Akai Force User manual

Akai Force User manual
User Guide
English
Manual Version 1.0
Table of Contents
Introduction ............................................................. 6
Tutorial ...................................................................14
Support .............................................................. 6
Starting Up ......................................................14
About This User Guide ..................................... 6
Launching Clips ..............................................14
Important Notes ............................................... 6
Editing Clips & Tracks....................................17
Clip Edit Mode ...........................................18
Setup ........................................................................ 7
Region View ................................................... 20
Event View...................................................... 22
List View ......................................................... 23
Features ................................................................... 8
Track Edit Mode ........................................24
Top Panel .......................................................... 8
Renaming & Saving ........................................27
Display ....................................................... 11
Using the Browser .....................................29
Rear Panel ....................................................... 12
Mixing Tracks .................................................30
Front Panel ...................................................... 13
Cueing Tracks ............................................32
Recording Clips ..............................................33
Recording with Note Mode........................33
Recording with the Step Sequencer .........35
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Operation ............................................................... 37
Menu ..........................................................60
Save ............................................................... 61
General Features ............................................ 37
Preferences .................................................... 62
Info............................................................. 62
Control Types ............................................ 37
Knobs ............................................................. 37
Parameter Values ............................................ 38
Wi-Fi .......................................................... 62
Bluetooth ................................................... 63
Sequencer ................................................. 63
Sync .......................................................... 64
Drop-Down Menus / Lists ............................... 38
Selectors......................................................... 39
Buttons ........................................................... 39
Checkboxes .................................................... 39
Tabs ............................................................... 39
Sliders ............................................................. 40
Envelopes ....................................................... 40
Event View Tools ............................................. 41
Hardware ................................................... 64
Project Defaults .......................................... 65
Project Load/Save ...................................... 65
Record/Export ............................................ 65
General ...................................................... 65
Sync ............................................................... 66
Mode.............................................................. 66
System Resources.......................................... 67
Audio Region Edit Tools .................................. 42
Timing Correct (TC)....................................68
Pad Modes ................................................ 43
Launch Mode .................................................. 43
Metronome (Click/Metro) ...........................70
Note Mode ...................................................... 44
Drum Note Mode ........................................ 44
Automation ................................................71
Melodic Note Mode .................................... 45
Launch & Note Mode ...................................... 47
Arpeggiator ................................................72
Step Sequencer .............................................. 48
Drum .......................................................... 48
Melodic....................................................... 49
Lanes ......................................................... 49
Effects ........................................................74
Overview ........................................................ 74
Insert Effects................................................... 76
Pads .......................................................... 76
Keygroups.................................................. 77
Tracks ........................................................ 50
About Tracks .................................................. 50
Audio Tracks ................................................... 51
Tracks ........................................................ 78
Masters ...................................................... 79
Send/Return Effects ....................................... 80
Drum Tracks ................................................... 52
Pads .......................................................... 81
Keygroup Tracks ............................................. 54
Keygroups.................................................. 82
Plugin Tracks .................................................. 56
Audio and Plugin Tracks ............................. 83
MIDI Tracks ..................................................... 58
CV Tracks ....................................................... 59
Plugins .......................................................84
Bassline .......................................................... 84
Electric ........................................................... 87
Hype .............................................................. 91
TubeSynth ...................................................... 96
Standalone vs. Computer Mode..............103
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Modes ............................................................ 104
Sample Edit Mode ...................................172
Settings ........................................................ 174
Matrix Mode............................................. 105
Trim Mode .................................................... 175
Assigning Samples ................................... 178
Step Sequencer ....................................... 107
Processing Slices & Samples.................... 180
Chop Mode .................................................. 184
XYFX Mode .............................................. 111
Converting or Assigning Slices.................. 187
Processing Slices ..................................... 190
Navigate Mode ........................................ 114
Sampler ....................................................193
Browser.................................................... 115
Clip Edit Mode ......................................... 118
Auto Sampler ............................................... 197
Looper ......................................................199
Clip View ....................................................... 118
Event View .................................................... 120
Editing Events ........................................... 123
Region View .................................................. 128
List View ....................................................... 131
Knobs .......................................................203
Screen.......................................................... 204
Project .......................................................... 205
Track ............................................................ 208
Volume ......................................................... 210
Track Edit Mode ...................................... 135
Pan .............................................................. 210
Sends ........................................................... 210
Drum Tracks ................................................. 135
Master ...................................................... 138
Samples ................................................... 139
Pan Velocity .............................................. 146
Filter/Envelope .......................................... 147
LFO Modulation ........................................ 148
Effects ...................................................... 150
Mixer ........................................................211
Volume ......................................................... 212
Pan & Volume ............................................... 212
Sends ........................................................... 213
Inserts & I/O ................................................. 214
Keygroup Tracks ........................................... 152
Master ...................................................... 153
Pad Mixer .................................................215
Samples ................................................... 156
Volume ......................................................... 216
Pan Velocity .............................................. 162
Pan & Volume ............................................... 216
Filter/Envelope .......................................... 163
Sends ........................................................... 217
LFO Modulation ........................................ 164
Inserts & I/O ................................................. 218
Effects ...................................................... 166
Plugin Tracks ................................................ 168
MIDI Tracks ................................................... 169
CV Tracks ..................................................... 170
Anatomy of an Envelope ............................... 171
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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
Guitar
Microphone
USB
Flash
Drive
Powered Monitors
Power
Headphones
MIDI Keyboard
SD
Card
Remember to remove the protective film from the Force touchscreen!
Note: We highly recommend checking akaipro.com for any available updates to the Force firmware and/or drivers.
7
Features
This chapter explains the features and functions of your Force.
Top Panel
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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.
Press Shift and this button to open Track Edit View, where you can edit
parameters of your drum kit, plugin, MIDI or CV tracks.
12. 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.
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.
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.
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: Press this button to mute the track.
• Solo: Press this button to solo the track.
• Rec Arm: Press this button to record-arm 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.
• Clip Stop: Press this button to stop the clip that is playing in the track.
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
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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
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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
Event View for a keygroup, plugin, MIDI or CV track
Now let's make some edits to a MIDI clip using Event View.
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 or –/+ buttons.
To transpose the selected notes up or down, tap Transpose at the bottom of the screen, and then use the
data dial or –/+ buttons.
To adjust the velocity of the selected notes, tap Velocity at the bottom of the screen, and then use the data
dial or –/+ 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.
Close-up of an AD-type filter envelope.
40
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 5th
Start on 3rd
Start on root
Start on 4th
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
Major Bebop
Lydian
Natural Minor
Flamenco
Whole Tone
Mixolydian
Harmonic Minor
Gypsy
Chromatic
Aeolian
Pentatonic Major
Hungarian Gypsy
Dorian
Locrian
Pentatonic Minor
Persian
Phrygian
Use the Velocity field to set the velocity of the pads when played:
As played
26%
53%
80%
6%
33%
60%
86%
13%
40%
66%
93%
20%
Half
73%
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:
46
Major
Major7
Augmented
Minor
Minor7
Diminished
Sus2
Major9
Sus4
Minor9
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.
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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.
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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.
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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
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.
2
3
4
5
6
7
8
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.
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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.
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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.
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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.
Sync
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.
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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.
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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.
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With legato applied.
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.
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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.
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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.
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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.
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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.
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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:
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•
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.
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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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
Oscillator
Filter
Envelope
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Description
Value Range
Waveform
Continuously variable waveshape for the oscillator. Saw Octave, Saw, Square, Sine
Sub-Octave
Amount of sub-octave oscillator.
0–100%
Fifth
Amount of fifth-oscillator.
0–100%
Start Phase
Position of the waveform when a note is triggered. Free, 0 degr., 180 degr.
Glide Time
Amount of time to slide from the pitch of one note
to the next note played.
10.0 ms – 2.00 s
Boost
Boosts the signal of the oscillator.
0.0 dB – 48.0 dB
Boost Freq.
Center frequency of the boost.
* 1.0 – * 240.0
Boost Envelope
Amount of effect of the envelope on the Boost
section.
Adjust Gain to control the amount of boost.
Adjust Frequency to control the width of the
boosted frequency.
Gain 100–0%, Off, Frequency
0–100%
LP Cutoff
Cutoff frequency for the low-pass filter.
20.0 Hz – 20.0 kHz
Reso
Resonance of the filter.
0–100%
Filter Env
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.
-100% – 0 – 100%
HP Cutoff
Cutoff frequency for the high-pass filter.
10.0 Hz – 500 Hz
Amp Attack
Length of time for the note to reach full volume.
100–0% Soft to 0–100% Hard
Amp Decay
Length of time for the note to reach the sustained
volume.
