point with silence.

The

Extract

process deletes the regions before the start point and after the end point and saves it as a new sample in your current project.

Use the

Edit Name

field (and the virtual keyboard that appears) to name the new sample.

Tip

: This is useful if you recorded a drum loop and wanted to remove just a snare drum hit, a kick drum hit, etc. to use separately in the project.

The

Normalize

process increases a sample’s level to the highest level possible without distortion. This is essentially a kind of digital gain optimization, so you do not have to worry about excessive level settings when working with samples with a wide range of amplitudes.

The

Reverse

process reverses the region between the start point and end point.

181

The

Fade In

process sets a fade-in between the start point and end point. The following types are available:

Linear

fades the audio in with a linear curve—a straight line between the start and end.

Log

fades the audio in with a logarithmic curve—quickly rising at the start and flattening out towards the end.

Exp

fades the audio in with an exponential curve—slowly rising in the beginning and growing steeper towards the end.

The

Fade Out

process sets a fade-out between the start point and end point. The following types are available:

Linear

fades the audio out with a linear curve—a straight line between the start and end.

Log

fades the audio out with a logarithmic curve—quickly falling at the start and flattening out towards the end.

Exp

fades the audio out with an exponential curve—slowly falling in the beginning and growing steeper towards the end.

The

Pitch Shift

process changes the pitch of the sample without changing its length. This lets you set the sample’s pitch to your project without affecting the sample’s tempo or duration. You can adjust it up to 12 semitones, up or down. Keep in mind that the audio quality may decrease at more extreme settings.

The

Time Stretch

process lengthens or shortens the sample without changing its pitch. This is useful for matching the durations of two samples with different pitches. You can enter the original tempo of the sample and the desired tempo after processing.

Use the

Beat

field to set the desired value number of beats.

Use the

New Tempo

field to set the new tempo. The

Ratio

field will then automatically show the time stretch factor.

Alternatively, to adjust the ratio instead, use the

Ratio

field to set the desired ratio. The

New Tempo

field will then change automatically based on the new time stretch factor.

182

The

Gain Change

process raises or lowers the volume of the sample.

You can adjust it up to 18 dB, higher or lower. This function is different than Normalize because it will allow volumes beyond clipping level. This may be a desired effect, but remember to watch your output level!

The

Copy

process saves a copy of the sample.

Use the

Edit Name

field (and the virtual keyboard that appears) to name the new sample.

Otherwise, the process will add a consecutive number after the sample name.

The

Bit Reduce

process lowers the bit resolution of a sample, effectively reducing its degree of faithful reproduction. You can reduce it down to

1 bit

. (The sound is similar to the Resampler effect, but Bit

Reduce will permanently alter the sample.)

Tip

: Use this on drum loops to get a dirty, “old-school” sizzle but with a digital “edge.”

Note

: This process affects the

entire

sample regardless of its start point or end point.

The

Stereo -

>

Mono

process converts a stereo sample to a new mono sample and saves it as a new sample.

Use the

Edit Name

field (and the virtual keyboard that appears) to name the new sample.

Otherwise, the process will add a consecutive number after the sample name.

The following options are available:

Left

will convert the left channel only.

Right

will convert the right channel only.

Sum

will combine the left and right audio channels to a single mono channel.

Note

: This process affects the

entire

sample regardless of its start point or end point.

183

Chop Mode

Whereas Trim Mode crops only the start and/or end off of a sample, Chop Mode divides the sample into multiple regions called

slices

. We recommend using Chop Mode when working with a long sample with different sounds throughout (e.g., a drum loop or a long melodic or harmonic passage).

To enter Chop Mode

, tap the

Trim

/

Chop

button in the lower-left corner so it says

Chop

.

Use the

Start

and

End

fields to set the position of the start point and end point (respectively) of the currently selected slice. Alternatively, tap and drag the start (

S

) or end (

E

) marker left or right, or use

Knobs 1

and

2

to adjust the start point or

Knobs 3

and

4

to adjust the end point when the knobs are in

screen

mode.

Use the selector in the lower-left corner of the screen to choose how you want to use Chop Mode:

Manual

This method lets you insert slices at locations you select.

Threshold

This method uses an adjustable detection algorithm that derives the number of slices created from the volume levels present in the sample.

Use the

Threshold

field to set the threshold level. The higher the selected value, the more slices will be created.

Use the

Min Time

field to set the minimum length of a slice in milliseconds.

Regions

This method divides a sample into several slices of equal length.

Use the

Regions

field to set how many regions the sample will be divided into. The higher the selected value, the more slices will be created.

BPM

This method divides a sample into several slices based on the tempo (beats per minute).

Use the

Bars

field to set how many bars are in the sample.

Use the

Beats

field to set how many beats are in each bar.

Use the

Time Div

field to set a note division. The slice markers will be placed according to this setting. You can select

1

/

4

,

1

/

8

,

1

/

16

, or

1

/

32

. (In most cases, you should set this parameter to

1

/

16

.)

184

To play a slice

, when the

headphones icon

(in the upper-right corner) is selected, tap a

slice

in the waveform.

When the

One Shot

feature is enabled, you can press a pad once to play the entire slice. When this is disabled, pressing the pad and holding it will play the slice; releasing it will stop playback.

To enable or disable One Shot

, press and hold

Shift

, and then tap

One Shot

.

To select a slice to edit

, do any of the following:

Use the

Slice

field.

When the

knobs

are in

screen

mode, turn

Knob 6

.

When the

headphones icon

(in the upper-right corner) is selected, tap a

slice

in the waveform.

To add a slice at the current playhead position

, tap

Slice+

at the bottom of the screen. You can do this at any point during sample playback.

To split or combine slices

, tap the

glue-and-scissors icon

. In the

Split

/

Combine Region

screen that appears, tap one of the following buttons:

Split

: This splits the currently selected region into two equal slices.

Combine

: This combines the currently selected region with the one before it.

Back

: This closes the window.

185

When

Link Slices

is enabled, changing the start point of a slice will also change the end point of the previous slice.

Similarly, changing the end point of a slice will also change the start point of the next slice. Disable

Link Slices

if you are trying to create slices that use non-contiguous parts of the sample.

To enable or disable this feature

, tap the

Link Slices

button.

Important

:

Link Slices

must be disabled to make slices non-sequential, noncontiguous, or overlapping.

To remove all slices from a sample

, press and hold

Shift

and tap

Clear All

.

The cue playhead is useful when manually inserting slice markers. You can set its position and behavior to suit your workflow.

To adjust the position of the Cue playhead,

do any of the following:

Use the

Cue

field.

Tap and drag the translucent marker with the triangle (

).

When the

knobs

are in

screen

mode, turn

knob 5

.

To play the sample from the cue playhead

, tap

Play Cue

at the bottom of the screen.

To create a slice marker at the cue playhead position

, tap

Slice+

at the bottom of the screen.

To set how the cue playhead behaves

, use the

Settings

window (described

earlier

).

0 Snap

forces start points and end points to occur only at the waveform’s “zero-crossings.” This can help to avoid clicks and glitches when playing a sample.

To enable or disable 0 Snap

, press and hold

Shift

, and then tap

0 Snap

at the bottom of the screen.

186

Converting or Assigning Slices

You can assign your new sample directly to a pad from Chop Mode. You can also convert it into a new track or patched phrase.

To convert or assign a sample

, press and hold

Shift

, and then tap

Convert

at the bottom of the screen to open the

Convert or Assign Slices window.

If you set the

Convert To

field to

New drum track using slices

, this will create a new track and assign the sample’s slices to its pads. The pads will simply refer to the slices in this sample instead of creating new samples. This is useful for reducing clutter in your project. The new track will be named after the sample and appended with

ch

.

Use the

Slice Type

field to select how each pad’s layer settings will

be set when the slices are assigned to them (see

Track Edit Mode

to learn more about the parameters mentioned below):

Non-Destructive Slice

: Each pad’s

Slice

setting will be set to the slice number.

Pad Parameters

: Each pad’s

Slice

setting will be set to

Pad

.

The

Pad Start

and

Pad End

parameters will be set to the slice’s start point and end point values, and the

Loop Pos

parameter will be set to the slice’s start point but with

Pad

Loop

deactivated.

Check the

Create Events

box to automatically create a new clip in which each pad plays its corresponding slice in ascending sequence by pad number.

If

Create Events

is checked, use the

Bars

field to set how many bars the slices’ events will occupy.

To convert the sample

, tap

Do It

.

To cancel the operation

, tap

Close

.

187

If you set the

Convert To

field to

New track with new samples

, this will create a new sample from each slice and assign them to pads in a new track.

The new track will be named after the sample and appended with

ch

.

The new samples will be appended with

SI-#

(where

#

is a consecutive number).

Check the

Crop Samples

box to delete the unused parts from the sample when they are created and assigned. This feature is destructive, though the project will still contain your original sample.

Leave this box unchecked to keep the unused parts of the samples when they’re created and assigned. This way, you will still be able to edit the entire samples further even though you are using only part of them at the moment.

By default, this option already will create a new track. You can

uncheck

the

Create new track

box to convert each slice into a sample that is placed in the project’s sample pool but not assigned to a track or pad.

If

Create new track

is checked, check the

Create Events

box to automatically create a new clip in the new track in which each pad plays its corresponding slice in ascending sequence by pad number.

If

Create Events

is checked, use the

Bars

field to set how many bars the slices’ events will occupy.

To convert the sample

, tap

Do It

.

To cancel the operation

, tap

Close

.

188

If you set the

Convert To

field to

Assign slice to a pad

, the pad will simply refer to the slice in this sample instead of creating a new sample. This is useful for reducing clutter in your project.

Important

: Assigning a sample to a pad in this way will replace the sample on the first layer of the pad.

Use the

Pad

field to select the desired pad. Alternatively, press the desired pad.

Use the

Slice Type

field to select how the pad’s layer settings will

be set when the slice is assigned to it (see

Track Edit Mode

to learn more about the parameters mentioned below):

Non-Destructive Slice

: The pad’s

Slice

setting will be set to the slice number.

Pad Parameters

: The pad’s

Slice

setting will be set to

Pad

.

The

Pad Start

and

Pad End

will be set to the slice’s start point and end point values, and the

Loop Position

will be set to the slice’s start point but with

Pad Loop

deactivated.

Use the

Track

field to specify the track to which you want to add the slice.

To convert the sample

, tap

Do It

.

To cancel the operation

, tap

Close

.

If you set the

Convert To

field to

Make new sample

, this will create a new sample in your project. (The original sample will remain as it is.)

Important

: Assigning a sample to a pad in this way will replace the sample on the first layer of the pad.

Use the

Pad

field to select the desired pad. Alternatively, press the desired pad.

Check the

Crop Sample

box to delete the unused parts from the sample when it’s created and assigned. This feature is destructive, though the project will still contain your original sample.

Leave this box unchecked to keep the unused parts of the sample when it is created and assigned. This way, you will still be able to edit the entire sample further even though you are using only part of it at the moment.

Use the

Track

field to specify the track to which you want to add the slice.

To convert the sample

, tap

Do It

.

To cancel the operation

, tap

Close

.

189

If you set the

Convert To

field to

Patched phrase

, this will create a new sample that will play based on the tempo of your project, and places it in the current project. The patched phrase will have the same name as the original sample but appended with

pp

and will use a different icon when viewing your project information.

Use the

Bars

field to set how many bars long the patched phrase is meant to be.

Processing Slices

Press and hold

Shift

, and then tap the

Process

button to open the Process window, where you can select an editing option for the currently selected slice. (This has fewer options than Trim Mode. Unavailable ones are darkened.)

Use the

Function

field to select an editing process. Double-tap it or tap

Function

at the bottom of the screen to open the Function window, which displays an overview of all available editing processes.

Important

: Chop Mode is non-destructive: You can choose the slice/edit behavior without destroying your original sample, giving you more control over sample playback; you can save your sliced sample and but also reuse all of the slice data in

another project. See the

Track Edit Mode

chapter to learn more about setting a pad to play the entire sample, a specific slice of a sample, or a specific region of the sample (independent of its slice markers).

You can use any of these functions as described below.

To return to Sample Edit Mode

, tap

Cancel

.

To return to the Process window

, tap the top of the screen.

Note

: All processes here will affect only the currently selected slice.

190

The

Silence

process replaces the region between the start point and end point with silence.

The

Extract

process deletes the regions before the start point and after the end point and saves it as a new sample (with a name you enter) in your current project.

Tip

: This is useful if you recorded a drum loop and wanted to remove just a snare drum hit, a kick drum hit, etc. to use separately in the project.

The

Normalize

process increases a sample’s level to the highest level possible without distortion. This is essentially a kind of digital gain optimization, so you do not have to worry about excessive level settings when working with samples with a wide range of amplitudes.

