Audio & Sampling 7 Sample Recording Length Sample recording has a maximum of 33 seconds recording time. This will be applied when using the default MAX setting for the RLEN recording length parameter. Other options exist which are linked to sequencing steps and the BPM tempo setting. These allow precise tempo based loops to be recorded. rec rec rec NOTES The Digitakt Notebook : Reference & Guide 147 RLEN Recording Length Description MAX Records the maximum time of 33 seconds. STEPS: 1, 2, 4, 8, 16, 32, 64, 128 Sample duration is determined by the time it takes for the sequencer to advance over the set number of steps. This will also be dependant on the current tempo BPM. The calculated recording time is shown on the recorder display page. The calculated recording time is shown on the recorder display page. The calculated recording time shows !! Which indicates that the maximum time is reached. With 128 Steps and ~58BPM and lower tempos the maximum time is reached before the full number of steps are covered. The !! Tag indicates full step recording time is not possible with these settings. RLEN: 16 Steps RLEN: 64 Steps RLEN: 128 Steps Tempo 120 BPM Tempo 90 BPM …………. ……………... Tempo 40 BPM Recording Length Examples
7.7 Direct Sampling Direct sampling will utilise a combination of buttons to start and stop sampling. The settings will be based on the currently set sample page settings. The direct sample buttons will illuminate in colour to show the sampling status but will only be visible when the sampling page is not being accessed or on show. 148 The Digitakt Notebook : Reference & Guide 7 Audio & Sampling NOTES Off Sampling is not active On Sample recording page is active and on show Yellow Sample recording is armed Red Sample recording is in progress Dark Red Sample is being normalised Green Sampling is complete and sample ready SAMPLING BUTTON STATUS Key status colours only displayed when showing a parameter page i.e. in TRIG page. The button colours are not displayed when operating and displaying the sampling page.
Audio & Sampling 7 ▌DIRECT SAMPLING - MANUAL 1. Press [FUNC] + [SAMPLER], key illuminates red and sampling starts. 2. Press [FUNC] + [SAMPLER] to stop sampling. 3. The SAMPLER key turns dark red while normalising and then green to signal completion. 4. Pressing [SAMPLER] + [NO] to cancel at anytime. ▌DIRECT SAMPLING - AUTOMATIC 1. Press [SAMPLER] + [YES] to arm the sampler. Key illuminates yellow. 2. When the input signal exceeds the threshold sampling will start. Key illuminates red. 3. Press [FUNC] + [SAMPLER] to stop sampling 4. The SAMPLER key turns dark red while normalising and then green to signal completion. 5. Pressing [SAMPLER] + [NO] to cancel at anytime. NOTES The Digitakt Notebook : Reference & Guide 149
150 The Digitakt Notebook : Reference & Guide NOTES
The 3 final functions that are fundamental to sound design are the Filter [FLTR], Amp [AMP] and the Low Frequency Oscillator [LFO] the parameters of which are hosted within these respective pages. These pages are arguably the most important pages in developing and shaping sounds both in a live and studio environment. The parameters of these functions can also be copied to other track / voice page too. The multimode filter page contains the typical filter parameters such as cut off and resonance as well as an ADSR Envelope which drives the filter cut off and which operates in both positive and negative configurations. A second filter of the type ‘basewidth’ is also provided. Amplitude controls, available in the AMP page, cover the general audio output settings such as volume and pan and also contains a less familiar AHD (Attack, Hold, Decay) envelope. An overdrive function controls plus the delay and reverb send effects are also located here. Finally two LFO’s are available. Each