0–100%
Filter Decay
Length of time for the filter to reset after being
released.
0–100%
Pitch Mod
Amount of pitch modulation applied to the
envelope.
0–100%
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
Velocity
Master
Chorus
Description
Value Range
Amp Control
The amount of effect velocity has on amplitude
control.
0–100%
Filter Control
The amount of effect velocity has on filter control.
0–100%
Boost Control
The amount of effect velocity has on boost control.
0–100%
Env Retrigger
Sets whether the envelope will retrigger when a note is Off, On
played while another note is being held.
Master Volume
Sets the volume level.
-inf dB – +6.0 dB
Drive Type
Choose one of two drive algorithms.
Overdrive, Clip
Drive Amount
Amount of drive applied.
0–100%
Bend Range
Number of semitones up or down controlled by MIDI
pitch bend messages
0–12
Rate
Modulation speed of the chorus effect.
0.40 Hz – 3.20 kHz
Depth
Modulation depth of the chorus effect.
0–100%
Mix
Wet/dry amount of the chorus effect.
0–100%
On/Off
Enables or disables the effect.
Off, On
Delay
Use this tab to apply and adjust the settings for the built-in delay effect.
Parameter
Description
Time
Length of time of the delayed signal.
Value Range
When Sync is set to Free: 1 ms – 2.00 s
When Sync is set to Sync: 1/32 – 8/4
Sync
Set to Free to adjust Time by milliseconds, or set to Sync to match the
Delay Time to the Global Tempo.
Free, Sync
Mix
Wet/dry amount of the delay effect.
0–100%
Feedback
Amount of signal fed back into the delay line.
0–100%
Damp
Center frequency of where the delay signal will be dampened.
1.00 – 20.0 kHz
Reso
Amount of resonance of the feedback signal.
0–100%
Reso Freq
Center frequency for feedback resonance.
100 Hz – 10.0 kHz
Ratio
Reduces the delay Time in either the Left or Right stereo field. This is
useful for creating offset, panned delays.
L 50:100, R 50:100
HPF
Center frequency for delay signal high-pass filter.
20.0 Hz – 1.0 kHz
Width
Stereo width of delay signal. Higher values give wider stereo separation.
0–100%
On/Off
Enables or disables the effect.
Off, On
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Compressor / Hype
Use this tab to apply and adjust the settings for the built-in Compressor and Hype effects.
Parameter
Compressor
Hype
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Description
Value Range
Threshold
Signal level after which the compressor will be applied.
0.0 – -60. dB
Ratio
Amount of compression applied.
1.0:1 – 100.0:1
Output
Amount of additional output gain for the compressed
signal.
0.0 – +30.0 dB
Mix
Wet/dry mix of the compressor effect.
0–100%
Knee
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%
Attack
Length of time to apply the compression.
100 us – 300 ms
Release
Length of time for compressed signal to return to
original level.
10 ms – 4.00 s
On/Off
Enables or disables the effect.
Off, On
High
Dampens or maximizes high end frequencies.
-100 – 0 – +100%
Low
Dampens or maximizes low end frequencies.
-100 – 0 – +100%
On/Off
Enables or disables the effect.
Off, On
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
Pickup
Envelope
Description
Value Range
Type
Type of pickup emulated.
Pickup, 0–100% ElectroStatic, 0–100% ElectroMagnetic
Height
Height of the pickup to the tines.
0.0 – 5.0 mm
Distance
Distance of the pickup to the tines.
0.1 – 10.0 mm
Clip
Amount of clipping applied to the signal.
0–100%
Keytrack
Ties the pickup parameters to the pitch being played.
At higher values, the Distance is increased as the
pitch is increased.
0–100%
Attack
Length of time for the note to reach full volume.
100–0% Hard,
0–100% Soft
Decay
Length of time for the note to reach the sustained
volume.
100 ms – 20.0 s
Release
Length of time for the note to become silent after
being released.
100 ms – 5.0 s
Peak Length
Length of time full volume is held before decaying.
3 – 50 ms
Keytrack
Ties the envelope parameters to the pitch being
played.
At higher values, the envelope time is decreased as
the pitch is increased.
0–100%
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Bell / Noise
Use this tab to apply and adjust the settings for the Bell and Noise sounds.
Parameter
Bell
Noise
Description
Value Range
Tune
Pitch of the bell sound, in semitones above the root
pitch.
0– 60 semitones
Dry/PU
Mix of Dry versus Pickup signal for the bell sound.
-100% – 0% – +100%
Volume
Level of the bell sound.
-inf dB – +6.0 dB
Tune Keytrack
Ties the tuning of the bell sound to the pitches played. 0–100%
Decay
How long it takes for the bell sound to dissipate
100 ms – 7.0 s
Keytrack
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%
Freq
Center frequency of the noise effect
200 Hz – 16.0 kHz
Random
Amount of randomization applied to the noise effect
0–100%
Mix
Level of noise effect present
-inf dB – +6.0 dB
Attack
Length of time for the noise effect to reach full level
1–50 ms
Decay
Length of time for the noise effect to dissipate
100 ms – 3.00 s
Keytrack
Ties the Freq to the pitch being played.
0–100%
Setup
Use this tab to adjust general settings for the plugin.
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Parameter
Description
Value Range
Polyphony
Number of voices available.
1–16 Voices
Master Volume
Overall level of the plugin.
-inf dB – +6.0 dB
Velo Level
Adjusts how much incoming velocity is applied.
0–100%
Velo Tone
Ties the incoming velocity to tone.
At higher values, increased velocity increases tone brightness.
0–100%
Velo Attack
Ties the incoming velocity to the attack envelope.
At higher values, low velocities feature longer attack times.
0–100%
Trem / Tube / Chorus
Use this tab to apply and adjust the settings for the built-in Tremolo, Tube (Over Drive), and Chorus effects.
Parameter
Tremolo
Description
Rate
Value Range
Modulation speed of the effect.
When Sync is set to Free: 0.25 – 13.00 Hz
When Sync is set to Sync: 8/4 – 1/16
Tube
Chorus
Sync
Sync the Tremolo Rate to the Global Tempo or let it
run Free.
Free, Sync
Mode
Select Pan for stereo field modulation, or Tremolo for
amplitude modulation.
Pan, Tremolo
Depth
Amount of modulation applied.
0–100%
Drive
Amount of drive applied.
0–100%
Headroom
Amount of gain reduction between the clean signal
and the driven signal.
-30.0 – 0.0 dB
Saturation
Amount of saturation applied.
0–100%
Output
Output level of the tube driven signal.
-20.0 – 0.0 – +20.0 dB
Rate
Modulation speed of the effect.
0.40 – 3.20 Hz
Depth
Amount of pitch modulation of the effect.
0–100%
Mix
Wet/dry amount of the chorus effect.
0–100%
Delay
Use this tab to apply and adjust the settings for the built-in Delay effect.
Value Range
Parameter
Description
Time
Amount of time between the dry signal and the delayed signal.
When Sync is set to Free: 1 ms – 2.00 s
When Sync is set to Sync: 1/32 – 8/4
Sync
Sync the Delay Time to the Global Tempo or set to Free to adjust Time
by milliseconds.
Free, Sync
Mix
Wet/dry amount of the delay effect.
0–100%
Feedback
Amount of signal fed back into the delay line.
0–100%
Damp
Center frequency of where the delay signal will be dampened.
1.00 – 20.0 kHz
Reso
Amount of resonance of the feedback signal.
0–100%
Reso Freq
Center frequency for feedback resonance.
100 Hz – 10.0 kHz
Ratio
Reduces the delay Time in either the Left or Right stereo field. This is
useful for creating offset, panned delays.
L 50:100, R 50:100
HPF
Center frequency for delay signal high-pass filter.
20.0 Hz – 1.0 kHz
Width
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.
90
Parameter
Description
Value Range
Pre-Delay
Length of time between dry signal and reverberated signal.
0 ms – 250 ms
Time
Length of reverb tail.
1.0 – 10.0 s
Mix
Wet/dry amount of the reverb effect.
0–100%
Diffusion
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.
0–100%
Width
Stereo width of reverb signal. Higher values give wider stereo separation.
0–100%
Low Cut
Center frequency for reverb signal low-cut filter.
20.0 Hz – 1.00 kHz
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
Value Range
Macros
These six macro controls are unique to each preset.
Varies
Cutoff
Amount of filter cutoff applied.
0–100%
Reso
Amount of filter resonance applied.
0–100%
Mod
Amount of modulation effect applied.
0–100%
Distortion
Amount of distortion effect applied.
0–100%
Delay
Amount of delay effect applied.
0–100%
Reverb
Amount of reverb effect applied.