The

Reverse

process reverses the region between the start point and end point.

191

The

Fade In

process sets a fade-in between the start point and end point. The following types are available:

Linear

fades the audio in with a linear curve—a straight line between the start and end.

Log

fades the audio in with a logarithmic curve—quickly rising at the start and flattening out towards the end.

Exp

fades the audio in with an exponential curve—slowly rising in the beginning and growing steeper towards the end.

The

Fade Out

process sets a fade-out between the start point and end point. The following types are available:

Linear

fades the audio out with a linear curve—a straight line between the start and end.

Log

fades the audio out with a logarithmic curve—quickly falling at the start and flattening out towards the end.

Exp

fades the audio out with an exponential curve— slowly falling in the beginning and growing steeper towards the end.

The

Pitch Shift

process changes the pitch of the sample without changing its length. This lets you set the sample’s pitch to your project without affecting the sample’s tempo or duration. You can adjust it up to 12 semitones, up or down. Keep in mind that the audio quality may decrease at more extreme settings.

The

Gain Change

process raises or lowers the volume of the sample.

You can adjust it up to 18 dB, higher or lower. This function is different than Normalize because it will allow volumes beyond clipping level. This may be a desired effect, but remember to watch your output level!

192

Sampler

The Sampler lets you record audio samples to use in your projects.

To open the Sampler

, press

Menu

and then tap

Sampler

.

To set up the Sampler before recording

:

1.

Make sure to reduce the volume levels of your audio source and speakers, headphones, and/or monitors before you make any connections to avoid “pops” or feedback.

2.

Connect your audio source to the input/inputs of your Force hardware.

For line-level devices such as a synthesizer, set the

Line/Inst

switch to

Line

; for instrument-level devices such as a guitar, set the switch to

Inst

.

If you are using a microphone that requires phantom power, set the

+48V

switch to

On

.

3.

Turn the

Gain

knob to set the input level while playing your audio source. You should now see the level in the meter.

Make sure it does not exceed the maximum level (the meter should not be “peaking” constantly).

4.

Set the recording controls as desired (described in this chapter).

5.

Tap the

Arm

button to record-arm the Sampler.

193

The upper-left

Input Source

field defines whether you are going to record an external audio signal, which you can set to the pair of inputs (

Input 1,2

) or a single input (

Input 1

2

).

You can also select an internal signal from within your Force hardware (

Resample L

,

Resample R

, or

Resample L+R

).

Resampling does not require an audio connection because the source is internal and is therefore recorded without any loss in audio quality. You can, for example, use Resample to record two or more samples by pressing the corresponding pads simultaneously.

Use the second upper-left

Mono

/

Stereo

field to choose whether your recorded samples will be monaural (

Mono

) or binaural (

Stereo

).

The

Inserts

field shows any enabled or disabled effects for the Sampler. Tap the area under

Inserts

to open a window where you can load, change, and enable or disable the effects.

Important

: These effects are applied to the audio as you record it. This means that the effects cannot be “removed” from the sound later. Learn more about how effects work in

General Features

>

Effects

.

Tap the

Monitor

button to enable or disable input monitoring. When on, the audio you hear in your headphones will be taken

before

it reaches the Sampler, ensuring zero latency.

When off, the audio you hear in your headphones will be taken

after

it is processed in the

Sampler, so there may be some latency, but you will hear the audio source as it sounds in the recording.

Tip

:

To avoid possible clicks or feedback while input monitoring

, reduce the level of the audio sources.

Use the

threshold slider

to adjust the threshold. Alternatively, turn

Knob 1

when the knobs are set to

screen mode

.

When the Sampler is record-armed, it automatically starts recording when the level of the incoming source exceeds this setting. If you set it too high, the recording may not start when you play the input source, or the start of the material you wanted to record may be missing. If you set it too low, the recording may start too early, before you play the external source. Set this parameter to an appropriate level using the level meter.

To reset the

peak hold

,” which shows the highest level of your input signal in the level meter, tap it.

194

For reference, the

Sample Length

counter shows you the length of your sample during the recording procedure.

Tap

Arm

to record-arm the Sampler. The button will then change to

Record

and show

Waiting for signal

.

At that point, start recording by doing either of the following:

Start performing so that the incoming audio level exceeds the level of the

threshold slider

.

Tap

Record

under the

Sample Length

counter.

To disarm the track instead

, tap

Cancel

.

Use the

Max Length

field to define the maximum sampling time.

You can record up to 15 minutes and 59 seconds (

15

:

59

) per sample. We recommend setting these to values that roughly match your estimated recording duration.

195

After you stop your recording, the

Keep or Discard Sample

window will appear.

Use the

New Sample

field to name the new sample. Tap it and use the virtual keyboard that appears.

Use the

Track

field to assign the new sample to a track. Select <

none

> if you want to save it to the project without assigning it to a track.

Note:

Newly recorded samples can only be assigned to Drum tracks.

Use the

Assign to Pad

field to assign the sample to a pad in the track.

Use the

Root Note

field to set where the sample’s original pitch will be on the keyboard.

To confirm your selections

, tap

Keep

at the bottom of the screen.

To discard the recording and return to the Sampler

, tap

Discard

at the bottom of the screen.

To play the recording

, tap

Play

at the bottom of the screen.

Tip

: We recommend editing your recorded sample in

Sample Edit Mode

(see

Sample Edit Mode

for more information).

196

Auto Sampler

The Sampler page also contains the Auto Sampler, which lets you capture and covert any plugin preset or external instrument preset into a keygroup sampler patch.

To open the auto sampler

, tap the

keyboard icon

next to the record button in Sampler View. The current track will be selected as the auto sample source.

Sample Source Information

Use the

Track name

field to select the target auto sampler source.

Use the

Record from

field to select an input to record from.

Select one of the

Input

options to autosample an external instrument, or select one of the

Resample

options to autosample from an internal source.

Note Range

Use the

Min Note

and

Max Note

fields to set the range of notes that will be created.

Use the

Note Stride

field to set the number of semitones between each new sample.

Check the

Extend min/max notes

box to sample all the way to the lowest and highest notes, regardless of the

Min Note

and

Max Note

settings.

Velocity

Tap the boxes next to

Layers 1

4

to select how many layers will be used to create the sampler patch.

Use the

Velocity

value sliders to set the velocity of each layer.

Sampling

Use the

Note length

slider to set the length of the sampled note in seconds.

Use

Tail

slider to set the length of the Audio Tail in seconds. This will add extra seconds to the end of the resulting audio file. This is useful if you are capturing samples whose sounds exceed the defined audio length (e.g., long reverb or delay, one-shot samples with long decays, etc.). We recommend using an audio tail of at least a couple of seconds.

Use

Base name

to set the naming convention for the samples that will be created by the Auto Sampler.

197

Looping

Use the

Enable looping

field to select how the resulting samples can or cannot be looped:

Off

: The sample will not loop.

Forward

: You can hold down the

pad

to cause that sample to repeat from the

Loop Position

to the end of the sample. Release the

pad

to stop the repeating playback.

Reverse

: You can hold down the

pad

to cause that sample to play in reverse, repeating from the end of the sample to the

Loop Position

. Release the

pad

to stop the repeating playback.

Alternating

: You can hold down the

pad

to cause that sample to play from the

Loop Position

to the end of the sample and then play in reverse until it reaches the

Loop

Position

again. This will repeat as long as you are holding the pad down. Release the

pad

to stop the repeating playback.

Use the

Loop start

and

Loop end

sliders to set the starting and ending points in the sample where the loop will occur.

Use the

Crossfade

slider to set the amount of crossfade between the loop end and loop start in seconds.

Use the

Crossfade Type

field to select

Equal Power

or

Linear

crossfade.

Under

On completion

, check

Make current program

to load the completed sampler patch as the current track.

Under

Info

, the

Session Duration

field provides an estimate of how long the auto sampling process will take.

198

Looper

The Looper lets you record and overdub audio in real time—a great tool for live performance as well as spontaneous moments in the studio. You can export the loop as a sample to use in your project.

To open the Looper

, press

Menu

, and then tap

Looper

.

Below is a brief step-by-step process so you can get started quickly. Continue reading the rest of this chapter to learn how to use the Looper in different cases.

To get started using the Looper

:

1.

Make sure to reduce the volume levels of your audio source and speakers/headphones/monitors before you make any connections to avoid “pops” or feedback.

2.

Connect your audio source to the input/inputs of your Force hardware.

For line-level devices such as a synthesizer, set the

Line/Inst

switch to

Line

; for instrument-level devices such as a guitar, set the switch to

Inst

.

If you are using a microphone that requires phantom power, set the

+48V

switch to

On

.

3.

Turn the

Gain

knob to set the input level while playing your audio source. You should now see the level in the meter.

Make sure it does not exceed the maximum level (the meter should not be “peaking” constantly).

4.

Set the recording controls as desired (described in this chapter).

5.

Tap the

Record To

selector so

Overdub

is selected.

6.

Tap the

Rec

/

Record

button in the lower-right corner to record-arm the Looper.

7.

Play your audio source. The Looper will start recording immediately when the input level reaches the threshold value. Alternatively, tap

/

Play

at the bottom of the screen to manually start recording.

Each time the Looper repeats, its contents are being overdubbed—a new layer of audio will be added each time you let the Looper repeat as it records.

Tip

: You can record a loop while playing one or more clips in the background for reference.

8.

To stop recording

, tap

/

Play

at the bottom of the screen.

To export your loop as a sample

, tap

Export

to open the

Keep or Discard Sample

window.

To clear the contents of the Looper

, tap

Clear

.

199

The upper-left

Input Source

field defines whether you are going to record an external audio signal, which you can set to the pair of inputs (

Input 1,2

) or a single input (

Input 1

2

).

You can also select an internal signal from within your Force hardware (

Resample L

,

Resample R

, or

Resample L+R

).

Resampling does not require an audio connection because the source is internal and is therefore recorded without any loss in audio quality. You can, for example, use Resample to record two or more samples by pressing the corresponding pads simultaneously.

Use the second upper-left

Mono

/

Stereo

field to choose whether your recorded loop will be monaural (

Mono

) or binaural (

Stereo

).

The

Inserts

field shows any enabled or disabled effects for the Looper. Tap the area under

Inserts

to open a window where you can load, change, and enable or disable the effects.

Important

: These effects are applied to the audio as you record it. This means that the effects cannot be “removed” from the sound later. Learn more about how effects work in

General Features

>

Effects

.

Tap the

Monitor

button to enable or disable input monitoring.

When

on

, the audio you hear in your headphones will be taken

before

it reaches the Looper, ensuring zero latency.

You can turn input monitoring on only if the

Input Source

field is set to an input, not to a

Resample

setting.

When

off

, the audio you hear in your headphones will be taken

after

it is processed in the Looper, so there may be some latency, but you will hear the audio source as it sounds in the recording.

Tip

:

To avoid possible clicks or feedback while input monitoring

, reduce the level of the audio sources.

Use the

threshold slider

to adjust the threshold. Alternatively, turn

Knob 1

when the knobs are set to

screen mode

.

The threshold slider will work only when

Sync

is

off

(see

below

).

When the Looper is record-armed, it automatically starts recording when the level of the incoming source exceeds this setting. If you set it too high, the recording may not start when you play the input source, or the start of the material you wanted to record may be missing. If you set it too low, the recording may start too early, before you play the external source. Set this parameter to an appropriate level using the level meter.

To reset the

peak hold

,” which shows the highest level of your input signal in the level meter, tap it.

Use the

Bars

field to define the length of your loop. Regardless of how much or how little audio you record, this is how long your loop will be.

Use the

Sync

button to sync or un-sync the looper with transport playback. When on, the Looper will stay in step with your project. When you play or record into the Looper, it will wait until the transport starts playing to start.

Use the

Record To

selector to determine the loop recording behavior:

Play

: Before recording, you must first tap the

/

Play

button on the screen, which will start playing the Looper.

Overdub

: Before recording, you must first tap the

Rec

/

Record

button in the lower-right corner to record-arm the

Looper.

Use the

Output Gain

slider to set the output signal level of the Looper.

200

To record with the Looper

:

Important

:

To record without erasing any audio you’ve already recorded in the loop

, use the

Overdub

button.

To overwrite the audio you’ve already recorded

, use the

Replace

button.

If

Record To

is set to

Play

:

To start recording

, tap the

Replace

or

Overdub

button as the loop is playing. The Looper will start recording immediately.

To stop recording

, tap the

Replace

or

Overdub

button. The Looper will stop recording but continue playing.

To stop playback and recording

, tap the

/

Play

button.

If

Record To

is set to

Overdub

:

To start recording

, tap the

/

Play

button on the screen.