LFO page provides access to the Low Frequency Oscillator parameters which controls modulation to the SRC, AMP and FLTR as well as LFO2 only having the option to control LFO1 parameters. The LFO’s offer a range of modulation destinations and also has a wide speed range unlocking a whole new world of sound design options. Most parameters contained can be set with parameter locks to expand the options of creativity even further. As with all the pages the parameters are adjusted using the data entry rotary controls (A) - (H) within the context of each page parameter. Filter, Amp & LFO 8 The Digitakt Notebook : Reference & Guide 151
152 The Digitakt Notebook : Reference & Guide 8 Filter, Amp, LFO 8.1 Filter Page & Parameters The filter parameters including the envelope are available in the [FLTR] Pages. Press [FLTR] to cycle between the two filter pages. Also consider the Trig page LEN setting and alignment of sample length when using envelope times. Filter Page 1 The current value of each parameter is displayed when the control is adjusted or all parameter settings can be displayed by holding [FLTR] key within the FLTR pages. Press (DATA ENTRY) + [NO] to reset parameter to default. Press [FLTR] + [PLAY] to reset all FLTR page parameters to defaults. Copy [FLTR] + [REC] and Paste [FLTR] + [STOP] also operate within and across the FLTR pages (A) ATK Data Entry (B) DEC Data Entry (C) SUS Data Entry (D) REL Data Entry Attack Decay Sustain Release Attack time of the filter envelope. Envelope drives the filter cutoff. Decay time of the filter envelope. Envelope drives the filter cutoff Sustain level of the filter envelope. Envelope drives the filter cutoff. Release time of the envelope and includes an option for infinite. 0 - 127 0 - 127 0 - 127 1 - 126, Inf (E) FREQ Data Entry (F) RESO Data Entry (G) TYPE Data Entry (H) ENV Data Entry Cutoff Frequency Resonance Amount Filter Type Envelope Amount Cutoff frequency of the filter. Point at which signal attenuates. Shows dotted line if type is set to off. Amount of resonance which is introduced at the cutoff point. Shows dotted line if type is set to off. Sets the multimode filter type to 2P Low Pass, 2P High Pass, Parametric or off. Amount of positive or negative envelope applied to the filter. 0.0 - 127.0 0.0 - 127.0 Off, LP, HP, EQ1, EQ2, EQ3, EQ4, EQ5 -64, +63
Filter, Amp, LFO 8 The Digitakt Notebook : Reference & Guide 153 The filter parameters including the envelope are available in the [FLTR] Page. Press [FLTR] to cycle between the two filter pages. Also consider the Trig page LEN setting and alignment of sample length when using envelope times. Filter Page 2 The current value of each parameter is displayed when the control is adjusted or all parameter setting can be displayed by holding its [FLTR] key. Press [FLTR] + [NO] to reset parameter page to last saved state. Press [FLTR] + [YES] to randomise the parameters. [FLTR] + [REC] to copy, [FLTR] + [STOP] to paste and [FLTR] + [PLAY] to clear page. (A) DELAY Data Entry (B) Data Entry (C) Data Entry (D) SRR Data Entry Filter Time Delay Not Used Not Used Sample Rate Reduction Sets the delay time from the trigger to the start of the filter envelope attack phase. Also quick access from Filter page 1 using [FUNC] + (A) Sample Rate Reduction. Sets amount of sample rate reduction applied to the audio signal. Also See ROUT. 0 - 127 0 - 127 (E) BASE Data Entry (F) WIDTH Data Entry (G) Data Entry (H) ROUT Data Entry Base Frequency Width Frequency Not Used Right Reverb Send Sets the ‘base’ lower cutoff frequency for the filter. Sets the ‘width’ upper cutoff frequency determining the range for the filter. Location of the sample rate reduction. Pre applies SRR before the filter. Post applies SRR after the filter. 0 - 127 0 - 127 Pre, Post