0–100%
Pumper
Amount of pumper effect applied.
0–100%
Master
Master output volume.
-inf – +6.0 dB
91
Filter / Amp
Use this tab to adjust the filter and amplitude envelope settings.
Parameter
Filter
Description
Value Range
Cutoff
Cutoff frequency for the filter.
0–100%
Reso
Amount of resonance of the filter.
0–100%
Length of time for the filter to reach full level.
0–100%
Decay
Length of time for the filter to reach sustain level.
0–100%
Sustain
Length of time for the filter to hold sustain level.
0–100%
Release
Length of time for the filter to dissipate when released. 0–100%
Envelope
Depth
Amount of Filter Envelope added to the filter cutoff.
0–100%
Envelope
Velocity
Amount of effect the note velocity has on the filter
envelope.
0–100%
Spike
Applies additional velocity to the amplitude attack.
0–100%
Spike Decay
Length of time for the Spike to decay.
0–100%
Attack
Length of time for the note to reach full level.
0–100%
Decay
Length of time for the note to reach sustain level.
0–100%
Sustain
Length of time for the note to hold sustain level.
0–100%
Release
Length of time for the note to dissipate when released. 0–100%
Fade
Amount added to the envelope sustain level.
0–100%
Velocity
Amount of effect the note velocity has on the
amplitude envelope.
0–100%
Filter Envelope Attack
Amp
Amp Envelope
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Effects 1
Use this tab to adjust the settings for the Low-Frequency Oscillator and Modulation, Distortion and Hype effects.
Parameter
LFO
Description
Rate
Value Range
Speed of the low frequency oscillator.
When Sync is set to 1st Note or Each Note: 0.03 – 30.00 Hz
When Sync is set to Temp+Note or Tempo+Beat: 8/4 – 1/64
Mod
Distortion
Hype
Sync
Enables or disables LFO sync, and sets how it is
synced when enabled.
Off, 1st Note, Each Note,
Tempo+Note,
Tempo+Beat
Depth
Amount of LFO modulation applied.
0–100%
Rate
Speed of modulation.
0.05 – 20.00 Hz
Adjust
Length of time the wet signal is offset from the dry
signal.
0.0 – 24.0 ms
Depth
Amount of modulation applied.
0–100%
Mix
Wet/dry mix of the modulation effect.
0–100%
Drive
Amount of drive applied.
0–100%
Bias
Emulates amount of voltage sent to a tube power-amp. -100 – 0 – 100%
Output
Output level of the distorted signal.
0–100%
Mix
Wet/dry mix of the distortion effect.
0–100%
Low
Dampens or maximizes low end frequencies.
-12.0 – +12.0 dB
Lo-Mid
Dampens or maximizes low-mid frequencies.
-20.0 – +20.0 dB
Hi-Mid
Dampens or maximizes high-mid frequencies.
-20.0 – +20.0 dB
High
Dampens or maximizes high end frequencies.
-12.0 – +12.0 dB
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Effects 2
Use this tab to adjust the settings for the Delay, Reverb, Compressor, Pumper and Limiter effects.
Parameter
Delay
Reverb
Compressor
Pumper
Limiter
94
Description
Value Range
Time
Amount of time between the dry signal and the
delayed signal.
1/32 – 8/4
Feedback
Amount of signal fed back into the delay line.
0–100%
Freq
Adjusts the filter cutoff frequency of the delayed
signal.
0–100%
Mix
Wet/dry amount of the delay effect.
0–100%
L/R
Reduces the delay Time in either the Left or Right
stereo field. This is useful for creating offset, panned
delays.
L 50:100 – R 100:50
Pre-Delay
Length of time between dry signal and reverberated
signal.
0.0 – 250.0 ms
Time
Length of reverb tail.
0.0 – 30.0 s
Mix
Wet/dry amount of the reverb effect.
0–100%
Threshold
Signal level after which the compressor will be
applied.
-30.0 – +10.0 dB
Ratio
Amount of compression applied.
1.0:1 – 20.0:1
Attack
Length of time to apply the compression.
0–100%
Output
Amount of additional output gain for the compressed
signal.
-20.0 – +20.0 dB
Rate
Speed of the pumper effect.
Bar, 1/2 – 1/32T
Depth
Amount of signal attenuation by the effect.
0–100%
Release
Amount of time to release the effect.
0–100%
Drive
Amount of drive added after the limiter effect.
0.0 – 32.0 dB
Setup
Use this tab to adjust the plugin setup parameters.
Parameter
Setup
Description
Value Range
Transpose
Transposition of the plugin, in semitones.
-36 – +36
Tune
Fine tuning of the plugin, in cents.
-100 – +100
Glide Time
Amount of time to slide from the pitch of one note to
the next note played.
0 ms – 32 s
Glide Mode
Enables or disables pitch gliding for all triggered notes Off, Legato, On
or legato notes.
Mode
Sets the plugin to polyphonic or monophonic
Poly, Mono
Del-Rev
Level of the delay and reverb signals.
-inf – +6.0 dB
Master
Overall level of the plugin.
-inf – +6.0 dB
Destination
Send Mod Wheel data to one of the following control
destinations.
Pitch, Cutoff, Reso, Amp,
Pan
Depth
Amount of modulation applied.
MIDI Control
Mod Wheel
When Destination is set to Pitch: -12.0 – +12.0
When Destination is set to Cutoff, Reso, Amp or Pan: -100 – 0 – 100%
Aftertouch
LFO
Ties the modulation to the Control LFO.
Off, On
Destination
Send Aftertouch data to one of the following control
destinations.
Pitch, Cutoff, Reso, Amp,
Pan
Depth
Amount of modulation applied.
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%
Control LFO
LFO
Ties the modulation to the Control LFO.
Off, On
Sync
Enables or disables Control LFO sync, and sets how
the Control LFO is synced when enabled.
Off, First Note, Each
Note, BPM & Note, BPM
& Beat
Rate
Speed of modulation of the Control LFO.
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
Shape
Waveshape of the Control LFO.
Sine, Triangle, Sawtooth,
Square, S&H Random,
S&H Alternate, Random
Drift, Slow Drift
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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.
Description
Value Range
Octave
Coarse tuning of the oscillator by octaves.
The Wide setting provides additional Fine tuning
controls.
Wide, 32', 16', 8', 4', 2'
Fine
Fine tuning of the oscillator by semitones.
Parameter
Oscillator 1
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
Oscillator 2
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
Adjusts tuning of the additional Quad voices.
0–100%
Octave
Coarse tuning of the oscillator by octaves, all the
way down to LFO speed.
LFO, 32', 16', 8', 4', 2'
Fine
Fine tuning of the oscillator.
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
Sub Oscillator
96
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
Micro Detune
Additional detuning of Oscillator 2.
0–100%
Phase
Position of the waveshape when the sound is
triggered.
0 – 360 degrees
Shape
Waveshape of the sub oscillator (continuously
variable).
Triangle, Saw, Square, Pulse
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
Osc 2 EQ
Mixer
LP Filter
Description
Value Range
Gain
Amount of gain applied to the selected Frequency.
-48 – 0 – +48 dB
Frequency
Center frequency for the equalization band.
25 – 10,000 Hz
Drive
Amount of drive added to the EQ signal.
0–100%
Keytrack
Ties the EQ settings to the pitch being played
0–100%
Osc 1
Level of Oscillator 1.
0–100%
Osc 2
Level of Oscillator 2.
0–100%
Sub Osc
Level of the Sub Oscillator.
0–100%
Ring Mod
Level of Ring Modulation effect.
0–100%
Drive
Level of Drive effect.
0–100%
Cutoff
Center frequency of the low-pass filter cutoff.
0–100%
Reso
Amount of resonance of the low-pass filter.
0–100%
Slope
Amount of attenuation applied above the cutoff
frequency.
0 – 24 dB/oct
Saturation
Amount of saturation applied to the low-pass filter.
0–100%
Env
Percentage of the envelope output subtracted from or
added to the LP Filter Cutoff.
-100 – 0 – +100%
Keytrack
Ties the LP Filter Cutoff to the pitch being played.
0–100%
97
Envelope
Use this tab to adjust the various envelope settings.
Parameter
Description
Value Range
Filter Envelope Attack
Length of time for the filter to reach full level.
1.00 ms – 100 s
Decay
Length of time for the filter to reach sustain level.
1.00 ms – 100 s
Sustain
Level that a sustained note is held at, as a percentage
of the maximum level.
0–100%
Release
Length of time for the filter to dissipate when released. 1.00 ms – 100 s
Attack
Length of time for the note to reach full level.
1.00 ms – 100 s
Decay
Length of time for the note to reach sustain level.