If

Sync

is off, you can also play your audio source so that the input level reaches the threshold value.

If

Sync

is on, you can also press the

Play

or

Play Start

button to start transport playback; recording will start when the transport starts playing.

To stop recording

, tap

Overdub

. The Looper will stop recording but continue playing.

To stop playback and recording

, tap the

/

Play

button, or press

Stop

to stop transport playback.

To play or stop the loop

(without recording), tap the

/

Play

button on the screen.

To reverse loop playback

, tap

Reverse

. If

Sync

is

on

, playback will reverse once the Looper’s playhead reaches the end of the loop. If

Sync

is

off

, playback will reverse immediately.

To erase the loop immediately

, tap

Clear

.

201

To export the loop as a clip

:

1.

Tap

Export

to open the

Looper Export

window.

2.

Use the

Audio Track

field to select the audio track you would like to export the clip to.

3.

Use the

Clip

field to select the clip slot where you would like to place the loop.

4.

Tap

Export to Clip

to confirm your choice, or

Cancel

to cancel.

When your loop is done exporting, it assigned to the track and clip slot you selected.

202

Knobs

Knobs Edit Mode lets you determine what the knobs control in other modes. This is helpful when you want to use the knobs to control parameters that might not be shown in the current mode—or parameters that are shown across different modes.

To enter Knobs Edit Mode

, do either of the following:

Press

Menu

, and then tap

Knobs

.

Press and hold

Shift

and press

Knobs

.

To select a mode for the knobs

, use the

Knobs Mode

field at the top of the display to select one of the following options:

Screen

: In this mode, the knobs are fixed to control a parameter or group of parameters in your currently selected mode (e.g., Pad Mixer, Sample Edit Mode, etc.).

Project

: In this edit mode, the knobs can control 16 parameters within the current project overall. See the

following

Project

section to learn about this specific Knobs Edit Mode.

Track

: In this edit mode, the knobs can control 16 track parameters. See the following

Track

section to learn

about this specific Knobs Edit Mode.

Volume

: In this mode, the knobs are fixed to control track volume.

Pan

: In this mode, the knobs are fixed to control track panning.

Send 1

4:

In these modes, the knobs are fixed to control track send level.

Use the

Track

field to select a track to edit the knob assignments. The contents of the screen below will vary based on

(

1

) the type of tracks and (

2

) the Knobs Edit Mode you selected.

At any time, in any mode, you can show the

Knobs

window over the touchscreen’s current contents. This lets you quickly select between the knob modes.

To show the Knobs window

, press and hold the

Knobs

button.

To select a knob mode,

tap the respective icon:

Volume

,

Pan

,

Sends 1

4

,

Project

,

Track

or

Screen

.

To close the Knobs window

, release the

Knobs

button.

203

Screen

In the

Screen

Knobs Edit Mode, the knobs will control only the parameter or group of parameters in your currently selected mode (e.g., Mixer, Sample Edit Mode, etc.).

204

Project

In the

Project

Knobs Edit Mode, the knobs control 16 parameters within the current project.

Next to the top row of knobs on the screen, tap one of these tabs to select the type of parameters you want to control with the knobs:

Track

: track parameters. Use the

Track

field to select one of the tracks in your project.

Return

: return parameters. Use the

Return

field to select one of

Returns 1

4

.

Master

: master parameters. Use the

Master

field to select one of the output pairs,

Outputs 1

/

2

or

3

/

4

.

If a

Drum Track

is selected, use the

Type

selector to determine whether the knobs will control the parameters of the entire track (

Track

) or for a single pad (

Pad

).

To select a track

, use the

Track

field next to the top row of knobs on the screen.

To select a pad

(if

Type

is set to

Pad

), use the

Pad

field.

Next to the second row of knobs on the screen, tap one of these tabs to select the type of parameters you want to control with the knobs:

Mixer

: general mixer parameters

Track

: general track parameters

Insert 1

4

: parameters for its track insert effects

205

Use the

Parameter

field to select the parameter you want to control with the currently selected knob. When the

Track

tab is selected, the following options are available.

When a

Drum Track

is selected, and

Type

is set to

Track

:

Mixer:

Off, Volume, Pan, Mute, Solo, Send 1–4

Track:

Off, Master Semi Tune, Master Fine Tune

Insert 1

4

: Off, other available parameters depending on the effect

When a

Drum Track

is selected, and

Type

is set to

Pad

:

Mixer

: Off, Level, Pan, Pad Mute, Pad Solo, Send 1–4

Track:

Off

Tuning

Filter Cutoff

Amp Env Hold Layer Sample Pan (1–4) LFO to Filter

Amp Env Sustain Layer Semi Tune (1–4) LFO to Amp

Filter Env Attack Layer Fine Tune (1–4) LFO to Pan

Velocity to Amp

Velocity to Pan

Layer Direction (1–4)

Filter Resonance Filter Env Hold Velocity to Start

Filter Env Amount Filter Env Decay Vel to Filter Attack

Amp Env Attack

Amp Env Decay

Filter Env Sustain

Filter Env Release

Velocity to Env Amount

Velocity to Filter

Amp Env Release Layer Level (1–4) LFO to Pitch

LFO Wave

LFO Rate

LFO Sync

Velocity to Pitch

Vel to Volume Attack

Layer Offset (1–4)

Insert 1

4

: Off, other available parameters depend on the effect

When a

Keygroup Track

is selected:

Mixer:

Off, Volume, Pan, Mute, Solo, Send 1–4

Track:

Off, Master Semi Tune, Master Fine Tune

Insert 1

4

: Off, other available parameters depending on the effect

When a

Plugin Track

is selected:

Mixer:

Off, Volume, Pan, Mute, Solo, Send 1–4

Track:

Off, other available parameters depending on the plugin

Insert 1

4

: Off, other available parameters depending on the effect

When a

MIDI Track

is selected:

MIDI CC

: Standard MIDI control change assignments

When a

CV Track

is selected:

Mixer:

Off, Mute, Solo

Track:

Off, CV Out 1–4

When an

Audio Track

is selected:

Mixer:

Off, Volume, Pan, Mute, Solo, Send 1–4

Insert 1

4

: Off, other available parameters depending on the effect

206

When the

Return

tab is selected, the following options are available:

Mixer

: Off, Volume, Pan, Mute

Insert 1

4

: Off, other available parameters depend on the effect

When the

Master

tab is selected, the following options are available:

Mixer

: Off, Volume, Pan, Mute, Crossfader position, Crossfader curve, Crossfader breakpoint

Insert 1

4

: Off, other available parameters depend on the effect

Tap the

Momentary

checkbox to turn momentary behavior on or off.

When

on

, moving the knob will adjust its parameter, but the parameter will immediately return to its original position

(when you turned Momentary on) when you release the knob.

When

off

, moving the knob will adjust its parameter, and the parameter will remain at its new setting when you release the knob.

To reset all changes,

tap the

Reset

button.

207

Track

In the

Track

Knobs Edit Mode, the knobs control 16 parameters within the currently selected track.

Next to the second row of knobs on the screen, tap one of these tabs to select the type of parameters you want to control with the knobs:

Mixer

: general mixer parameters

Track

(not available for Audio or MIDI tracks): track parameters

MIDI CC

(MIDI tracks only): standard MIDI CC parameters

Insert 1

4

(not available for MIDI or CV tracks): parameters for its track insert effects

Use the

Type

selector to determine whether the knobs will control the parameters of the entire track (

Track

) or for a single pad (

Pad

).

To select a track

, use the

Track

field at the top of the screen to select a track that uses it. The track name will appear in the

Track

field next to the top row of knobs on the screen.

To select a pad

(if

Type

is set to

Pad

), use the

Pad

field.

Note:

This setting only applies to Drum tracks.

Use the

Parameter

field to select the parameter you want to control with the knobs.

When a

Drum Track

is selected, and

Type

is set to

Track

:

Mixer:

Off, Volume, Pan, Mute, Solo, Send 1–4

Track:

Off, Master Semi Tune, Master Fine Tune, Layers 1–4 Loop Xfade, Layers 1–4 Loop Xfade Type

Insert 1

4

: Off, other available parameters depending on the effect

208

When a

Drum Track

is selected, and

Type

is set to

Pad

:

Mixer

: Off, Level, Pan, Pad Mute, Pad Solo, Send 1–4

Track:

Off

Tuning

Filter Cutoff

Filter Resonance

Amp Env Hold Layer Sample Pan (1–4) LFO to Filter

Amp Env Sustain Layer Semi Tune (1–4) LFO to Amp

Filter Env Attack Layer Fine Tune (1–4) LFO to Pan

Filter Env Hold Velocity to Start LFO Wave

Filter Env Amount Filter Env Decay Vel to Filter Attack

Amp Env Attack Filter Env Sustain Velocity to Env Amount

LFO Rate

LFO Sync

Amp Env Decay Filter Env Release Velocity to Filter

Amp Env Release Layer Level (1–4) LFO to Pitch

Velocity to Pitch

Vel to Volume Attack

Velocity to Amp

Velocity to Pan

Layer Direction (1–4)

Layer Offset (1–4)

Insert 1

4

: Off, other available parameters depend on the effect

When a

Keygroup Track

is selected:

Mixer:

Off, Volume, Pan, Mute, Solo, Send 1–4, Crossfader route, Cue bus enable

Track:

Off, Master Semi Tune, Master Fine Tune

Insert 1

4

: Off, other available parameters depending on the effect

When a

Plugin Track

is selected:

Mixer:

Off, Volume, Pan, Mute, Solo, Send 1–4, Crossfader route, Cue bus enable

Track:

Off, other available parameters depending on the plugin

Insert 1

4

: Off, other available parameters depending on the effect

When a

MIDI Track

is selected:

MIDI CC

: Standard MIDI control change assignments

When a

CV Track

is selected:

Mixer:

Off, Mute, Solo

Track:

Off, CV Out 1–4

When an

Audio Track

is selected:

Mixer:

Off, Volume, Pan, Mute, Solo, Send 1–4

Insert 1

4

: Off, other available parameters depending on the effect

To reset all changes

, press the

Reset

button.

209

Volume

In the

Volume

Knobs Edit Mode, the knobs control the volume level of all tracks in the project.

Pan

In the

Pan

Knobs Edit Mode, the knobs control the stereo panning of all tracks in the project.

210

Sends

In the

Sends 1

4

Knobs Edit Modes, the knobs control the level of the selected Send for all tracks in the project.

Mixer

In the Mixer, you can set levels, stereo panning, and other settings for your tracks, returns and masters.

To open the Mixer, do either of the following:

Press

Menu

, and then tap

Mixer

.

Press

Mixer

.

The Mixer works like an audio mixer with various settings for each track, with up to 8 tracks shown on the display at once. The name of the track is displayed at the top of each one.

To select a track

, tap it or press one of the

track select

buttons.

To view more tracks,

use the left or right

cursors

. Alternatively, drag your finger left or right on the display.

To view the Return and Master tracks,

press the

Master

track select button. Alternatively, quickly swipe your finger to the left on the display.

To open the Mixer configuration,

tap the

Settings

icon in the lower-right corner of the screen to edit the Mixer configuration.

Use the

Solo Button

field to set the behavior of the solo buttons. They can be used to either

Solo Tracks

or

Cue

Tracks

.

Use the

Crossfader

field to set the

Profile

of the crossfader, either

Linear

,

Exponential

or

Logarithmic

.

211

Volume

The

Volume

tab gives you an overview of the volume level of your tracks.

Tap a

level slider

and then use the

data dial

or

/

+

buttons to adjust the volume level of the currently selected track, return or master. Alternatively, tap and drag a

level slider

to adjust the volume level.

The level sliders and meters in each pad show a visual representation of the level. Double-tap a

track

on the screen to open a large version of the level slider and meter.

Pan & Volume

The

Pan & Volume

tab gives you a number of mixing options for your tracks.

212

Use the

M

and

S

buttons to mute and solo the track. When

Cue Tracks

is enabled, the

S

button will become a

Headphones

button.

Use the

automation button

to set the automation status of the track. See

General Features

>

Automation

for more information on automation.

Use the

record button

to arm the track for recording.

The

pan sliders

in each track show a visual representation of the pan. Tap a pan slider and then use the

data dial

or

/

+

buttons to adjust the panning of the currently selected track, return or master. Double-tap a pan slider on the screen to open a large version of the slider.

Tap a

level slider

and then use the

data dial

or

/

+

buttons to adjust the volume of the currently selected track, return or master. Double-tap a level slider on the screen to open a large version of the slider. Alternatively, tap and drag a

level slider

to adjust the volume level.

Tap the

A

or

B

icons to assign the track to the crossfader A or B grouping.