154 The Digitakt Notebook : Reference & Guide 8 Filter, Amp, LFO 8.2 Digitakt Filters Digitakt has 2 filters. The primary filter found on page 1 is a multimode filter types. A lowpass 2-Pole filter, a highpass 2-Pole filter and five parametric EQ types are available. Note this filter can also be set to OFF. NOTES ATTENUATION FREQUENCY HIGH PASS FILTER Allows higher frequencies to pass through the filter and reduces (attenuates) lower frequencies from the cutoff point. Filter 1 Types - Page 1 ATTENUATION FREQUENCY ATTENUATION FREQUENCY LOW PASS FILTER Allows lower frequencies to pass through the filter and reduces (attenuates) higher frequencies above the cutoff frequency. EQ_1 PARAMETRIC Allows frequencies to be cut or boosted at specific points in the frequency spectrum. The specific bandwidth range is set for each of the available five EQ models and cuts a narrower or wider frequency range. EQ_2 EQ_4 EQ_3 EQ_5
Filter, Amp, LFO 8 The Digitakt Notebook : Reference & Guide 155 Digitakt’s second filter is a base - width filter and is found of page 2 of the filter function. The base - width filter is the first filter in the signal chain before the multi-mode filter. This is an ideal filter for live performance and used as a quicker more accessible filter. Some quick tips in using the Base-width filter:- • Try global control to adjust ALL tracks simultaneously by holding [TRK] and making a change to the filter base as a cut off sweep to create drops and build up tension and anticipation during a live performance. • Make filter cut off sweeps on individual tracks such as drums and percussion to create variations in live performances. • Randomise parameters using the parameter page [FLTR] + [YES]. Reset parameters with [FLTR] + [NO]. • Temporary save a pattern using [FUNC] + [YES] at the outset. Make filter variations then [FUNC] + [RELOAD] to return to the original pre-save settings. NOTES ATTENUATION FREQUENCY BASE - WIDTH FILTER Gentle roll off of back-to-back low pass and high pass filters. The base (0-127) and the width (0-127) parameters set its frequency range. The base-width filter is the first in line of the two filters found on FLTR Page 2. Base 0 Width 0 127 127 Example filter settings:- Base = 0 and Width = 127 : No filter applied. Also turn off the multi-mode filter on filter page 1 to remove all filtering from the audio signal completely. Base = 0 and Width < 127 : Low Pass Filter Base > 0 and Width = 127 : High Pass Filter Base > 0 and Width < 127 : Base-Width Filter Filter 2 Type - Page 2
156 The Digitakt Notebook : Reference & Guide 8 Filter, Amp, LFO Digitakt’s filter set up can be appear unique but are formed from classical filter techniques and models. A summary of some common filter basics and terminology are provided here. NOTES ATTENUATION FREQUENCY Resonance Cut Off Frequency Stop Band Transition Band Pass Band ATTENUATION FREQUENCY 2 Pole 12dB/Octave 4 Pole 24dB/Octave FILTER POLES Digitakt's lowpass and highpass filters are configured as 2-Pole. Poles refer to how ‘steep’ or aggressive the cutoff curve is. This is measured in dB per Octave. A 2-Pole filter is a more moderate, less aggressive filter. CUTOFF & RESONANCE Digitakt provides control over the cutoff frequency (labeled FREQ). This is the frequency point from where attenuation of the frequency range is applied. Resonance is the emphasis of signal applied / reduced at the cutoff point labelled RESO. ATTENUATION FREQUENCY PARAMETRIC EQ A parametric EQ allows specific targeting of frequencies, in some cases multi-band. The bandwidth, also called ‘Q’ is the range of frequencies effected. The principle is to focus in on specific frequencies to boost or attenuate areas of the spectrum labelled FREQ in Digitakt. Digitakt has 5 single band EQ models each with different bandwidth settings and a GAIN