1.00 ms – 100 s
Sustain
Level that a sustained note is held at, as a percentage
of the maximum level.
0–100%
Release
Length of time for the note to dissipate when released. 1.00 ms – 100 s
Start Level
Initial velocity level of the envelope.
0–100%
Start Time
Length of time for the envelope to start.
0–5000 ms
Slope Hold
Amount of Envelope subtracted from or added to the
Destination when a note is held.
-100 – 0 – +100%
Slope Rel
Amount of Envelope subtracted from or added to the
Destination when a note is released.
-100 – 0 – +100%
Destination
Where the envelope will be applied to.
Off, Pitch, Osc 2 Pitch,
LFO 1/2 Rate, Osc1 Quad
Det., Osc 1/2 Shape, Osc
1/2 Level, Ring Level
Amp Envelope
Envelope 3
98
LFO
Use this tab to adjust the settings for the low-frequency oscillators.
Parameter
LFO 1/LFO 2
Description
Value Range
Shape
Waveshape of the low-frequency oscillator.
Sine, Square. Saw Up,
Saw Down, Pump, S&H,
Drift
Destination
Where the low-frequency oscillator is sent.
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.
When Sync is Off: 0.01 – 20.00 Hz
When Sync is On: 8/4 – 1/32
Modulation
Depth
Amount of modulation applied.
0–100%
Fade
Apply a fade-in or fade-out of the LFO signal.
0.00 – 20.00 s out,
No fade,
0.00 – 20.00 s in
Sync
Sync the LFO Rate to the Global Tempo or turn Off to Off, On
adjust Rate by Hertz.
Source
Where the modulation signal is sent from.
Filter Env, Amp Env, Osc
1, Osc 2
Destination
Where the modulated signal is received.
Pitch, Osc 1/2 Shape,
Osc 1/2 Pitch, LPF, Quad
Detune, Osc EQ 2 Freq,
Osc 2 EQ Gain, Ring
Level
Depth
Amount of modulation applied.
-100 – 0 – 100%
99
Setup
Use this tab to adjust plugin setup parameters.
Parameter
Description
Value Range
Velocity 1
Send Velocity data to one of the following control
destinations.
Amp, Cutoff, Osc1
Shape, Osc2 Shape,
Osc1&2 Shape
Depth
Amount of modulation applied.
0–100%
Velocity 2
Send Velocity data to one of the following control
destinations.
Amp, Cutoff, Osc1
Shape, Osc2 Shape,
Osc1&2 Shape
Depth
Amount of modulation applied.
0–100%
Modwheel
Send Modwheel data to one of the following control
destinations.
Amp, Cutoff, Osc1
Shape, Osc2 Shape,
Osc1&2 Shape
Depth
Amount of modulation applied.
-100 – 0 – 100%
Aftertouch
Send Aftertouch data to one of the following control
destinations.
LFO 1 Depth, Cutoff,
Osc1 Shape, Osc2
Shape, Osc1&2 Shape
Depth
Amount of modulation applied.
-100 – 0 – 100%
Polyphony
Number of allowable voices, and how voices are
triggered.
Legato, Retrigger, 2, 3, 4
Bend Range
Number of semitones up or down controlled by MIDI
pitch bend messages
2–12 (semitones)
Glide Time
Amount of time to slide from the pitch of one note to
the next note played.
1.00 ms – 100 s
Glide All
Enables or disables pitch gliding for all triggered
notes, not just legato notes.
Off, On
Detune
Amount of detuning applied. This setting is only
applied when Doubling is enabled.
0–100%
Doubling
Enables or disables voice doubling.
Off, On
Shape
Amount of signal sent to a Tube Drive.
0–100%
Width
Stereo width of the audio signal. Higher values give
wider stereo separation.
0–100%
Level
Overall output volume of the plugin.
-inf dB – +12.0 dB
Controller Destinations
Setup
Output
100
Chorus
Use this tab to apply and adjust the settings for the built-in Chorus effect.
Parameter
Description
Value Range
Rate
Modulation speed of the effect.
0.01 – 10.0 Hz
Delay
Length of time the wet signal is offset from the dry signal.
0.00 – 24.00 ms
Voices
Number of voices used in the chorus effect.
3, 4, 6
LFO Wave
Waveshape of the low-frequency oscillator for the chorus effect.
Tri, Sine
Depth
Amount of pitch modulation of the effect.
0.00 – 24.00 ms
Width
Stereo width of the chorus effect. Higher values give wider stereo
separation.
0–100%
Lo Cut
Center frequency for the chorus low-cut filter.
20.0 Hz – 1.0 kHz
Mix
Wet/dry amount of the chorus effect.
0–100%
Delay
Use this tab to apply and adjust the settings for the built-in delay effect.
Parameter
Description
Time
Length of time between the dry signal and the delayed signal.
Value Range
When Sync is set to Free: 1 ms – 2.00 s
When Sync is set to Sync: 1/32 – 8/4
Sync
Enable to sync the Delay Time to the Global Tempo, disable to set the
Time in milliseconds.
Off, On
Feedback
Amount of delay signal fed back into the delay line.
0–100%
Mix
Wet/dry amount of the delay effect.
0–100%
Damp
Center frequency of where the delayed signal will be dampened.
1.00 – 20.0 kHz
Reso
Amount of resonance of the feedback signal.
0–100%
Reso Freq
Center frequency for feedback resonance.
100 Hz – 10.0 kHz
Ratio
Reduces the delay Time in either the Left or Right stereo field. This is
useful for creating offset, panned delays.
L 100:50, R 50:100
HPF
Center frequency for delay signal high-pass filter.
20.0 Hz – 1.0 kHz
Width
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
Reverb
Compressor
Hype
102
Description
Value Range
Mode
Type of reverb applied.
Hall, Stadium, Room,
Abstract
Time
Length of reverb tail.
0.4 s – +inf s
Lo Cut
Center frequency for the reverb low-pass filter.
1 – 1000 Hz
Hi Cut
Center frequency for the reverb high-pass filter.
1.0 – 20.0 kHz
Mix
Wet/dry mix of the reverb effect.
0–100%
Threshold
Signal level after which the compressor will be
applied.
0.0 – -60. dB
Output
Amount of additional output gain for the compressed
signal.
0.0 – +30.0 dB
Mix
Wet/dry mix of the compressor effect.
0–100%
Ratio
Amount of compression applied.
1.0:1 – 100.0:1
Knee
How gradually the compressor reacts as the threshold 0–100%
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).
Attack
Length of time to apply the compression.
100 us – 300 ms
Release
Length of time for compressed signal to return to
original level.
10 ms – 4.00 s
High
Dampens or maximizes high end frequencies.
-100 – 0 – +100%
Low
Dampens or maximizes low end frequencies.
-100 – 0 – +100%
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
Prepared to record
Stopped, playback active
Recording
Prepared to play
Overdubbing
(flashing)
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.
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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.
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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.
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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.
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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.
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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.
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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 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 (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 or –/+ 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 or –/+ buttons.
To transpose the selected notes up or down, tap Transpose at the bottom of the screen, and then use the data
dial or –/+ 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.
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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.
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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.
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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.
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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.
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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 preassigned 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.
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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.
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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 or –/+
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 or –/+ 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 or –/+ 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.
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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.
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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.
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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.
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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)
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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•
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.
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.
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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.
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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.
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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.
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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.
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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.
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•
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.
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).
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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:
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•
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 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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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:
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•
Time: hours:minutes:seconds:frames
•
Samples: number of samples
•
Beats: bars:beats:ticks
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.
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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:
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•
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.
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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.)
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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!
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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.
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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.
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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.
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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).
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.).
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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
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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
Amp Env Hold
Layer Sample Pan (1–4)
LFO to Filter
Velocity to Amp
Tuning
Amp Env Sustain
Layer Semi Tune (1–4)
LFO to Amp
Velocity to Pan
Filter Cutoff
Filter Env Attack
Layer Fine Tune (1–4)
LFO to Pan
Layer Direction (1–4)
Filter Resonance
Filter Env Hold
Velocity to Start
LFO Wave
Layer Offset (1–4)
Filter Env Amount
Filter Env Decay
Vel to Filter Attack
LFO Rate
Amp Env Attack
Filter Env Sustain
Velocity to Env Amount
LFO Sync
Amp Env Decay
Filter Env Release
Velocity to Filter
Velocity to Pitch
Amp Env Release
Layer Level (1–4)
LFO to Pitch
Vel to Volume Attack
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
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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.