Sends

The

Sends

tab gives you an overview of the

Sends 1

4

level of your tracks.

Use the

M

and

S

buttons to mute and solo the track. When

Cue Tracks

is enabled, the

S

button will become a

Headphones

button.

Use the

automation button

to set the automation status of the track. See

General Features

>

Automation

for more information on automation.

Use the

record button

to arm the track for recording.

Use the

send knobs

to adjust the send level of tracks. Tap the knob and use the

data dial

or

/

+

buttons to adjust the level.

To learn how to use send effects

, please see

General Features

>

Effects

>

Send

/

Return Effects

.

Important

: When using send channels, make sure you have already loaded at least one effect to it using the return mixer. See

Returns

below to learn how to do this.

213

Inserts & I/O

The

Inserts & I/O

tab lets you view and edit insert effects and audio routing for your tracks.

Use the

M

and

S

buttons to mute and solo the track. When

Cue Tracks

is enabled, the

S

button will become a

Headphones

button.

Use the

automation button

to set the automation status of the track. See

General Features

>

Automation

for more information on automation.

Use the

record button

to arm the track for recording.

For audio tracks, tap the

Input

field to select the input routing for the track. Tap the

speaker

button beneath the input field to set the monitoring behavior:

off

,

on

or

auto

.

Use the four

insert

fields to add insert effects to the track. Empty insert slots will show a

+

icon. Inserts with a loaded effect will show the name of the effect.

To learn how to use insert effects

, please see

General Features

>

Effects

>

Insert Effects

.

Use the

Output

field to set the output routing for the track.

Tap the

A

or

B

icons to assign the track to the crossfader A or B grouping.

214

Pad Mixer

In the Pad Mixer, you can set levels, stereo panning, and other settings for individual pads. This mode is only available for Drum and Keygroup tracks.

To open the Pad Mixer, do either of the following:

Press

Menu

, and then tap

Pad Mixer

.

Press and hold

Shift

and press

Mixer

.

Just like the track Mixer, the Pad Mixer works like an audio mixer with various settings for each pad, with up to 8 pads shown on the display at once. The name of the pad is displayed at the top of each one.

To select a pad

, tap it or press the respective

clip select

button in

Note

mode.

To view more pads,

drag your finger left and right on the display.

To open the Pad Mixer configuration,

tap the

Settings

icon in the lower-right corner of the screen to edit the Pad

Mixer configuration.

Check the

Filter by events

box to show only pads with events.

Check the

Filter by samples

box to show only pads with samples assigned.

Check the

Write automation when recording

box to set automation to always write when recording.

215

Volume

The

Volume

tab gives you an overview of the volume level of your pads.

Tap a

level slider

and then use the

data dial

or

/

+

buttons to adjust the volume level of the currently selected pad.

Alternatively, tap and drag the

level slider

to adjust the volume level.

The level sliders and meters in each pad show a visual representation of the level. Double-tap a

track

on the screen to open a large version of the level slider and meter.

Pan & Volume

216

Use the

M

and

S

buttons to mute and solo the pad.

The

pan sliders

in each track show a visual representation of the pan. Tap a pan slider and then use the

data dial

or

/

+

buttons to adjust the panning of the currently selected pad.

Tap a

level slider

and then use the

data dial

or

/

+

buttons to adjust the volume of the currently selected pad.

Alternatively, tap and drag the

level slider

to adjust the volume level.

Sends

Use the

M

and

S

buttons to mute and solo the pad.

Use the

send knobs

to adjust the send level of the pads. Tap the knob and use the

data dial

or

/

+

buttons to adjust the level.

To learn how to use send effects

, please see

General Features

>

Effects

>

Send

/

Return Effects

.

Important

: When using send channels, make sure you have already loaded at least one effect to it using the return mixer.

217

Inserts & I/O

Use the

M

and

S

buttons to mute and solo the pad.

Use the four

insert

fields to add insert effects to the pad. Empty insert slots will show a

+

icon. Inserts with a loaded effect will show the name of the effect.

To learn how to use insert effects

, please see

General Features

>

Effects

>

Insert Effects

.

Use the

Output

field to set the output routing for the pad. Select

Track

to output the pad to the track, or send it directly to one of the outputs.

218

Pad Color Mode

Pad Color Mode lets you assign specific colors to your pads in a drum track.

To enter Pad Color Mode

:

1.

Make sure you have first selected a drum track.

2.

Enter

Matrix Mode

or the

Mixer

.

3.

Double-tap on the track name at the top of the screen to open the

Track Settings

window.

4.

Tap the

Edit Pad Colors

button. The

Pads follow track color

box must be unchecked for this button to appear.

Important

: If you are already in Pad Color Mode and want to assign pad colors for another track, exit Pad Color Mode first, and then select the track in another mode.

Use the field in the lower-left corner to set how the pad lights will display:

Off

: The pads will be unlit whether you are playing them or not.

Classic Velocity

: The pads will be unlit while you are not playing them. When you press them, they will light with colors according to the velocity: red indicates a high velocity, yellow indicates a low velocity.

Fixed

: The pads will be lit with their assigned colors whether you are playing them or not.

Off

->

Velocity

: The pads will be unlit when you are not playing them. When you press them, they will light with their assigned color with a brightness that corresponds with the velocity.

Dim

->

Velocity

: The pads will be dimly lit when you are not playing them. When you press them, they will light with their assigned color with a brightness that corresponds with the velocity.

Bright

->

Velocity

: The pads will be brightly lit when you are not playing them. When you press them, they will light with their assigned color with a brightness that corresponds with the velocity.

219

Use the

Empty Pads

field in the upper-left corner to set how empty pads will display:

Empty pads off

: Pads without any sounds will remain off.

Empty pads dim

: Pads without any sounds will remain more dimly lit than pads with sounds assigned.

Empty pads normal

: Pads without any sounds will appear the same as pads with sounds assigned.

Use the

Single Pad

/

All Pads

select to determine whether you are setting the color for a

Single Pad

or

All Pads

.

Tip

:

To quickly assign that color to all pads in the track

, press and hold

Shift

while tapping a color button.

Use the

color buttons

to select which color you are assigning.

Tip

:

To select the color button corresponding a specific pad’s color

, press and hold

Shift

, and then press the pad or tap it on the screen.

Press a

pad

on your Force hardware or tap it on the screen to assign the selected color to it.

220

Appendix

Effects & Parameters

This chapter lists the available effects. To learn more about how effects work with Force, please see

General Features

>

Effects

.

Note

: Some of these effects have a “sync” version (e.g.,

Flanger Sync

,

Autopan Sync

, etc.) whose rates will be affected by the current tempo. While viewing the rate of these effects, a “

.

” next to the time division indicates a tripletbased rate.

Reverbs

Options

:

AIR Non-Lin Reverb

,

AIR Reverb

,

AIR Spring Reverb

,

Reverb Small

,

Reverb Medium

,

Reverb Large

,

Reverb Large 2

,

Reverb In Gate

,

Reverb Out Gate

AIR Non-Lin Reverb

This is a spatial effect, designed to produce synthetic, processed ambience with special gated and reversed reverb effects.

Parameter

Pre-Delay

Dry Delay

Time

Mix

Diffusion

Width

Shape

Low Cut

High Cut

Value Range Default Value

0–250 ms

0–1500 ms

0–1000 ms

0 ms

0 ms

250 ms

0–100% (dry–wet) 50%

0–100% 100%

0–100% 50%

Gated, Reverse Gated

20.0 Hz–1.00 kHz 141 Hz

1.00–20.0 kHz 9.46 kHz

221

AIR Reverb

This is a spatial effect, with a wide range of reverb types to add space or room to your audio signal.

Tab Parameter

Reverb

Pre-Delay

Values

0–250 ms

Default Value

0 ms

Time

Early Reflection

Reverb

Type

Length

Delay

Room Ambience

Density

Hi/Lo Freq

Hi Freq Time

Freq

Lo Freq

ER / Tail Mix

Input Width

Time

Freq

100%

1.9 s

50%

Off, Booth, Club, Room, Small

Chamber, Medium Chamber, Large

Chamber, Small Studio, Large

Studio, Scoring Stage,

Philharmonic, Concert Hall, Church,

Opera House, Vintage 1, Vintage 2

Off

0–100%

0–100%

0–100%

0–250 ms

0–100%

0–100%

100%

50%

0%

0%

0 ms

0%

100%

-100 – 0 – 100%

-100 – 0 – 100%

0%

6.32 kHz

9.46 kHz

0%

200 Hz

1 Hz

AIR Spring Reverb

This is a spatial effect, designed to emulate the sound of a spring reverb tank.

Parameter

Pre-Delay

Time

Mix

Diffusion

Width

Low Cut

Value Range Default Value

0–250 ms 3 ms

1.0–10.0 s 4.0 s

0–100% (dry–wet) 50%

0–100% 100%

0–100% 0%

20.0 Hz –1.0 kHz 141 Hz

222

Reverb Small

This is a spatial effect, designed to emulate a small room.

Parameter Value Range Default Value

Dry/Wet

Pre-Delay

0–100 (dry–wet) 50

1–100 50

Early Reflection 0–100 50

Density

Diffuse

Decay

Lo-Cut

Hi-Cut

0–100 50

0–100 50

0–100 50

0–100 15

0–100 10

Reverb Medium

This is a spatial effect, designed to emulate a medium room.

Parameter

Dry/Wet

Value Range Default Value

0–100 (dry–wet) 50

Pre-Delay 1–100 50

Early Reflection 0–100 50

Density 0–100 50

Diffuse 0–100 50

Decay

Lo-Cut

Hi-Cut

0–100 50

0–100 15

0–100 10

Reverb Large

This is a spatial effect, designed to emulate the sound of a large hall.

Parameter Value Range Default Value

Dry/Wet 0–100 (dry–wet) 50

Pre-Delay 1–100 50

Early Reflection 0–100 50

Density

Diffuse

Decay

Lo-Cut

Hi-Cut

0–100 50

0–100 50

0–100 75

0–100 10

0–100 10

223

Reverb Large 2

This is a less CPU-intensive spatial effect, emulating the sound of a large hall.

Parameter Value Range Default Value

Dry/Wet 0–100 (dry–wet) 50

Pre-Delay 1–100 50

Early Reflection 0–100 50

Density 0–100 50

Diffuse

Decay

Lo-Cut

Hi-Cut

0–100 50

0–100 75

0–100 10

0–100 10

Reverb In Gate

This is a hall reverb with an additional control. The reverb effect is cut off when the input drops below the level set in the

Gate In

parameter.

Parameter Value Range Default Value

Dry/Wet 0–100 (dry–wet) 50

Pre-Delay 1–100 50

Early Reflection 0–100 50

Density 0–100 50

Diffuse

Decay

Lo-Cut

Hi-Cut

Gate In

0–100 50

0–100 75

0–100 10

0–100 10

0–100 0

Reverb Out Gate

This is a hall reverb that has an additional control. The reverb effect is cut off when the output drops below the level set in the

Gate Out

parameter.

Parameter

Dry/Wet

Pre-Delay

Value Range

0–100 (dry–wet)

Default Value

50

1–100 50

Early Reflection 0–100 50

Density 0–100 50

Diffuse

Decay

Lo-Cut

Hi-Cut

Gate Out

0–100 50

0–100 75

0–100 10

0–100 10

0–100 0

224

Delays

Delays the original signal for a specified period of time and plays it back over an adjustable period of time.

Options

:

AIR Delay

,

AIR Diff Delay

,

Delay Mono

,

Delay Mono Sync

,

Delay Stereo

,

Delay Sync

(

Stereo

)

,

Delay LP

,

Delay HP

,

Delay Analog

,

Delay Analog Sync

,

Delay Tape Sync

,

Delay Ping Pong

,

Delay Multi-Tap

AIR Delay

Parameter Value Range Default Value

Time

Sync Off

Sync On

Sync

Feedback

1 ms – 2.00 s

1/32 – 8/4

388 ms

1/8D

Off, On On

0–100% 40%

0–100% (dry–wet) 50%

50:100–100:50 100:100

Mix

Delay Ratio

Delay HPF

Delay Width

20.0 Hz – 1.0 kHz 20.0 Hz

0–100% 100%

Feedback Damp 1.0 – 20.0 kHz 20.0 kHz

Feedback Reso 0–100% 0%

Fdbk. Reso Freq 100 Hz – 10.0 kHz 1.0 kHz

AIR Diff Delay

This is a delay line effect that is synchronized to your session tempo and uses an adjustable amount of diffusion to emulate the dissipation of echoes in reverberant space.