parameter to boost / reduce the frequency. Also called a band pass, notch or band stop / band reject filter. The normal frequency range of human hearing is around 20Hz to 20KHz and hence most EQ and filter functions operate in this frequency range. Areas to consider in sound ‘correction’ are; below 200Hz in the bass/sub bass region can carry rumble and often is an area to cut, 150-250Hz can thicken vocals with a slight boost, 350Hz area may benefit from narrow cut if muddiness or boxiness is present, add presence by boosting around the 4-6KHz region and more air and sparkle around 6-8KHz. Gain Frequency Bandwidth
Filter, Amp, LFO 8 The Digitakt Notebook : Reference & Guide 157 8.3 Filter and Amp Envelopes Envelopes are used by both the Filter and Amp, both are different types. The Filter uses a traditional ADSR (Attack, Decay, Sustain, Release) envelope with a pre-attack delay, while a less conventional AHD (Attack, Hold and Decay) is used in the Amp. ATTACK (time) DELAY (time) DECAY (time) SUSTAIN (level) RELEASE (time) Note ON Note OFF ATTACK (time) HOLD (time) DECAY (time) Note ON Note OFF Note OFF Note OFF Note OFF ON ON ON Note OFF Note OFF Note OFF ON ON ON +63 0 -64 ADSR Envelope (FILTER) Filter envelope ADSR parameters are found on Filter Page 1 with the exception of the delay which is on Filter Page 2. For quick access to the delay function when viewing Filter page 1, press [FUNC] + turn (A) Data Entry AHD Envelope (AMP) Hold Function = 0 -126 Hold is a time orientated function set by the value 0-126. All Note Off events are ignored Hold Function = NOTE Hold time is set from Note On, through Attack until the Note Off Trig events. ENV NOTES
8.4 Amp Page & Parameters The amplitude parameters including the envelope are available in the [AMP] Page. When considering envelope times also consider sample length and setting LEN on the Trig page. The current value of each parameter is displayed when the control is adjusted or all parameter settings can be displayed by holding [AMP] key within the AMP pages. Press (DATA ENTRY) + [NO] to reset parameter to default. Press [AMP] + [PLAY] to reset all AMP page parameters to defaults. Copy [AMP] + [REC] and Paste [AMP] + [STOP] also operate within and across the AMP pages 158 The Digitakt Notebook : Reference & Guide 8 Filter, Amp, LFO (A) ATK Data Entry (B) HOLD Data Entry (C) DEC Data Entry (D) OVER Data Entry Attack Hold Decay Overdrive Attack time of the Amp envelope. Envelope drives the audio shape. Hold time of the Amp envelope which overrides note off or NOTE mode governed by On/Off events. Decay time of the Amp envelope after the hold period ends, or infinite decay. Sets the overdrive amount of the signal that enters the filter introducing distortion at the filter stage. 0 - 127 0 - 126, Note 0 - 126, Inf 0.0 - 127.0 (E) DEL Data Entry (F) REV Data Entry (G) PAN Data Entry (H) VOL Data Entry Delay Send Reverb Send Panning Amp Volume Delay Send. Sets amount sent into the delay effect accessed by [FUNC] +[FLTR]. Reverb Send. Sets amount sent into the reverb effect accessed by [FUNC] +[AMP]. Sends all the output signal Left or Right or a balance inbetween. Centre is 0. Amount of amp stage sound level. This is not the same as the track level. 0.01 - 127.0, Off 0.01 - 127.0, Off L64, R63 0 - 127
The Digitakt Notebook : Reference & Guide 159 Filter, Amp, LFO 8 Delay Delay Delay Reverb Reverb MIXER Sends Track AMP AMP Reverb Master (Page 2) Delay Effects Sends AMP Page Effects Return NOTES Digitakt’s AMP page effects provide the ability to control the track effect amount. The delay and reverb are send effects meaning they are common to all tracks and are not dedicated to each track. The AMP track setting therefore provides the amount of the track signal that is sent to each of the delay and reverb effects.