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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
Amp Env Hold
Layer Sample Pan (1–4) LFO to Filter
Velocity to Amp
Tuning
Amp Env Sustain
Layer Semi Tune (1–4)
LFO to Amp
Velocity to Pan
Filter Cutoff
Filter Env Attack
Layer Fine Tune (1–4)
LFO to Pan
Layer Direction (1–4)
Filter Resonance
Filter Env Hold
Velocity to Start
LFO Wave
Layer Offset (1–4)
Filter Env Amount
Filter Env Decay
Vel to Filter Attack
LFO Rate
Amp Env Attack
Filter Env Sustain
Velocity to Env Amount LFO Sync
Amp Env Decay
Filter Env Release
Velocity to Filter
Velocity to Pitch
Amp Env Release
Layer Level (1–4)
LFO to Pitch
Vel to Volume Attack
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.
Sends
In the Sends 1–4 Knobs Edit Modes, the knobs control the level of the selected Send for all tracks in the project.
210
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.
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.
212
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
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.
216
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
Value Range
Default Value
Pre-Delay
0–250 ms
0 ms
Dry Delay
0–1500 ms
0 ms
Time
0–1000 ms
250 ms
Mix
0–100% (dry–wet) 50%
Diffusion
0–100%
100%
Width
0–100%
50%
Shape
Gated, Reverse
Gated
Low Cut
20.0 Hz–1.00 kHz 141 Hz
High Cut
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
Values
Default Value
Reverb
Pre-Delay
0–250 ms
0 ms
Room Size
0–100%
100%
Time
0.4 ms – +inf s
1.9 s
Mix
0–100%
50%
Type
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
Length
0–100%
100%
ER / Tail Mix
0–100%
50%
Input Width
0–100%
0%
Output Width
0–100%
0%
Delay
0–250 ms
0 ms
Ambience
0–100%
0%
Density
0–100%
100%
Time
-100 – 0 – 100%
0%
Freq
2.00 – 20.0 kHz
6.32 kHz
Cut
1.0 – 20.0 kHz
9.46 kHz
Time
-100 – 0 – 100%
0%
Freq
20.0 Hz – 2.00 kHz
200 Hz
Cut
1 – 1000 Hz
1 Hz
Early Reflection
Reverb
Room
Hi/Lo Freq
Hi Freq
Lo Freq
AIR Spring Reverb
This is a spatial effect, designed to emulate the sound of a
spring reverb tank.
222
Parameter
Value Range
Default Value
Pre-Delay
0–250 ms
3 ms
Time
1.0–10.0 s
4.0 s
Mix
0–100% (dry–wet) 50%
Diffusion
0–100%
100%
Width
0–100%
0%
Low Cut
20.0 Hz –1.0 kHz
141 Hz
Reverb Small
This is a spatial effect, designed to emulate a small room.
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
0–100
50
Decay
0–100
50
Lo-Cut
0–100
15
Hi-Cut
0–100
10
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
0–100
50
Decay
0–100
50
Lo-Cut
0–100
15
Hi-Cut
0–100
10
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
0–100
50
Decay
0–100
75
Lo-Cut
0–100
10
Hi-Cut
0–100
10
Reverb Medium
This is a spatial effect, designed to emulate a medium room.
Reverb Large
This is a spatial effect, designed to emulate the sound of a
large hall.
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
0–100
50
Decay
0–100
75
Lo-Cut
0–100
10
Hi-Cut
0–100
10
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
0–100
50
Decay
0–100
75
Lo-Cut
0–100
10
Hi-Cut
0–100
10
Gate In
0–100
0
Value Range
Default Value
0–100 (dry–wet)
50
1–100
50
Early Reflection
0–100
50
Density
0–100
50
Diffuse
0–100
50
Decay
0–100
75
Lo-Cut
0–100
10
Hi-Cut
0–100
10
Gate Out
0–100
0
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.
Reverb Out Gate
This is a hall reverb that has an additional control. The reverb Parameter
effect is cut off when the output drops below the level set in
Dry/Wet
the Gate Out parameter.
Pre-Delay
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
1 ms – 2.00 s
1/32 – 8/4
388 ms
1/8D
Sync
Off, On
On
Feedback
0–100%
40%
Mix
0–100% (dry–wet) 50%
Delay Ratio
50:100–100:50
Delay HPF
20.0 Hz – 1.0 kHz 20.0 Hz
Delay Width
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
100:100
AIR Diff Delay
This is a delay line effect that is synchronized to your session Parameter
tempo and uses an adjustable amount of diffusion to
Time
emulate the dissipation of echoes in reverberant space.
Value Range
Default Value
1/64 – 4/4
(including Triplet
and Dotted
variations)
1/16D
Mix
0–100% (dry–wet) 40%
Feedback
0–100%
50%
Fdbk. Diffusion
0–100%
40%
Fdbk. High Damp 0–100%
35%
Parameter
Value Range
Default Value
Dry/Wet
0–100 (dry–wet)
50
Time
2–2000 ms
761
Feedback
0–100
51
Damping
0–100
100
Delay Mono
225
Delay Mono Sync
Parameter
Value Range
Default Value
Dry/Wet
0–100 (dry–wet)
50
Time
1 bar – 1/16 triplets 1/4
Feedback
0–100
50
Damping
0–100
100
Parameter
Value Range
Default Value
Dry/Wet
0–100 (dry–wet)
50
Time
2–2000 ms
100
Feedback
0–100
25
Damping
0–100
100
Parameter
Value Range
Default Value
Dry/Wet
0–100 (dry–wet)
50
Time
1 bar – 1/16 triplets 1/4
Feedback
0–100
50
Damping
0–100
100
Parameter
Value Range
Default Value
Dry/Wet
0–100 (dry–wet)
50
Time
2–2000 ms
500
Feedback
0–100
50
Cutoff
0–100
50
Resonance
0–100
20
Parameter
Value Range
Default Value
Dry/Wet
0–100 (dry–wet)
50
Time
2–2000 ms
100
Feedback
0–100
50
Cutoff
0–100
33
Resonance
0–100
33
Delay Stereo
Stereo Delay operates similarly to Mono Delay but in true
stereo.
Delay Sync
Stereo Sync Delay that operates similarly to Mono Sync
Delay but in true stereo.
Delay LP
LP Delay is identical to the Mono Delay, but it uses a
resonant low-pass filter in the delay line.
Delay HP
HP Delay is identical to the Mono Delay, but it uses a
resonant high-pass filter in the delay line.
226
Delay Analog
Analog Delay is similar to the Mono Delay, except that it’s
Parameter
designed to emulate an analog “Bucket Brigade”-style delay.
Dry/Wet
This delay has a unique character to it that gives a warmer
sound by adding subtle inaccuracies in phase and timing.
Time
Feedback
Value Range
Default Value
0–100 (dry–wet)
50
2–2000 ms
100
0–100
25
Value Range
Default Value
0–100 (dry–wet)
50
Delay Analog Sync
Analog Delay is similar to Mono Delay, except that it’s
Parameter
designed to emulate an analog “Bucket Brigade”-style delay.
Dry/Wet
This delay has a unique character to it that gives a warmer
sound by adding subtle inaccuracies in phase and timing.
Time
1 bar – 1/16 triplets 1/4
Feedback
0–100
50
Ramp
0–100
50
Value Range
Default Value
0–100 (dry–wet)
50
Delay Tape Sync
Tape Delay emulates a delay system using an analog tape
Parameter
loop and a series of tape heads to produce an echo effect.
This delay type yields a very distinct echo sound often heard Dry/Wet
in reggae and dub-style music.
Time
1 bar – 1/16 triplets 1/4
Feedback
0–100
50
Ramp
0–100
50
Head 1
0–100
100
Head 2
0–100
0
Head 3
0–100
0
Head 4
0–100
0
Tone
0–100
50
Spread
0–100
50
Wow & Flutter
0–100
50
Parameter
Value Range
Default Value
Dry/Wet
0–100 (dry–wet)
50
Time, Left
2–2000 ms
100
Time, Right
2–2000 ms
100
Feedback
0–100
25
Damping
0–100
100
Delay Ping Pong
This stereo delay allows you to set different delay times for
its left and right repeats.
227
Delay Multi-Tap
This delay is a mono delay which has three delay generators
with independently adjustable delay times and stereo
position.