Parameter

Time

Value Range

1/64 – 4/4

(including Triplet and Dotted variations)

Mix

Feedback

0–100% (dry–wet) 40%

0–100% 50%

Fdbk. Diffusion 0–100% 40%

Fdbk. High Damp 0–100% 35%

Delay Mono

Default Value

1/16D

Parameter

Dry/Wet

Time

Feedback

Damping

Value Range Default Value

0–100 (dry–wet) 50

2–2000 ms 761

0–100 51

0–100 100

225

Delay Mono Sync

Parameter

Dry/Wet

Time

Feedback

Damping

Delay Stereo

Stereo Delay operates similarly to Mono Delay but in true stereo.

Parameter

Dry/Wet

Time

Feedback

Damping

Delay Sync

Stereo Sync Delay that operates similarly to Mono Sync

Delay but in true stereo.

Parameter

Dry/Wet

Time

Feedback

Damping

Delay LP

LP Delay is identical to the Mono Delay, but it uses a resonant low-pass filter in the delay line.

Parameter

Dry/Wet

Time

Feedback

Cutoff

Resonance

Delay HP

HP Delay is identical to the Mono Delay, but it uses a resonant high-pass filter in the delay line.

Parameter

Dry/Wet

Time

Feedback

Cutoff

Resonance

226

Value Range Default Value

0–100 (dry–wet) 50

1 bar – 1/16 triplets 1/4

0–100

0–100

50

100

Value Range Default Value

0–100 (dry–wet) 50

2–2000 ms 100

0–100 25

0–100 100

Value Range Default Value

0–100 (dry–wet) 50

1 bar – 1/16 triplets 1/4

0–100

0–100

50

100

Value Range Default Value

0–100 (dry–wet) 50

2–2000 ms 500

0–100 50

0–100

0–100

50

20

Value Range Default Value

0–100 (dry–wet) 50

2–2000 ms

0–100

0–100

0–100

100

50

33

33

Delay Analog

Analog Delay is similar to the Mono Delay, except that it’s designed to emulate an analog “Bucket Brigade”-style delay.

This delay has a unique character to it that gives a warmer sound by adding subtle inaccuracies in phase and timing.

Parameter

Dry/Wet

Time

Feedback

Delay Analog Sync

Value Range

0–100

Default Value

0–100 (dry–wet) 50

2–2000 ms 100

25

Analog Delay is similar to Mono Delay, except that it’s designed to emulate an analog “Bucket Brigade”-style delay.

This delay has a unique character to it that gives a warmer sound by adding subtle inaccuracies in phase and timing.

Parameter

Dry/Wet

Time

Feedback

Ramp

Delay Tape Sync

Tape Delay emulates a delay system using an analog tape loop and a series of tape heads to produce an echo effect.

This delay type yields a very distinct echo sound often heard in reggae and dub-style music.

Parameter

Dry/Wet

Time

Feedback

Ramp

Head 1

Head 2

Head 3

Head 4

Value Range Default Value

0–100 (dry–wet) 50

1 bar – 1/16 triplets 1/4

0–100 50

0–100

0–100

0–100

0–100

0–100

Tone

Spread

0–100

0–100

Wow & Flutter 0–100

50

100

0

0

0

50

50

50

Delay Ping Pong

This stereo delay allows you to set different delay times for its left and right repeats.

Parameter

Dry/Wet

Time, Left

Time, Right

Feedback

Damping

Value Range

0–100

0–100

Default Value

0–100 (dry–wet) 50

1 bar – 1/16 triplets 1/4

50

50

Value Range Default Value

0–100 (dry–wet) 50

2–2000 ms 100

2–2000 ms

0–100

0–100

100

25

100

227

Delay Multi-Tap

This delay is a mono delay which has three delay generators with independently adjustable delay times and stereo position.

Parameter

Dry/Wet

Time 1

Time 2

Time 3

Feedback

Pan 1

Pan 2

Pan 3

Damping

Gain 1

Gain 2

Gain 3

Value Range Default Value

0–100 (dry–wet) 50

2–2000 ms 100

2–2000 ms

2–2000 ms

100

100

0–100

0–100

0–100

25

50

50

0–100

0–100

0–100

0–100

0–100

50

100

25

25

25

228

Flangers

A flanger is a modulated delay to emulate the sound created when running two analog tape machines in parallel with a slight time misalignment. Slow

Rate

settings can produce a “whooshing” jet engine sound, while faster rates result in more of a “warble.”

Options

:

AIR Flanger

,

Flanger

,

Flanger Sync

AIR Flanger

Parameter Value Range Default Value

Rate

Depth

Feedback

Mix

Headroom

Flanger

Parameter

0.02 – 10.00 Hz 0.40 Hz

0–100% 50%

0–100% 50%

0–100% (dry–wet) 50%

-20.0 – 0.0 dB FS -10.0 dB FS

Value Range Default Value

Dry/Wet

Rate

Feedback

0–100 (dry–wet)

0–100

-100 – 100

Delay 0–100

Width 0–100

Flanger Sync

Parameter Value Range

100

10

0

20

80

Default Value

Dry/Wet

Rate

Feedback

Delay

Width

0–100 (dry–wet) 100

8 bars – 1/16 triplets 1/4

-100 – 100 0

0–100 20

0–100 80

229

Chorus

A chorus effect uses an LFO to modulate the pitch and a delay of the input signal, which are then added to the dry signal. In small amounts, this creates the illusion of multiple voices playing at once. Turn up the

Feedback

and

Depth

for more pronounced “shimmering” and “watery” sounds.

Options

:

AIR Multi-Chorus

,

Chorus 2-Voice

,

Chorus 4-Voice

AIR Multi-Chorus

Parameter Value Range

Rate

Depth

Voices

Mix

Chorus Low

Cut

0.01 – 10.0 Hz

0.00 – 24.00 ms

3, 4, 6

Default Value

1.00 Hz

6.00 ms

4

0–100% (dry–wet) 50%

20.0 Hz – 1.00 kHz 20.0 Hz

Chorus Width 0–100%

Mod Wave Sine, Tri

100%

Tri

Chorus 2-Voice

Parameter Value Range

Dry/Wet 0–100 (dry–wet)

Delay

Amount

Width

Feedback

0–100

0–100

0–100

0–100

Rate 0–100

Chorus 4-Voice

Parameter Value Range

Dry/Wet

Delay

0–100 (dry–wet)

0–100

Amount

Width

Feedback

Rate

0–100

0–100

0–100

0–100

Default Value

100

20

80

80

50

10

Default Value

100

20

80

80

50

10

230

Autopans

This effect uses an LFO to move the incoming signal back and forth across the stereo field, creating a rotary effect.

Options

:

Autopan

,

Autopan Sync

Autopan

Parameter

Dry/Wet

Rate

Autopan Sync

Value Range Default Value

0–100 (dry–wet) 50

0–100 50

Parameter

Dry/Wet

Value Range Default Value

0–100 (dry–wet) 50

Rate 8 bars – 1/32 1/4

Tremolos

This effect uses an LFO to increase and decrease the volume of the signal. Depending on the LFO shape, this can produce a smooth wave effect (sine wave) or a stuttering “on-off” effect (square wave).

Options

:

Tremolo

,

Tremolo Sync

Tremolo

Parameter

Dry/Wet

Rate

Value Range

0–100 (dry–wet)

0–100

Default Value

100

10

Sine to Square 0–100 (sine–square) 0

Tremolo Sync

Parameter

Dry/Wet

Rate

Value Range

0–100 (dry–wet)

Default Value

100

1 bar – 1/16 triplets 1/4

Sine to Square 0–100 (sine–square) 0

231

Phasers

The phaser is a classic effect, created by multiple ganged all-pass filters to create “notches,” or sharp spikes, in the frequency spectrum. The frequencies of these all-pass filters are usually modulated by an LFO to create a sweeping sound.

Options

:

AIR Phaser

,

Phaser 1

,

Phaser 2

,

Phaser Sync

AIR Phaser

Parameter Value Range Default Value

Rate

Depth

Feedback

0.10 – 10.00 Hz

0–100%

0–100%

1.00 Hz

50%

0%

Mix 0–100% (dry–wet) 50%

Phaser Model Vibe, Stone, Ninety,

Tron,

Ninety

Offset

Phase

Rate

-180 – +180 deg.

25–400%

0 deg.

100%

Type

Phaser 1

Value Range

0–100 (dry–wet)

0–100

Default Value

100

10

Parameter

Dry/Wet

Rate

Phaser 2

Parameter

Dry/Wet

Rate

Phaser Sync

Parameter

Dry/Wet

Rate

Value Range

0–100 (dry–wet)

0–100

Default Value

100

10

Value Range

0–100 (dry–wet)

Default Value

100

1 bar – 1/16 triplets 1/4

232

HP

(High-Pass)

Filters

Options

:

HP Filter

,

HP Filter Sweep

,

HP Filter Sync

,

HP Shelving Filter

HP Filter

This effect is a static filter without modulation.

Parameter

Frequency

Resonance

Value Range

10–19999 Hz

0–100

Default Value

1500

0

HP Filter Sweep

This effect is a high-pass filter with its cutoff frequency modulated by an LFO.

Parameter Value Range Default Value

Dry/Wet 0–100 (dry–wet) 80

Low Frequency 0–100 50

High Frequency 0–100 100

Resonance 0–100 33

Rate 0–100 10

HP Filter Sync

This effect is a high-pass filter with its cutoff frequency modulated by an LFO.

Parameter

Resonance

Rate

HP Shelving Filter

This filter differs from the standard filter type, as it attenuates all frequencies after the cutoff point equally.

Parameter

Frequency

Resonance

Gain

Value Range

0–100

8 bars – 1/32

Value Range

10–19999 Hz

0–100

-18.0 – 18.0 dB

Default Value

Dry/Wet 0–100 (dry–wet) 100

Low Frequency 0–100

High Frequency 0–100

0

100

50

1/4

Default Value

1500

0

0.0

233

LP

(Low-Pass)

Filters

Options

:

LP Filter

,

LP Filter Sweep

,

LP Filter Sync

,

LP Shelving Filter

LP Filter

This effect is a static filter without modulation.

Parameter

Frequency

Resonance

Value Range

10–19999 Hz

0–100

Default Value

1500

0

LP Filter Sweep

This effect is a low-pass filter with its cutoff frequency modulated by an LFO.

Parameter

Dry/Wet

Value Range Default Value

0–100 (dry–wet) 80

Low Frequency 0–100

High Frequency 0–100

Resonance 0–100

Rate 0–100

0

100

33

10

LP Filter Sync

This effect is a low-pass filter with its cutoff frequency modulated by an LFO.

Parameter

Resonance

Rate

LP Shelving Filter

This filter differs from the standard filter type, as it attenuates all frequencies after the cutoff point equally.

Parameter

Frequency

Resonance

Gain

Value Range

0–100

8 bars – 1/32

Value Range

10–19999 Hz

0–100

-18.0 – 18.0 dB

Default Value

Dry/Wet 0–100 (dry–wet) 100

Low Frequency 0–100

High Frequency 0–100

0

100

50

1/4

Default Value

1500

0

0.0

234

Filters

(Other)

Options

:

AIR Filter Gate

,

AIR Filter

AIR Filter Gate

This effect chops your audio using a rhythmic gate effect and then applies a variable filter effect.

Parameter Value Range Default Value

Pattern

Rate

Swing

Mix

Filter Mode

Filter Cutoff

Filter Reso

Gate Attack

Gate Hold

Straight, Pulse, Pumper, Marching,

Fader, Offbeats, Off+Pan, L/R Pan,

LL/RR Pan, Slow Pan, Rand Pan,

Shorter, Longer, Reverse, Random,

Keyed 1–2, Half Time, 12-Step,

Ducked, Trance 1–6, Tech 1–6

50.0–66.7%

0–100%

Off, LP, BP, HP, Phaser

-100 – 0 – 100%

-100 – 0 – 100%

0–100%

0–100%

Gate Release 0–100%

Mod LFO Wave Random; 2–12, 16, 24, 32, 48, 64,

96, 128, 192, 256 Steps

Mod Env

Mod LFO

-100 – 0 – 100%

0–100%

Straight

1/2–1/32, including Dotted and Triplet 1/16

50.0%

100%

LP

0%

0%

25%

50%

25%

Random

0%

0%

AIR Filter

This effect is a high-pass filter with its cutoff frequency modulated by an LFO.