160 The Digitakt Notebook : Reference & Guide 8.5 LFO Page & Parameters The low frequency oscillator parameters are available in the [LFO] Pages and are identical for each LFO. Having two LFO’s brings the added benefit of being able to modulate LFO1 with LFO2 control which hugely expands the creative options as well as it’s general modulation possibilities. Toggle between the LFO’s by pressing [LFO]. Page number indicated in headline of the current display. The current value of each parameter is displayed when the control is adjusted or all parameter settings can be displayed by holding [LFO] key within the LFO pages. Press (DATA ENTRY) + [NO] to reset parameter to default. Press [LFO] + [PLAY] to reset all LFO page parameters to defaults. Copy [LFO] + [REC] and Paste [LFO] + [STOP] also operate within and across the LFO pages 8 Filter, Amp, LFO (A) SPD Data Entry (B) MULT Data Entry (C) FADE Data Entry (D) DEST Data Entry LFO Speed Multiples of Speed Fade Destination Speed of the LFO, forward or reverse. Setting can be synced by selecting fixed steps with [FUNC]+(A) option. Multiples the SPD parameter based on BPM Tempo or a fixed Tempo of 120BPM. Fades the LFO modulation In (negative value) or fade out (positive value). Sets the modulation destination with various parameter targets. Press [YES] to confirm. -64.0, +63.0 Multiple Options -64, +63 (E) WAVE Data Entry (F) PHAS Data Entry (G) MODE Data Entry (H) DEP Data Entry Waveform Phase Mode of Operation Depth Selects one of the 7 waveforms available for the LFO modulation. Start point within the phase of the LFO cycle. 0 is start of the cycle, 64 starts centre. Sets how the LFO will react when its triggered by a note from one of 5 modes. Sets up the depth amount and the polarity of the LFO modulation. 0 means none. Tri, Sin, Squ, Saw, Exp, Ramp, Rand 0 - 127 Fre, Trg, Hld, One, Hlf -64.0, +63.0
8.6 LFO Parameters In Depth The Wave options, PHAS Start Point, Mode and Destination are covered in a little more depth AMPLITUDE TIME SINE WAVE (SIN) AMPLITUDE TIME TRIANGLE WAVE (TRI) AMPLITUDE TIME SQUARE WAVE (SQU) AMPLITUDE TIME RANDOM (RND) AMPLITUDE TIME SAW TOOTH WAVE (SAW) AMPLITUDE TIME EXPONENTIAL (EXP) AMPLITUDE TIME RAMP (RMP) NOTES Note: Random runs significantly faster than other LFO’s (x16) PHAS adjusts the start position of the wave. 0 is start of cycle, 64 centre. The square at the start indicates a zero crossing start position 0 127 The Digitakt Notebook : Reference & Guide 161 Wave Options (E) Filter, Amp, LFO 8
162 The Digitakt Notebook : Reference & Guide AMPLITUDE TIME FREE RUNNING (FRE) LFO runs freely and continuously and ignores any trig start / stop events AMPLITUDE TIME TRIGGERED (TRG) The LFO restarts from its start position when a note event is triggered Trigger Trigger Trigger Trigger Trigger Trigger AMPLITUDE TIME HOLD (HLD) LFO runs freely in the background. The current value in the cycle is held when a note is triggered until the next note is triggered where it will switch to hold the cycle position at the new trigger AMPLITUDE TIME ONE CYCLE (ONE) LFO runs from the start when triggered and runs for one cycle only AMPLITUDE TIME HALF CYCLE (HLF) LFO runs from the start when triggered and runs for only half of one cycle NOTES Trigger Trigger Trigger Mode Options (G) 8 Filter, Amp, LFO