228
Parameter
Value Range
Default Value
Dry/Wet
0–100 (dry–wet)
50
Time 1
2–2000 ms
100
Time 2
2–2000 ms
100
Time 3
2–2000 ms
100
Feedback
0–100
25
Pan 1
0–100
50
Pan 2
0–100
50
Pan 3
0–100
50
Damping
0–100
100
Gain 1
0–100
25
Gain 2
0–100
25
Gain 3
0–100
25
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
0.02 – 10.00 Hz
0.40 Hz
Depth
0–100%
50%
Feedback
0–100%
50%
Mix
0–100% (dry–wet)
50%
Headroom
-20.0 – 0.0 dB FS
-10.0 dB FS
Parameter
Value Range
Default Value
Dry/Wet
0–100 (dry–wet)
100
Rate
0–100
10
Feedback
-100 – 100
0
Delay
0–100
20
Width
0–100
80
Flanger
Flanger Sync
Parameter
Value Range
Default Value
Dry/Wet
0–100 (dry–wet)
100
Rate
8 bars – 1/16 triplets
1/4
Feedback
-100 – 100
0
Delay
0–100
20
Width
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
Default Value
Rate
0.01 – 10.0 Hz
1.00 Hz
Depth
0.00 – 24.00 ms
6.00 ms
Voices
3, 4, 6
4
Mix
0–100% (dry–wet)
50%
Chorus Low
Cut
20.0 Hz – 1.00 kHz
20.0 Hz
Chorus Width 0–100%
100%
Mod Wave
Sine, Tri
Tri
Mod Delay
0.00 – 24.00 ms
6.0 ms
Parameter
Value Range
Default Value
Dry/Wet
0–100 (dry–wet)
100
Delay
0–100
20
Amount
0–100
80
Width
0–100
80
Feedback
0–100
50
Rate
0–100
10
Parameter
Value Range
Default Value
Dry/Wet
0–100 (dry–wet)
100
Delay
0–100
20
Amount
0–100
80
Width
0–100
80
Feedback
0–100
50
Rate
0–100
10
Chorus 2-Voice
Chorus 4-Voice
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
Value Range
Default Value
Dry/Wet
0–100 (dry–wet)
50
Rate
0–100
50
Parameter
Value Range
Default Value
Dry/Wet
0–100 (dry–wet)
50
Rate
8 bars – 1/32
1/4
Autopan Sync
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
Value Range
Default Value
Dry/Wet
0–100 (dry–wet)
100
Rate
0–100
10
Sine to Square 0–100 (sine–square) 0
Tremolo Sync
Parameter
Value Range
Default Value
Dry/Wet
0–100 (dry–wet)
100
Rate
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
0.10 – 10.00 Hz
1.00 Hz
Depth
0–100%
50%
Feedback
0–100%
0%
Mix
0–100% (dry–wet)
50%
Phaser Model Vibe, Stone, Ninety,
Tron,
Ninety
Offset
Phase
Rate
Type
-180 – +180 deg.
25–400%
0 deg.
100%
Phase, Rate
Phase
Phaser 1
Parameter
Value Range
Default Value
Dry/Wet
0–100 (dry–wet)
100
Rate
0–100
10
Parameter
Value Range
Default Value
Dry/Wet
0–100 (dry–wet)
100
Rate
0–100
10
Parameter
Value Range
Default Value
Dry/Wet
0–100 (dry–wet)
100
Rate
1 bar – 1/16 triplets
1/4
Phaser 2
Phaser Sync
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
Value Range
Default Value
Frequency
10–19999 Hz
1500
Resonance
0–100
0
HP Filter Sweep
This effect is a high-pass filter with its cutoff frequency
modulated by an LFO.
HP Filter Sync
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
Parameter
Value Range
Default Value
Dry/Wet
0–100 (dry–wet)
100
Low Frequency 0–100
0
High Frequency 0–100
100
Resonance
0–100
50
Rate
8 bars – 1/32
1/4
Value Range
Default Value
10–19999 Hz
1500
Resonance
0–100
0
Gain
-18.0 – 18.0 dB
0.0
HP Shelving Filter
This filter differs from the standard filter type, as it attenuates Parameter
all frequencies after the cutoff point equally.
Frequency
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.
LP Filter Sweep
This effect is a low-pass filter with its cutoff frequency
modulated by an LFO.
LP Filter Sync
This effect is a low-pass filter with its cutoff frequency
modulated by an LFO.
Parameter
Value Range
Default Value
Frequency
10–19999 Hz
1500
Resonance
0–100
0
Parameter
Value Range
Default Value
Dry/Wet
0–100 (dry–wet)
80
Low Frequency 0–100
0
High Frequency 0–100
100
Resonance
0–100
33
Rate
0–100
10
Parameter
Value Range
Default Value
Dry/Wet
0–100 (dry–wet)
100
Low Frequency 0–100
0
High Frequency 0–100
100
Resonance
0–100
50
Rate
8 bars – 1/32
1/4
Value Range
Default Value
10–19999 Hz
1500
Resonance
0–100
0
Gain
-18.0 – 18.0 dB
0.0
LP Shelving Filter
This filter differs from the standard filter type, as it attenuates Parameter
all frequencies after the cutoff point equally.
Frequency
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
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
Straight
Rate
1/2–1/32, including Dotted and Triplet 1/16
Swing
50.0–66.7%
50.0%
Mix
0–100%
100%
Filter Mode
Off, LP, BP, HP, Phaser
LP
Filter Cutoff
-100 – 0 – 100%
0%
Filter Reso
-100 – 0 – 100%
0%
Gate Attack
0–100%
25%
Gate Hold
0–100%
50%
Gate Release
0–100%
25%
Mod LFO Wave Random; 2–12, 16, 24, 32, 48, 64,
96, 128, 192, 256 Steps
Random
Mod Env
-100 – 0 – 100%
0%
Mod LFO
0–100%
0%
Parameter
Value Range
Default Value
Cutoff Freq
55.0 Hz – 20.0 kHz
20.0 kHz
Reso Factor
0.7 – 20.0
1.0
Type
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
LP4
Output Gain
-inf dB – 0.0 dB
0.0 dB
Saturation
Type
Resample, Bit Crush, Rectify, Hard
Clip, Distort, Overdrive
Overdrive
Saturation
Drive
0.0 – 12.0 dB
0.0 dB
Saturation
Mode
DCF, CVF
DCF
AIR Filter
This effect is a high-pass filter with its
cutoff frequency modulated by an LFO.
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
1.2 – 20.0 kHz
6.00 kHz
High Q
Shelf
Bell
0.40 – 2.00
0.40 – 10.00
1.00
1.00
High Gain
Shelf
Bell
-12.0 – +12.0 dB
-18.0 – 18.0 dB
0.0 dB
0.0 dB
High Type
Shelf, Bell
Shelf
High Out/In
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
0.0 dB
High Mid
Out/In
Out, In
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
0.0 dB
Low Mid Out/In Out, In
Low Freq
20.0 Hz – 1.00 kHz 100 Hz
Low Q
Shelf
Bell
0.40 – 2.00
0.40 – 10.00
1.00
1.00
Low Gain
Shelf
Bell
-12.0 – +12.0 dB
-18.0 – 18.0 dB
0.0 dB
0.0 dB
Low Type
Shelf, Bell
Shelf
Low Out/In
Out, In
Output
-20.0 – +20.0 dB
0.0 dB
High Cut Freq
120 Hz – 20.0 kHz
20.0 kHz
High Cut Type
6, 12, 18, 24 dB
12 dB
High Cut Out/In Out, In
Low Cut Freq
20.0 Hz – 8.00 kHz 100 Hz
Low Cut Type
6, 12, 18, 24 dB
Low Cut Out/In Out, In
236
12 dB
PEQ 2-Band, 2-Shelf
This effect is a combination of one two-band parametric
equalizer and two shelving filters.
Parameter
Value Range
Default Value
Low Frequency
22–1000 Hz
220
Frequency 1
82–3900 Hz
820
Frequency 2
220–10000 Hz
2200
High Frequency
560–19999 Hz
5600
Q1
0–100
0
Q2
0–100
0
Low Gain
-18.0 – 18.0 dB
0.0
Gain 1
-18.0 – 18.0 dB
0.0
Gain 2
-18.0 – 18.0 dB
0.0
High Gain
-18.0 – 18.0 dB
0.0
PEQ 4-Band
This effect is a powerful four-band parametric equalizer with
four independent EQ ranges.
Parameter
Value Range
Default Value
Low Frequency
22–1000 Hz
220
Frequency 1
82–3900 Hz
820
Frequency 2
220–10000 Hz
2200
High Frequency
560–19999 Hz
5600
Q1
0–100
5
Q2
0–100
5
Q3
0–100
5
Q4
0–100
5
Gain 1
-18.0 – 18.0 dB
0.0
Gain 2
-18.0 – 18.0 dB
0.0
Gain 3
-18.0 – 18.0 dB
0.0
Gain 4
-18.0 – 18.0 dB
0.0
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
Hard, Soft, Wrap
Hard
Drive
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
On, Off
Off
Clipping Thresh. -20.0 – 0.0 dB FS -10.0 dB FS
Clipping Edge
0–100
0%
Parameter
Value Range
Default Value
Drive
0–100%
0%
Headroom
-30.0 – 0.0 dB
-15.0 dB
Saturation
0–100%
50%
Output
-20.0 – +20.0 dB
0.0 dB
Parameter
Value Range
Default Value
Dry/Wet
0–100 (dry–wet)
100
Drive
0–100
50
Tone
0–100
50
Dynamics
0–100
50
Output
0–100
26
AIR Tube Drive
This effect is designed to reproduce the sound of an
overdriven tube amplifier.