Parameter

Cutoff Freq

Reso Factor

Type

Output Gain

Saturation

Type

Saturation

Drive

Saturation

Mode

Value Range

55.0 Hz – 20.0 kHz

0.7 – 20.0

LP4–1, BP2, BP4, HP2_LP1,

HP3_LP1, HP4–1, BR2, BR4,

BR2_LP1, BR2_LP2, HP1_BR2,

BP2_BR2, HP1_LP2, HP1_LP3,

AP3, AP3_LP1, HP1_AP3

-inf dB – 0.0 dB

Resample, Bit Crush, Rectify, Hard

Clip, Distort, Overdrive

0.0 – 12.0 dB

Default Value

20.0 kHz

1.0

LP4

0.0 dB

Overdrive

0.0 dB

DCF, CVF DCF

235

Parametric EQs

Options

:

AIR Para EQ

,

PEQ 2-Band

,

2-Shelf

,

PEQ 4-Band

AIR Para EQ

This effect is a powerful four-band parametric equalizer with four independent EQ ranges, adjustable Low and High EQ filter types, and dedicated Low Cut and High Cut.

Parameter Value Range Default Value

High Freq

High Q

Shelf

Bell

High Gain

Shelf

Bell

High Type

High Out/In

1.2 – 20.0 kHz

0.40 – 2.00

0.40 – 10.00

-12.0 – +12.0 dB

-18.0 – 18.0 dB

Shelf, Bell

Out, In

High Mid Freq 120 Hz – 16.0 kHz 2.00 kHz

High Mid Q 0.40 – 10.00 1.00

High Mid Gain -18.0 – 18.0 dB

High Mid

Out/In

Out, In

0.0 dB

6.00 kHz

1.00

1.00

0.0 dB

0.0 dB

Shelf

Low Mid Freq 40.0 Hz – 16.00 kHz 247 Hz

Low Mid Q 0.40 – 10.00 1.00

Low Mid Gain -18.0 – 18.0 dB

Low Mid Out/In Out, In

Low Freq

0.0 dB

20.0 Hz – 1.00 kHz 100 Hz

Shelf

Bell

0.40 – 2.00

0.40 – 10.00

1.00

1.00

Shelf

Bell

Low Type

-12.0 – +12.0 dB

-18.0 – 18.0 dB

Shelf, Bell

0.0 dB

0.0 dB

Shelf

Output

High Cut Freq 120 Hz – 20.0 kHz 20.0 kHz

High Cut Type 6, 12, 18, 24 dB 12 dB

Low Cut Freq 20.0 Hz – 8.00 kHz 100 Hz

Low Cut Type 6, 12, 18, 24 dB 12 dB

236

PEQ 2-Band, 2-Shelf

This effect is a combination of one two-band parametric equalizer and two shelving filters.

Parameter Value Range

Low Frequency 22–1000 Hz

Frequency 1 82–3900 Hz

Default Value

220

820

Frequency 2 220–10000 Hz 2200

High Frequency 560–19999 Hz 5600

Q1 0–100 0

Q2

Low Gain

Gain 1

Gain 2

High Gain

0–100 0

-18.0 – 18.0 dB

-18.0 – 18.0 dB

-18.0 – 18.0 dB

-18.0 – 18.0 dB

0.0

0.0

0.0

0.0

PEQ 4-Band

This effect is a powerful four-band parametric equalizer with four independent EQ ranges.

Parameter

Q1

Q2

Q3

Q4

Gain 1

Gain 2

Gain 3

Gain 4

Value Range

Low Frequency 22–1000 Hz

Frequency 1

Frequency 2

High Frequency

82–3900 Hz

220–10000 Hz

560–19999 Hz

Default Value

0–100

0–100

0–100

0–100 5

-18.0 – 18.0 dB 0.0

-18.0 – 18.0 dB 0.0

-18.0 – 18.0 dB 0.0

-18.0 – 18.0 dB 0.0

5

5

5

220

820

2200

5600

237

Distortions

Options

:

AIR Distortion

,

AIR Tube Drive

,

Distortion Amp

,

Distortion Fuzz

,

Distortion Grimey

,

Distortion Overdrive

,

Distortion Custom

AIR Distortion

This effect is a multi-type distortion that adds color to your audio signal.

Parameter Value Range Default Value

Mode

Drive

Hard, Soft, Wrap Hard

0 – 60 dB 15 dB

Output 0–100% 100%

Mix 0–100% (dry-wet) 100%

Tone Pre-Shape -100 – 0 – +100% 0%

Tone High Cut 1.00 – 20.0 kHz 20.0 kHz

Stereo

AIR Tube Drive

This effect is designed to reproduce the sound of an overdriven tube amplifier.

Parameter

Drive

Headroom

Saturation

Output

Distortion Amp

This effect is designed to reproduce the sound of a tube amplifier at high volumes.

Parameter

Dry/Wet

Drive

Tone

Dynamics

Output

Value Range Default Value

0–100% 0%

-30.0 – 0.0 dB -15.0 dB

0–100% 50%

-20.0 – +20.0 dB 0.0 dB

Value Range Default Value

0–100 (dry–wet) 100

0–100 50

0–100 50

0–100

0–100

50

26

238

Distortion Fuzz

This popular effect uses hard clipping of the audio signal, which, at extreme settings, can turn a standard waveform into a square wave, producing a “razor” effect.

Parameter

Dry/Wet

Drive

Output

Low

Low-Mid

High-Mid

High

Distortion Grimey

This is a unique distortion effect that distorts a frequency range in a selectable band.

Distortion Custom

This effect is a highly customized distortion, capable of a wide range of useable sounds.

Parameter

Dry/Wet

Drive

Grime

Center

Width

Resonance

Output

Distortion Overdrive

This distortion is designed to sound like a mildly distorting amplifier at medium volumes. It is the smoothest distortion type available.

Parameter

Dry/Wet

Drive

Tone

Output

Parameter

Dry/Wet

Drive

+Soft

+Clip

–Soft

–Clip

Low

Mid

High

Output

Value Range

0–100 (dry–wet) 100

0–100 50

0–100

0–100

0–100

0–100

0–100

Value Range

0–100

0–100

0–100

0–100

0–100

0–100

Value Range

0–100 (dry–wet)

0–100

0–100

0–100

Default Value

50

50

50

50

50

Default Value

0–100 (dry–wet) 100

50

50

50

50

50

50

Default Value

100

50

50

50

Value Range

0–100 (dry–wet)

0–100

5–75

5–50

5–75

5–50

-18.0 – 18.0 dB

-18.0 – 18.0 dB

-18.0 – 18.0 dB

-18.0 – 18.0 dB

Default Value

100

50

1

25

1

25

0.0

0.0

0.0

50

239

Compressors

A compressor is an effect that changes the dynamic range of a signal by automatically reducing its gain.

Options

:

AIR Compressor

,

Compressor Master

,

Compressor Opto

,

Compressor VCA

,

Compressor Vintage

AIR Compressor

This basic compressor effect changes the dynamic range of a signal by automatically reducing its gain if it exceeds a certain level.

Parameter

Threshold

Ratio

Output

Mix

Knee

Attack

Release

Compressor Master

This is the most transparent compressor, able to perform substantial volume adjustments without artifacts.

Parameter

Dry/Wet

Attack

Release

Threshold

Ratio

Oldskool

Output

Compressor Opto

The Opto Compressor is modeled after a vintage compressor type using an optical circuit to control the volume reduction of the input signal. These compressors are usually associated with soft and unobtrusive attack and release characteristics.

Parameter

Dry/Wet

Input

Attack

Release

Threshold

Ratio

Knee

Output

Value Range Default Value

-60.0 – 0 dB -12.0 dB

1.0:1 – 100.0:1 3.9:1

0.0 – 30.0 dB 15.0 dB

0–100% (dry-wet) 100%

0–100% 50%

100 us – 300 ms 5.48 ms

10.0 ms – 4.00 s 200 ms

Value Range

0–100 (dry–wet)

0–100

0–100

-50 – 0 dB

1–20

Off, On

-6 – 24 dB

Value Range

0–100 (dry–wet)

-6 – 18 dB

0–100

0–100

-50 – 0 dB

1–20

1–100

-6 – 24 dB

Default Value

0

1

Off

100

50

50

0

50

50

0

1

1

0

Default Value

100

0

240

Compressor VCA

This compressor is more modern-sounding, with a slightly more transparent sound. A VCA Compressor tends to have quicker attack and release times than an Opto Compressor.

Parameter

Dry/Wet

Input

Attack

Release

Threshold

Ratio

Knee

Output

Compressor Vintage

This compressor has a sound similar to classic tube compressors, with their gentle yet pumping response and a dash of tube saturation.

Parameter

Dry/Wet

Input

Attack

Release

Threshold

Ratio

Knee

Output

Bit Reducers

Options

:

Decimator

,

Resampler

Decimator

Value Range

0–100 (dry–wet)

-6 – 18 dB

0–100

0–100

-50 – 0 dB

1–20

1–100

-6 – 24 dB

Value Range

0–100 (dry–wet)

-6 – 18 dB

0–100

0–100

-50 – 0 dB

1–20

1–100

-6 – 24 dB

Decimator down-samples the incoming signal by removing bits from the digital signal. The difference between decimation and resampling is that Decimator does not use any filtering to mask or correct digital artifacts. The result is an effect ranging from mild to almost completely pure digital distortion, depending on the setting and the source material.

Parameter

Dry/Wet

Decimate

Value Range

0–100 (dry–wet)

0–100

Bit Reducer 4–32

Resampler

Resampler is similar to Decimator in that it removes bits from an incoming signal. The difference is that Resampler applies a complex suite of filters and anti-aliasing to attempt to retain the original sound quality. This is a method used by popular vintage samplers and sampling drum machines from the 1980s. Resampler can be used to achieve a “dirty” sound on drum loops, without the harshness of distortion.

Parameter

Dry/Wet

Rate

Decimate

Value Range

0–100 (dry–wet)

0–100

0–100

1

1

0

50

50

0

Default Value

100

0

Default Value

0

1

1

100

0

50

50

0

Default Value

100

0

32

Default Value

100

0

0

241

Other

Options

:

AIR Channel Strip

,

AIR Enhancer

,

AIR Ensemble

,

AIR Freq Shift

,

AIR Fuzz Wah

,

AIR Kill EQ

,

AIR Lo-Fi

,

AIR Maximizer

,

AIR Noise Gate

,

AIR Pitch Shifter

,

AIR Pumper

,

AIR Stereo Width

,

AIR Talk Box

,

AIR Transient

,

Auto Wah

,

Frequency Shifter

,

Mother Ducker Input

,

Mother Ducker

,

Transient Shaper

AIR Channel Strip

This specially-designed plugin combines multiple effects with a fast interface. The EQ section provides a highpass filter, low and high shelves, and a fully parametric mid-band. For dynamics, the AIR Compressor and Gate algorithms are perfect for achieving hard-hitting drum sounds.

Tab Parameter Value Range Default Value

EQ Enable

Gate Enable

Comp Enable

Output

EQ High Shelf Gain

High Shelf Freq

Enabled, Bypass

Enabled, Bypass

Enabled, Bypass

-12.0 – +12.0 dB

1.20 – 20.0 kHz

Enabled

Enabled

Enabled

0.00 dB

0.0 dB

6.00 kHz

0.0 dB

40.0 247 Hz

AIR Enhancer

This effect enhances the low and high broadband frequencies of the audio signal.

Low Shelf Gain -12.0 – +12.0 dB 0.0 dB

Gate/Comp

Low Shelf Freq 20.0 Hz – 1.00 kHz 100 Hz

0 Hz

Gate Thresh -120.0 – 0.0 dB -120.0 dB

-120.0 dB

0.01 0.18 ms

1.00 7.40 ms

Comp – -60.0 dB 0.0 dB

Comp Attack

Release

Parameter

High Gain

Low Gain

Output

Freq. High

Freq. Low

Harmonics

Phase

100 us – 300 ms

– 4.00 s

Value Range

0.0 – 12.0 dB

0.0 – 12.0 dB

- Inf – 0.0 dB

1.0 – 10.0 kHz

40.0 – 640 Hz

0.0 – 12.0 dB

+ (positive),

- (negative)

5.48 ms

200 ms

Default Value

0.0 dB

0.0 dB

0.0 dB

3.16 kHz

160 Hz

0.0 dB

+

242

AIR Ensemble

This effect applies fluid, shimmering modulation effects to the audio signal.

Parameter

Rate

Depth

Value Range

0.01 – 10.0 Hz

0.00 – 24.00 ms

Default Value

1.00 Hz

6.00 ms

Width

Mix

Mod. Delay

0–100%

0–100% (dry–wet) 75%

0.00 – 24.00 ms

Mod. Shimmer 0–100%

100%

0.00 ms

50%

AIR Freq Shift

This effect shifts the audio signal's individual frequencies for unique effects.

Parameter

Mode

Frequency

Feedback

Mix

AIR Fuzz Wah

This is a multi-effect that combines transistor-like distortion and wah.

Tab Parameter

Fuzz-Wah Mix

Order

Value Range

0–100% (dry–wet)

Fuzz>Wah, Wah>Fuzz

0–100% (dry–wet)

0–100% (dry–wet)

Value Range

Up, Down, Up &

Down, Stereo

Default Value

Up

10.0 mHz – 10.0 kHz 316 mHz

0–100% 0%

0–100% (dry–wet) 100%

Wah Filter Mode

Min.

Max

Modulation Mode

0–100%

Lowpass, Bandpass, Highpass

0–100%

0–100%

Rate

LFO 8/4 – 16

Env

Depth

0–100%

Default Value

100%

Fuzz>Wah

100%

100%

20 dB

3.16 kHz

0.0 dB

Off

50%

Bandpass

428 Hz

2.07 kHz

55%

33%

On

LFO

4T

75%

0%

243

AIR Kill EQ

This effect can zap out the Low, Mid or High broadband frequency from an audio signal.

Parameter

High

Mid

Low

Output

High Gain

Mid Gain

Value Range Default Value

Thru, Kill

Thru, Kill

Thru

Thru

Thru, Kill Thru

-20.0 – +20.0 dB 0.0 dB

-Inf – +12.0 dB

-Inf – +12.0 dB

0.0 dB

0.0 dB

High Freq.

Offset

500 Hz – 8.00 kHz

AIR Lo-Fi

This effect is used to bit-crush, down-sample, clip, rectify and mangle an audio signal.

Tab Parameter Value Range

Lo-Fi Bit Depth

Sample Rate

1.0 – 16.0 bit

500 Hz – 50.0 kHz

Mix 0–100%

Distortion Clip

Rectify 0–100%

Noise 0–100%

Anti-Alias Pre

2.00 kHz

Enable

LFO / Env Wave

Depth

Attack

Release

Depth

Sine, Tri, Saw, Square, Morse,

S&H, Random

Rate

Sync Off: 0.01 – 10.0 Hz

Sync On: 8/4 – 16

0.1 – 10.0 s

Default Value

16.0 bit

50.0 kHz

100%

0.0 dB

0%

0%

0.5000 Fs

1.000 Fs

Off

Sine

1.00 Hz

2T

Off

0%

0.5 s

0.5 s

0%

244

AIR Maximizer

This effect is a limiter optimized for professional mastering.

Parameter

Threshold

Ceiling

Look Ahead

Knee

Release

LF Mono

AIR Noise Gate

Value Range Default Value

-40.0 – 0.0 dB -20.0 dB

-20.0 – 0.0 dB FS -5.0 dB FS

0.0 – 20.0 ms

Hard, Soft

10.0 ms – 10.0 s

0.0 ms

Hard

316 ms

10.0 Hz – 1.00 kHz 10.0 Hz

This effect is similar to a compressor, but instead of attenuating audio signal that rises above a threshold, a noise gate attenuates audio signal that falls below a threshold by a set amount. This can help reduce background noise in your audio signal.

Parameter

Threshold

Depth

Value Range

-120.0 – 0.0 dB

0 dB – -120.0 dB

Denoise Filter Off, On

Default Value

-48.0 dB

-120 dB

Off

Denoise Thresh -120.0 – 0.0 dB -60.0 dB

Attack

Hold

Release

AIR Pitch Shifter

0.01 – 1000.00 ms 0.18 ms

0 – 1000 ms 250 ms

This effect alters the pitch of the audio signal and can be adjusted based on the source or style of the signal.

Parameter

Mode

Shift

Mix

Value Range Default Value

Vocal, Bass, Beats,

Chords, Textures

Vocal

-24.0 – 0 – 24.0

0–100%

0.0

100%

AIR Pumper

This effect creates a rhythmic pumping effect, similar to that of sidechain compression.

Parameter

Depth

Speed

Value Range

0–100%

Bar, 1/2 – 1/32T

Release Shape 0–100%

Default Value

80%

1/4

10%

Trigger Offset -100.0 – +100.0 ms 0.0 ms

Attack

Hold

Release

0–100%

0–100%

0–100%

5%

10%

60%

245

AIR Stereo Width

This effect creates a wider stereo presence in an audio signal.

Parameter

Width

Delay

Level Trim

Pan Trim

High

Mid

Low

AIR Talk Box

This effect adds voice-like resonances to audio signals.

Parameter

Vowel

Value Range Default Value

0–200%

0.0 – 8.0 ms

100%

0.0 ms

-Inf – 0.0 – +12.0 dB 0.0 dB

L100 – <C> – R100 <C>

0–200%

0–200%

0–200%

100%

100%

100%

Env Depth

Formant

Mix

LFO Wave

LFO Rate

Sync Off:

Sync On:

LFO Sync

Value Range Default Value

OO, OU, AU, AH,

AA, AE, EA, EE, EH,

ER, UH, OH, OO

AH

-100 – 0 – +100% 0%

-12.00 – +12.00 0.00

0–100%

Sine, Tri, Saw,

Square, S&H,

Random

100%

Sine

0.01 – 10.0 Hz

8/4 – 16

1.00 Hz

2T

Off, On Off

AIR Transient

This effect is used to enhance or soften the Attack and

Release phases of audio material.

Parameter Value Range Default Value

Attack -100 – 0 – +100% 0%

Attack Shape 0–100% 50%

Sustain

Output

Limit

-100 – 0 – +100%

-20.0 – +20.0 dB

Off, On

0%

0.0 dB

On

246

Auto Wah

This effect is a low-pass filter modulated by an envelope that yields a classic funky “wah-wah”- like sound. The envelope is triggered by the incoming signal’s amplitude. The amount of the envelope on the cutoff frequency is user-definable.

Parameter

Dry/Wet

Resonance

Attack

Release

Center

Sensitivity

Frequency Shifter

A frequency shifter changes the frequencies of an input signal by a fixed amount and alters the relationship of the original harmonics. This can produce a chorus-like effect as well as very crazy artificial timbres.

Parameter

Dry/Wet

Frequency

Asynchrony

A Pan

B Pan

A Gain

B Gain

Mother Ducker Input

Add this effect to the track you want to serve as the input source for the

Mother Ducker

sidechain compressor.

Parameter

To

Mother Ducker

Use this effect in conjunction with the

Mother Ducker Input

effect for sidechain compression.

Parameter

Ratio

Knee

Attack

Release

Threshold

Gain

Auto

From

Value Range

0–100 (dry–wet)

0–100

0–100

0–100

0–100

0–100

Default Value

50

75

30

30

50

50

Value Range

0–100 (dry–wet)

Default Value

100

-1000 – 1000 0

0–1000 0

0–100 0

0–100

0–100

0–100

100

75

75

Value Range

Bus 1–8

Default Value

Bus 1

Value Range Default Value

60.00:1 – 1.00:1 6.00:1

0.000 – 6.000 dB 0.000 dB

1.0 – 1000.0 ms

1.0 – 1000.0 ms

10.0 ms

100.0 ms

-100.000 – 0.000 dB -6.021 dB

-100.000 – +12.000 dB

-0.000 dB

On, Off On

247

Transient Shaper

A transient shaper can be used to enhance or soften the

Attack and Release phases of audio material.

Parameter

Dry/Wet

Attack

Release

Output

Value Range

0–100 (dry–wet)

0–100

0–100

0–100

Default Value

100

50

50

50

248

Glossary

This glossary briefly defines and explains many of the technical terms used throughout this manual.

Aftertouch

The majority of contemporary keyboards are capable of generating aftertouch messages. On this type of keyboard, when you press harder on a key you are already holding down, a MIDI aftertouch message is generated. This feature makes sounds even more expressive (e.g., through vibrato).

Aliasing

Aliasing is an audible side effect arising in digital systems as soon as a signal contains harmonics higher than half the sampling frequency.

Amount

Attack

Bit Rate

Amplifier

Describes to which extent a modulation source influences a given parameter.

An amplifier is a component that influences the volume level of a sound via a control signal. It

can be modulated by a control signal (e.g., generated by an

envelope

or an

LFO

).

An

envelope

parameter. This term describes the ascent rate of a time-relevant process (e.g., an envelope from its starting point to the point where it reaches its highest value). The attack phase is initiated immediately after a trigger signal is received (e.g., after you play a note on a trigger pad or a keyboard).

Bit rate (also known as

word length

), is the number of bits used to store the level information of each single sample slice within a whole sample. The higher the bit rate, the more precise the information about a sample (i.e., its dynamics’ resolution). Normal audio CDs are 16-bit. The

Force hardware supports full 24-bit resolution.

Clip

A clip is a container for recorded audio or MIDI information. Clips that share a common type, such as clips of a particular drum kit or plugin, are grouped into

tracks

. Clips across multiple tracks in the same row are grouped into

scenes

.

Each

MIDI clip

contains MIDI note events and controller data. In this case, the clip contains no audio information—only MIDI information that uses the samples in a track (or an external MIDI sound module) to generate its audio. You can edit your performance in many different ways once the performance has been captured.

Each

audio clip

contains an audio signal that has been recorded or imported into your project.

You can edit this audio within the software and incorporate it into your projects alongside your

MIDI clips.

Clipping

Clipping is a sort of distortion that occurs when a signal exceeds the maximum value that can be handled by a signal processing system it is fed into. The curve of a clipped signal is dependent on the system where the clipping occurs. In the analog domain, clipping effectively limits the signal to a given maximum level. In the digital domain, clipping is similar to a numerical overflow, resulting in negative polarity of the signal’s portions exceeding the maximum level.

Control Change

(Controllers)

MIDI messages enable you to manipulate the behavior of a sound generator to a significant degree. This message essentially consists of two components:

The controller number, which defines the parameter to be influenced. It can range from

0

to

127

.

The controller value, which determines the extent of the modification.

Controllers can be used for effects such as slowly swelling vibrato, changing the stereo panning position and influencing filter frequency.

Cutoff

The cutoff frequency is a significant factor for a

filter

. A low-pass filter for example dampens the portion of the signal that lies above this frequency. Frequencies below this value are allowed to pass through without being processed.

249

CV CV

stands for

control voltage

, an analog method of sending control messages to external synthesizers, drum machines, etc. CV messages are typically used in conjunction with

Gate

messages (CV messages determine the pitch of notes while Gate messages determine note activation and length). CV messages are sent from the CV out ports of your Force hardware and to the CV in ports of your external device.

Please note that each external device uses a specific control voltage range, which determines how many volts are used in each octave (e.g.,

1V

/

oct

). Be mindful of this when setting it up with the Force software and/or controller hardware—mismatched voltage ranges can produce unusual/undesirable “re-scaling” of the octaves.

Decay

Decay describes the descent rate of an

envelope

once the attack phase has reached its maximum and the envelope drops to the level defined by the sustain value.

Envelope

Filter

An envelope is used to modulate a sound-shaping component within a given time. For instance, an envelope that modulates the cutoff frequency of a filter opens and closes this filter over a period of time. An envelope is started via a trigger, usually a MIDI note.

The classic

ADSR

envelope consists of four individually variable phases:

attack

,

decay

,

sustain

, and

release

. Attack, decay and release are time or slope values, while sustain is an adjustable level. Once an incoming trigger is received, the envelope runs through the attack and decay phases until it reaches the programmed sustain level. This level remains constant until the trigger is terminated. The envelope then initiates the release phase until it reaches the minimum value.

You can see and read about the envelopes used in Force in

Operation

>

Modes

>

Track Edit

Mode

>

Anatomy of an Envelope

.

A filter is a component that allows some of a signal’s frequencies to pass through it and dampens other frequencies. The most important aspect of a filter is the filter cutoff frequency.

Filters generally come in four categories:

low-pass

,

high-pass

,

band-pass

, and

band-stop

.

These are the available filters:

A

low-pass

filter (the most common type) dampens all frequencies above the cutoff frequency.

A

high-pass

filter in turn dampens the frequencies below the cutoff.

A

band-pass

filter allows only those frequencies around the cutoff frequency to pass. All others are dampened.

A

band-stop

filter does the opposite of a band-pass: it dampens only the frequencies around the cutoff frequency.

A

band-boost

filter boosts the frequencies around the cutoff frequency, similar to what a band on an equalizer would do. All other frequencies pass through normally.

The number of

poles

in a filter’s “slope” determines how extreme or subtle the effect of the filter will be. Filters with one or two poles produce a subtler sound while filters with six or eight poles are much more pronounced.

The

Model

filters are analog-style emulations of famous vintage synth filters.

Model1

is a fourpole filter that distorts at high input levels.

Model2

uses a mellow resonance with a “fattening” distortion in the lower frequencies.

Model3

can produce howling, piercing resonances and extreme sub frequencies—watch your speakers!

The

Vocal

filters are formant filters that emulate the human voice.