Distortion Amp
This effect is designed to reproduce the sound of a tube
amplifier at high volumes.
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
Value Range
Default Value
Dry/Wet
0–100 (dry–wet)
100
Drive
0–100
50
Output
0–100
50
Low
0–100
50
Low-Mid
0–100
50
High-Mid
0–100
50
High
0–100
50
Parameter
Value Range
Default Value
Dry/Wet
0–100 (dry–wet)
100
Drive
0–100
50
Grime
0–100
50
Center
0–100
50
Width
0–100
50
Resonance
0–100
50
Output
0–100
50
Parameter
Value Range
Default Value
Dry/Wet
0–100 (dry–wet)
100
Drive
0–100
50
Tone
0–100
50
Output
0–100
50
Distortion Grimey
This is a unique distortion effect that distorts a frequency
range in a selectable band.
Distortion Overdrive
This distortion is designed to sound like a mildly distorting
amplifier at medium volumes. It is the smoothest distortion
type available.
Distortion Custom
This effect is a highly customized distortion, capable of a
wide range of useable sounds.
Parameter
Value Range
Default Value
Dry/Wet
0–100 (dry–wet)
100
Drive
0–100
50
+Soft
5–75
1
+Clip
5–50
25
–Soft
5–75
1
–Clip
5–50
25
Low
-18.0 – 18.0 dB
0.0
Mid
-18.0 – 18.0 dB
0.0
High
-18.0 – 18.0 dB
0.0
Output
-18.0 – 18.0 dB
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
Value Range
Default Value
Threshold
-60.0 – 0 dB
-12.0 dB
Ratio
1.0:1 – 100.0:1
3.9:1
Output
0.0 – 30.0 dB
15.0 dB
Mix
0–100% (dry-wet)
100%
Knee
0–100%
50%
Attack
100 us – 300 ms
5.48 ms
Release
10.0 ms – 4.00 s
200 ms
Parameter
Value Range
Default Value
Dry/Wet
0–100 (dry–wet)
100
Attack
0–100
50
Release
0–100
50
Threshold
-50 – 0 dB
0
Ratio
1–20
1
Oldskool
Off, On
Off
Output
-6 – 24 dB
0
Value Range
Default Value
0–100 (dry–wet)
100
-6 – 18 dB
0
0–100
50
Release
0–100
50
Threshold
-50 – 0 dB
0
Ratio
1–20
1
Knee
1–100
1
Output
-6 – 24 dB
0
Compressor Master
This is the most transparent compressor, able to perform
substantial volume adjustments without artifacts.
Compressor Opto
The Opto Compressor is modeled after a vintage
Parameter
compressor type using an optical circuit to control the
volume reduction of the input signal. These compressors are Dry/Wet
usually associated with soft and unobtrusive attack and
Input
release characteristics.
Attack
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
Value Range
Default Value
Dry/Wet
0–100 (dry–wet)
100
Input
-6 – 18 dB
0
Attack
0–100
50
Release
0–100
50
Threshold
-50 – 0 dB
0
Ratio
1–20
1
Knee
1–100
1
Output
-6 – 24 dB
0
Parameter
Value Range
Default Value
Dry/Wet
0–100 (dry–wet)
100
Input
-6 – 18 dB
0
Attack
0–100
50
Release
0–100
50
Threshold
-50 – 0 dB
0
Ratio
1–20
1
Knee
1–100
1
Output
-6 – 24 dB
0
Parameter
Value Range
Default Value
Dry/Wet
0–100 (dry–wet)
100
Decimate
0–100
0
Bit Reducer
4–32
32
Parameter
Value Range
Default Value
Dry/Wet
0–100 (dry–wet)
100
Rate
0–100
0
Decimate
0–100
0
Compressor Vintage
This compressor has a sound similar to classic tube
compressors, with their gentle yet pumping response and a
dash of tube saturation.
Bit Reducers
Options: Decimator, Resampler
Decimator
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.
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.
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
EQ
Gate/Comp
Parameter
Value Range
Default Value
EQ Enable
Enabled, Bypass
Enabled
Gate Enable
Enabled, Bypass
Enabled
Comp Enable
Enabled, Bypass
Enabled
Output
-inf – +24.00 dB
0.00 dB
High Shelf Gain
-12.0 – +12.0 dB
0.0 dB
High Shelf Freq
1.20 – 20.0 kHz
6.00 kHz
Mid Gain
-18.0 – +18.0 dB
0.0 dB
Mid Freq
40.0 Hz – 16.0 kHz
247 Hz
Mid Q
0.40 – 10.00
1.00
Low Shelf Gain
-12.0 – +12.0 dB
0.0 dB
Low Shelf Freq
20.0 Hz – 1.00 kHz
100 Hz
HP Filter
0 – 1000 Hz
0 Hz
Gate Thresh
-120.0 – 0.0 dB
-120.0 dB
Gate Depth
0 – -120.0 dB
-120.0 dB
Gate Attack
0.01 – 1000.00 ms
0.18 ms
Gate Release
1.00 – 3000.00 ms
7.40 ms
Comp Thresh
0.0 – -60.0 dB
0.0 dB
Comp Ratio
1.0:1 – 100.0:1
3.9:1
Comp Attack
100 us – 300 ms
5.48 ms
Comp Release
10.0 ms – 4.00 s
200 ms
Parameter
Value Range
Default Value
High Gain
0.0 – 12.0 dB
0.0 dB
Low Gain
0.0 – 12.0 dB
0.0 dB
Output
- Inf – 0.0 dB
0.0 dB
Freq. High
1.0 – 10.0 kHz
3.16 kHz
Freq. Low
40.0 – 640 Hz
160 Hz
Harmonics
0.0 – 12.0 dB
0.0 dB
Phase
+ (positive),
- (negative)
+
AIR Enhancer
This effect enhances the low and high broadband
frequencies of the audio signal.
242
AIR Ensemble
This effect applies fluid, shimmering modulation effects to
the audio signal.
Parameter
Value Range
Default Value
Rate
0.01 – 10.0 Hz
1.00 Hz
Depth
0.00 – 24.00 ms
6.00 ms
Width
0–100%
100%
Mix
0–100% (dry–wet)
75%
Mod. Delay
0.00 – 24.00 ms
0.00 ms
Mod. Shimmer 0–100%
50%
AIR Freq Shift
This effect shifts the audio signal's individual frequencies for
unique effects.
Parameter
Value Range
Default Value
Mode
Up, Down, Up &
Down, Stereo
Up
Frequency
10.0 mHz – 10.0 kHz 316 mHz
Feedback
0–100%
0%
Mix
0–100% (dry–wet)
100%
AIR Fuzz Wah
This is a multi-effect that combines transistor-like distortion and wah.
Tab
Parameter
Value Range
Default Value
Fuzz-Wah
Mix
0–100% (dry–wet)
100%
Order
Fuzz>Wah, Wah>Fuzz
Fuzz>Wah
Fuzz Mix
0–100% (dry–wet)
100%
Wah Mix
0–100% (dry–wet)
100%
Fuzz Drive
0 – 40 dB
20 dB
Fuzz Tone
1.00 – 10.0 kHz
3.16 kHz
Fuzz Output
-Inf – 0.0 dB
0.0 dB
Fuzz Enable
Off, On
Off
Wah Pedal
0–100%
50%
Wah Filter Mode
Lowpass, Bandpass, Highpass
Bandpass
Min. Freq.
50.0 Hz – 4.00 kHz
428 Hz
Max Freq.
50.0 Hz – 4.00 kHz
2.07 kHz
Min. Resonance
0–100%
55%
Max Resonance
0–100%
33%
Wah Enable
Off, On
On
Mode
LFO, Env
LFO
Rate
LFO
Env
8/4 – 16
0–100%
4T
75%
Depth
-100 – 0 – 100%
0%
Modulation
243
AIR Kill EQ
This effect can zap out the Low, Mid or High broadband
frequency from an audio signal.