Vocal1

produces “ah” and

“ooh” vowel sounds.

Vocal2

uses three bands to produce “oh” and “ee” vowel sounds.

Vocal3

uses five bands to emulate an idealized model of the vocal tract.

MPC3000 LPF

is a dynamic, resonant low-pass filter (12 dB/oct) that was used on the original

MPC3000, released in 1994.

Please also see the entry for

Resonance

, an essential characteristic of a filter’s sound.

Gate Gate

messages are analog messages sent to external synthesizers, drum machines, etc. Gate messages are typically used in conjunction with

CV

messages (CV messages determine the pitch

of notes while Gate messages determine note activation and length). Gate messages are sent from the CV out ports of your Force hardware and to the CV/Gate in ports of your external device.

250

LFO LFO

is an acronym for

low-frequency oscillator

. The LFO generates a periodic oscillation at a low frequency and features variable waveshapes. Similar to an envelope, an LFO can be used to modulate a sound-shaping component.

MIDI

MIDI Channel

MIDI Clock

MIDI

stands for

musical instrument digital interface

. Developed in the early 1980s, MIDI enables interaction between various types of electronic music instruments from different manufacturers. At the time a communications standard for heterogeneous devices did not exist, so MIDI was a significant advance. It made it possible to link various devices with one another through simple, standardized connectors.

Essentially, this is how MIDI works: One sender is connected to one or several receivers. For instance, if you want to use a computer to play a MIDI synthesizer, the computer is the sender and the synthesizer acts as the receiver. With a few exceptions, the majority of MIDI devices are equipped with two or three ports for this purpose: MIDI In, MIDI Out and in some cases MIDI

Thru. The sender transfers data to the receiver via the MIDI Out jack. Data are sent via a cable to the receiver’s MIDI In jack.

MIDI Thru has a special function. It allows the sender to transmit to several receivers. It routes the incoming signal to the next device without modifying it. Another device is simply connected to this jack, thus creating a chain through which the sender can address a number of receivers.

Of course, it is desirable for the sender to be able to address each device individually. To achieve this, a MIDI channel message is sent with each MIDI event.

This is a very important element of most messages. A receiver can only respond to incoming messages if its receive channel is set to the same channel as the one the sender is using to transmit data. Subsequently, the sender can address specific receivers individually. MIDI

Channels 1–16 are available for this purpose.

The MIDI clock message transmits real-time tempo information to synchronize processes among several connected devices (e.g., a sound generator’s delay time to a MIDI sequencer).

Modulation

A modulation influences or changes a sound-shaping component via a modulation source.

Modulation sources include envelopes, LFOs or MIDI messages. The modulation destination is a sound-shaping component such as a filter or a VCA.

Note On

&

Note

Off

This is the most important MIDI message. It determines the pitch and velocity of a generated note. A note-on message will start a note. Its pitch is derived from the note number, which can range from

0

to

127

. The velocity ranges from

1

to

127

. A velocity value of

0

is equivalent to a note-off message.

Normalize

Normalization is a function to raise the level of a sample to its maximum (

0 dB

) without causing distortion. This function automatically searches a sample for its maximum level and consequently raises the entire sample’s level until the previously determined maximum level reaches 0 dB. In general, this results in a higher overall volume of the sample.

The process or the result of changing a signal’s position within the stereo panorama.

Panning

Pitch-Bend

Pitch-bend is a MIDI message. Although pitch-bend messages are similar in function to control change messages, they are a distinct type of message. The resolution of a pitch-bend message is substantially higher than that of a conventional controller message. The human ear is exceptionally sensitive to deviations in pitch, so the higher resolution is used because it relays pitch-bend information more accurately.

Program Change

These are MIDI messages that select sound programs. Programs

1

128

can be changed via program change messages.

Release

An

envelope

parameter. This term describes the descent rate of an envelope to its minimum value after a trigger is terminated. The release phase begins immediately after the trigger is terminated, regardless of the envelope’s current status. For instance, the release phase may be initiated during the attack phase.

251

Resonance

Root Key

Sample

Sample Rate

Resonance or emphasis is an important

filter

parameter. It emphasizes the frequencies around the filter cutoff frequency by amplifying them with a narrow bandwidth. This is one of the most popular methods of manipulating sounds. If you increase the emphasis to a level where the filter enters a state of self-oscillation, it will generate a relatively pure sine waveform.

The root key defines the original pitch of a recorded instrument or of a sample. Samples in

Force contain the dedicated root key information. This information will be created automatically during recording or importing.

When you tap the pads on your Force hardware, you can trigger sounds that we call

samples

.

Samples are digitized snippets of audio that can be recorded using the recording (sampling) function of your Force hardware or loaded from the Browser.

You can edit and process a sample in different ways. For example, a sample can be trimmed, looped, pitch-shifted or processed, using various effects. When you have finished editing your sample, you can assign it to one or more drum pads to play it. Samples can be either mono or stereo.

This is the frequency representing the amount of individual digital sample scans per second that are taken to capture an analog signal digitally. For normal CD audio recordings,

44100

samples per second are used, also written as

44.1 kHz

.

Scene

A group of

clips

in the same row.

Stretch Factor

The stretch factor is a value generated by the

Warp

algorithm in the software. When you record

an audio file, the current project tempo will be embedded with it. This information is stored within the sample file when you save the project. When you warp an audio track region, the warping algorithm uses this project tempo and the current value in the

BPM

field to generate the stretch factor.

Sustain

This term describes the level of an

envelope

remaining constant after it has passed the attack and decay phases. Once reached, the sustain level is kept until the trigger is terminated.

Time-Stretch

Track

Trigger

See

Warp

below.

A project on your Force hardware can contain

128

MIDI tracks and

8

audio tracks.

Each

MIDI track

contains MIDI note events and controller data. In this case, the track contains no audio information—only MIDI information that uses the samples in a drum track or keygroup track (or an external MIDI sound module) to generate its audio. You can edit your performance in many different ways once the performance has been captured.

Each

audio track

contains an audio signal that has been recorded or imported into your project. You can edit this audio within the software and incorporate it into your project alongside your MIDI tracks.

A trigger is a signal that initiates events. Trigger signals are very diverse. For instance, a MIDI note or an audio signal can be used as a trigger. The events a trigger can initiate are also very diverse. A common application for a trigger is its use to start an envelope.

252

Warp

The Warp feature lengthens or shortens a region of an audio track or sample without changing its pitch. This enables you to fit the length of an audio track or sample to the length of a clip, a bar in your clip, etc. while maintaining its original key.

Please note that the Warp algorithms are very CPU-intensive and can result in audio drop-outs during playback if used too freely. Be mindful of how (and how often) you use the warp function.

You can reduce the CPU resources required by doing any/all of the following:

Minimize the amount of pitch adjustment of warped audio.

In Track Edit Mode, avoid using extreme

Stretch

values.

Avoid warping very small audio regions.

Warp as few tracks or track regions as possible (i.e., reduce the number of total number of voices of the polyphonic limit that use the Warp algorithm at a given time), especially instances where the warped regions start at the same time.

Avoid rapidly triggering samples that are warped.

If you have warped samples used in a drum track or keygroup track, consider using the

Flatten Pad

function to consolidate the affected pad’s layers into one audio sample (see

here

to learn about this). After you flatten the pad, its sample/samples no longer need to be warped.

253

SATA Drive Installation

To create more internal storage space on your Force hardware, you can purchase a

SATA

(Serial ATA) drive and install it yourself, but read this chapter first.

Your Force can support nearly any standard 2.5” SATA drive on the market—either a solid-state drive (SSD) or hard-disk drive (HDD). Make sure it uses a

2.5

” (63.5 mm) form factor and uses (or can use) one of these file systems:

exFAT

,

FAT32

,

NTFS

, or

EXT4

(for read and write capability) or

HFS+

(for read-only capability).

Note

: We recommend using an exFAT file system as it is the most robust one supported by both Windows and macOS.

Note

: Alternatively, you could install an

mSATA

(mini-SATA) drive, but make sure you also purchase an adapter that enables it to fit into a typical 2.5” SATA interface.

1.

Make sure your Force hardware is powered

off

.

2.

Locate the

SATA drive panel

in the center of the bottom panel of your Force hardware. Use a Phillips-head screwdriver to remove the screws (don’t lose them!), and remove the SATA drive panel.

3.

Gently pull the

SATA connector and cable

out from inside your Force hardware. Be careful not to disturb anything inside—handle just the SATA connector and cable.

4.

Connect your

SATA drive

to the

SATA connector

. Make sure the connection is secure.

5.

Use four

3x5mm mounting screws

(included with Force hardware or with your SATA drive) to secure the SATA drive to the SATA drive panel. Do not overtighten the screws, but make sure the drive is secure and does not shake.

6.

Place the SATA drive panel back onto the bottom panel of your Force hardware, and use the original screws to secure it in place.

You can now access this drive while using your Force hardware!

254

MIDI Machine Control

(

MMC

)

Your Force hardware can send and receive MIDI Machine Control (MMC) messages, a standard protocol for transport controls.

The Force hardware can send these messages:

Force Button MMC Command Sent

Record MMC , then MMC Record Exit

To set up your Force hardware to send MMC messages to an external device

:

1.

Use an included 1/8"-to-MIDI adapter and a standard 5-pin MIDI cable (not included) to connect your Force hardware’s

MIDI Out

to the MIDI input of your external device.

2.

Press

Menu

to show the menu, and tap the

gear icon

to enter the

Preferences

.

3.

Tap the

Sync

tab.

4.

Tap the

Send Port 1

field, and use the

data dial

or

/

+

buttons to select

Midi Out

.

5.

Tap the

Send MMC

box so it is enabled (checked).

6.

Exit the

Preferences

.

7.

Configure your other device properly so it can receive MMC messages.

The Force hardware can receive these messages:

Force Command Received Force Function

MMC Deferred Play

MMC Locate Zero, then Deferred Play

MMC Stop

MMC Record Strobe

Play

Play Start

Stop

Record (Rec)

MMC Pause Stop

MMC Locate values Change location in clip

To set up your Force hardware to receive MMC messages from an external device

:

1.

Use an included 1/8"-to-MIDI adapter and a standard 5-pin MIDI cable (not included) to connect your Force hardware’s

MIDI In

to the MIDI output of your external device.

2.

Press

Menu

to show the menu, and tap the

gear icon

to enter the

Preferences

.

3.

Tap the

Sync

tab.

4.

Tap the

Receive MMC

box so it is enabled (checked).

5.

Exit the

Preferences

.

6.

Configure your other device properly so it can send MMC messages.

255

Technical Specifications

Specifications are subject to change without notice.

(1) 360° encoder for display navigation and selection via push

(5) 270° knobs for gain, mix & level adjustment

5.9” x 3.7” / 150 x 93 mm (width x height)

Full-color LED-backlit display with touch interface

2 GB

Memory RAM

Storage

Expandable via SATA connections

File System Compatibility

exFAT

(read & write) (recommended)

FAT32

(read & write)

NTFS

(read & write)

EXT4

(read & write)

HFS+

(read only)

Audio Files: AIF/AIFF, FLAC, MP3, OGG, WAV

Connections

(2) XLR+1/4” (6.35 mm) TRS inputs (Input 1/2)

(4) 1/4” (6.35 mm) TRS outputs (2 stereo pairs)

(1) 1/8” (3.5 mm) stereo headphone output

(1) 1/8" (3.5 mm) MIDI input

(1) 1/8" (3.5 mm) MIDI output

(1) 1/8" (3.5 mm) MIDI thru port

(4) 1/8” (3.5 mm) CV/Gate outputs

(1) Ethernet link port

(2) USB Type-A ports

(1) USB Type-B port

(1) SD card slot

(1) power adapter input

Power

Dimensions

(width x depth x height)

Weight

via power adapter: 19 V, 3.42 A, center-positive, included

13.8” x 15.3” x 2.85”

350 x 389 x 72.5 mm

8.53 lbs.

3.87 kg

256

Trademarks & Licenses

Akai Professional and MPC are trademarks of inMusic Brands, Inc., registered in the U.S. and other countries.

Ableton is a trademark of Ableton AG.

The

Bluetooth

word mark and logos are registered trademarks owned by Bluetooth SIG, Inc. and any use of such marks by Akai Professional is under license.

Kensington and the K & Lock logo are registered trademarks of ACCO Brands. macOS is a trademark of Apple Inc., registered in the U.S. and other countries.

SD and SDHC are registered trademarks of SD-3C, LLC.

Windows is a registered trademark of Microsoft Corporation in the United States and other countries.

All other product names, company names, trademarks, or trade names are those of their respective owners.

This product contains technologies that are used under license. For more information, please visit

akaipro.com

/

product-legal

.

257

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