Parameter
Value Range
Default Value
High
Thru, Kill
Thru
Mid
Thru, Kill
Thru
Low
Thru, Kill
Thru
Output
-20.0 – +20.0 dB
0.0 dB
High Gain
-Inf – +12.0 dB
0.0 dB
Mid Gain
-Inf – +12.0 dB
0.0 dB
Low Gain
-Inf – +12.0 dB
0.0 dB
High Freq.
500 Hz – 8.00 kHz
2.00 kHz
Offset
-100 – +100%
0%
Low Freq.
50.0 – 800 Hz
200 Hz
AIR Lo-Fi
This effect is used to bit-crush, down-sample, clip, rectify and mangle an audio signal.
Tab
Parameter
Value Range
Default Value
Lo-Fi
Bit Depth
1.0 – 16.0 bit
16.0 bit
Sample Rate
500 Hz – 50.0 kHz
50.0 kHz
Mix
0–100%
100%
Clip
0.0 – 40.0 dB
0.0 dB
Rectify
0–100%
0%
Noise Mod
0–100%
0%
Pre
0.125 – 2.000 Fs
0.5000 Fs
Post
0.125 – 2.000 Fs
1.000 Fs
Enable
On, Off
Off
Wave
Sine, Tri, Saw, Square, Morse,
S&H, Random
Sine
Rate
Sync Off:
Sync On:
0.01 – 10.0 Hz
8/4 – 16
1.00 Hz
2T
Sync
On, Off
Off
Depth
-100 – 0 – 100%
0%
Attack
0.1 – 10.0 s
0.5 s
Release
0.1 – 10.0 s
0.5 s
Depth
-100 – 0 – 100%
0%
Distortion
Anti-Alias
LFO / Env
244
AIR Maximizer
This effect is a limiter optimized for professional mastering.
Parameter
Value Range
Default Value
Threshold
-40.0 – 0.0 dB
-20.0 dB
Ceiling
-20.0 – 0.0 dB FS
-5.0 dB FS
Look Ahead
0.0 – 20.0 ms
0.0 ms
Knee
Hard, Soft
Hard
Release
10.0 ms – 10.0 s
316 ms
LF Mono
10.0 Hz – 1.00 kHz
10.0 Hz
Value Range
Default Value
-120.0 – 0.0 dB
-48.0 dB
0 dB – -120.0 dB
-120 dB
Off, On
Off
AIR Noise Gate
This effect is similar to a compressor, but instead of
Parameter
attenuating audio signal that rises above a threshold, a noise
gate attenuates audio signal that falls below a threshold by a Threshold
set amount. This can help reduce background noise in your
Depth
audio signal.
Denoise Filter
Denoise Thresh -120.0 – 0.0 dB
-60.0 dB
Attack
0.01 – 1000.00 ms
0.18 ms
Hold
0 – 1000 ms
250 ms
Release
1.00 – 3000.00 ms
7.40 ms
Parameter
Value Range
Default Value
Mode
Vocal, Bass, Beats,
Chords, Textures
Vocal
Shift
-24.0 – 0 – 24.0
0.0
Mix
0–100%
100%
Parameter
Value Range
Default Value
Depth
0–100%
80%
Speed
Bar, 1/2 – 1/32T
1/4
AIR Pitch Shifter
This effect alters the pitch of the audio signal and can be
adjusted based on the source or style of the signal.
AIR Pumper
This effect creates a rhythmic pumping effect, similar to that
of sidechain compression.
Release Shape 0–100%
10%
Trigger Offset
-100.0 – +100.0 ms
0.0 ms
Attack
0–100%
5%
Hold
0–100%
10%
Release
0–100%
60%
245
AIR Stereo Width
This effect creates a wider stereo presence in an audio
signal.
Parameter
Value Range
Default Value
Width
0–200%
100%
Delay
0.0 – 8.0 ms
0.0 ms
Level Trim
-Inf – 0.0 – +12.0 dB 0.0 dB
Pan Trim
L100 – <C> – R100
<C>
High
0–200%
100%
Mid
0–200%
100%
Low
0–200%
100%
Parameter
Value Range
Default Value
Vowel
OO, OU, AU, AH,
AH
AA, AE, EA, EE, EH,
ER, UH, OH, OO
Env Depth
-100 – 0 – +100%
0%
Formant
-12.00 – +12.00
0.00
Mix
0–100%
100%
LFO Wave
Sine, Tri, Saw,
Square, S&H,
Random
Sine
LFO Rate
Sync Off:
Sync On:
0.01 – 10.0 Hz
8/4 – 16
1.00 Hz
2T
LFO Sync
Off, On
Off
LFO Depth
-100 – 0 – +100%
0%
Env Thresh
-60.0 – 0.0 dB
-30.0 dB
Env Attack
0.1 – 10.0 s
0.5 s
Env Release
0.1 – 10.0 s
0.5 s
Parameter
Value Range
Default Value
Attack
-100 – 0 – +100%
0%
Attack Shape
0–100%
50%
Sustain
-100 – 0 – +100%
0%
Output
-20.0 – +20.0 dB
0.0 dB
Limit
Off, On
On
AIR Talk Box
This effect adds voice-like resonances to audio signals.
AIR Transient
This effect is used to enhance or soften the Attack and
Release phases of audio material.
246
Auto Wah
This effect is a low-pass filter modulated by an envelope that Parameter
yields a classic funky “wah-wah”- like sound. The envelope
is triggered by the incoming signal’s amplitude. The amount Dry/Wet
of the envelope on the cutoff frequency is user-definable.
Resonance
Value Range
Default Value
0–100 (dry–wet)
50
0–100
75
Attack
0–100
30
Release
0–100
30
Center
0–100
50
Sensitivity
0–100
50
Parameter
Value Range
Default Value
Dry/Wet
0–100 (dry–wet)
100
Frequency
-1000 – 1000
0
Asynchrony
0–1000
0
A Pan
0–100
0
B Pan
0–100
100
A Gain
0–100
75
B Gain
0–100
75
Parameter
Value Range
Default Value
To
Bus 1–8
Bus 1
Parameter
Value Range
Default Value
Ratio
60.00:1 – 1.00:1
6.00:1
Knee
0.000 – 6.000 dB
0.000 dB
Attack
1.0 – 1000.0 ms
10.0 ms
Release
1.0 – 1000.0 ms
100.0 ms
Threshold
-100.000 – 0.000 dB -6.021 dB
Gain
-100.000 – +12.000 -0.000 dB
dB
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.
Mother Ducker Input
Add this effect to the track you want to serve as the input
source for the Mother Ducker sidechain compressor.
Mother Ducker
Use this effect in conjunction with the Mother Ducker Input
effect for sidechain compression.
Auto
From
On, Off
On
Bus 1–8
Bus 1
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Transient Shaper
A transient shaper can be used to enhance or soften the
Attack and Release phases of audio material.
248
Parameter
Value Range
Default Value
Dry/Wet
0–100 (dry–wet)
100
Attack
0–100
50
Release
0–100
50
Output
0–100
50
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
Describes to which extent a modulation source influences a given parameter.
Amplifier
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).
Attack
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
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
MIDI messages enable you to manipulate the behavior of a sound generator to a significant
degree. This message essentially consists of two components:
(Controllers)
•
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
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.
Filter
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
250
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.
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 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.
MIDI Channel
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.
MIDI Clock
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.
Panning
The process or the result of changing a signal’s position within the stereo panorama.
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
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.
Root Key
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.
Sample
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.
Sample Rate
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
See Warp below.
Track
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.
Trigger
252
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.
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 Record Strobe (when recording starts), then MMC Record Exit
Stop
MMC Stop
Play
MMC Deferred Play
Data Dial, –/+
MMC Locate values
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
Play
MMC Locate Zero, then Deferred Play
Play Start
MMC Stop
Stop
MMC Record Strobe
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.
Mechanical
Memory
File System Compatibility
Pads
(64) velocity- and pressure-sensitive pads, RGB-backlit
Knobs
(8) 360° touch-sensitive Knobs
(1) 360° encoder for display navigation and selection via push
(5) 270° knobs for gain, mix & level adjustment
Buttons
(56) dedicated function buttons; red-, amber-, or green-backlit
Display
6.9” / 176 mm (diagonal)
5.9” x 3.7” / 150 x 93 mm (width x height)
Full-color LED-backlit display with touch interface
RAM
2 GB
Internal
Storage
16 GB (6 GB user storage + 10 GB pre-installed content)
Expandable via SATA connections
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
via power adapter: 19 V, 3.42 A, center-positive, included
Dimensions
(width x depth x height)
13.8” x 15.3” x 2.85”
Weight
8.53 lbs.
350 x 389 x 72.5 mm
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
akaipro.com/product-legal.
that
are
used
under
license.
For
more
information,
please
visit
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