NOTES Page Parameter LFO Destination (Audio Tracks) Meta None Off SRC TUNE Tune SRC PLAY Play Mode SRC BR Bit Reduction SRC SAMP Sample Slot SRC START Sample Start (Oneshot Machine) SRC LEN Sample Length (Oneshot Machine) SRC LOOP Loop Start Position (Oneshot Machine) SRC LEV Sample Level FLTR FREQ Cut off Frequency FLTR RESO Filter Resonance FLTR ENV Envelope Depth FLTR ATK Attack Time - Envelope FLTR DEC Decay Time - Envelope FLTR SUS Sustain Level - Envelope FLTR REL Release Time - Envelope FLTR BASE Base frequency FLTR WIDTH Width Frequency FLTR DELAY Delay time for ADSR envelope. AMP ATK Attack Time - Envelope AMP HOLD Hold Time - Envelope AMP DEC Decay Time - Envelope AMP OVER Overdrive Amount AMP DEL Delay Send AMP REV Reverb Send AMP PAN Pan Value AMP VOL Volume Level Page Parameter LFO Destination (Audio Tracks) Meta None Off SRC TUNE Tune SRC PLAY Play Mode SRC BR Bit Reduction SRC SAMP Sample Slot SRC START Sample Start (Oneshot Machine) SRC LEN Sample Length (Oneshot Machine) SRC LOOP Loop Start Position (Oneshot Machine) SRC LEV Sample Level FLTR FREQ Cut off Frequency FLTR RESO Filter Resonance FLTR ENV Envelope Depth FLTR ATK Attack Time - Envelope FLTR DEC Decay Time - Envelope FLTR SUS Sustain Level - Envelope FLTR REL Release Time - Envelope FLTR BASE Base frequency FLTR WIDTH Width Frequency FLTR DELAY Delay time for ADSR envelope. AMP ATK Attack Time - Envelope AMP HOLD Hold Time - Envelope AMP DEC Decay Time - Envelope AMP OVER Overdrive Amount AMP DEL Delay Send AMP REV Reverb Send AMP PAN Pan Value AMP VOL Volume Level The Digitakt Notebook : Reference & Guide 163 LFO1 - Page 1 - Audio Destination Options (D) Filter, Amp, LFO 8 Confirm by pressing [YES] when scrolling to the selected destination using the data entry (D). The SRC parameter options will vary depending on the loaded sample machine. Default is oneshot. 8.7 LFO Destinations
Page Parameter LFO Destination (Audio Tracks) Meta None Off LFO SPD LFO1 Speed LFO MULT LFO1 Multiplier LFO FADE LFO1 Fade In/Out LFO WAVE LFO1 Waveform LFO PHAS LFO1 Start Phase LFO MODE LFO1 Trig Mode LFO DEP LFO1 Depth SRC TUNE Tune SRC PLAY Play Mode SRC BR Bit Reduction SRC SAMP Sample Slot SRC START Sample Start (Oneshot Machine) SRC LEN Sample Length (Oneshot Machine) SRC LOOP Loop Start Position (Oneshot Machine) SRC LEV Sample Level FLTR FREQ Cut off Frequency FLTR RESO Filter Resonance FLTR ENV Envelope Depth FLTR ATK Attack Time - Envelope FLTR DEC Decay Time - Envelope FLTR SUS Sustain Level - Envelope FLTR REL Release Time - Envelope FLTR BASE Base frequency FLTR WIDTH Width Frequency FLTR DELAY Delay time for ADSR envelope. AMP ATK Attack Time - Envelope AMP HOLD Hold Time - Envelope AMP DEC Decay Time - Envelope AMP OVER Overdrive Amount AMP DEL Delay Send AMP REV Reverb Send AMP PAN Pan Value AMP VOL Volume Level 164 The Digitakt Notebook : Reference & Guide NOTES LFO2 - LFO Page 2 - Audio Destination Options (D) 8 Filter, Amp, LFO Confirm by pressing [YES] when scrolling to the selected destination using the data entry (D). The SRC parameter options will vary depending on the loaded sample machine. Default is oneshot.
NOTES Page Parameter LFO Destination (MIDI Tracks) Meta None Off SRC PB Pitch Bend SRC AT Aftertouch SRC MW Mod Wheel SRC BC Breath Control FLTR VAL1 CC1 Value FLTR VAL2 CC2 Value FLTR VAL3 CC3 Value FLTR VAL4 CC4 Value FLTR VAL5 CC5 Value FLTR VAL6 CC6 Value FLTR VAL7 CC7 Value FLTR VAL8 CC8 Value The Digitakt Notebook : Reference & Guide 165 LFO1&2 - MIDI Destination Options (D) Filter, Amp, LFO 8 Confirm by pressing [YES] when scrolling to the selected destination using the data entry (D). Page One Shot Werp Repitch Slice SRC TUNE TUNE TUNE SRC PLAY PLAY PLAY PLAY SRC BR BR BR BR SRC SAMP SAMP SAMP SAMP SRC START SEG START SLICE SRC LEN MODE LEN LEN SRC LOOP BARS BARS GRID SRC LEV LEV LEV LEV LFO1 - Page 1 - Audio Destination per Machine Options (D)
166 The Digitakt Notebook : Reference & Guide NOTES
Digitakt has two send effects which are delay and reverb. These are set at pattern level meaning that the effects are common for all sounds across that pattern, saved with the pattern but have individual send levels for each track out to the effects. In addition the master output contains a master compressor with sidechain functionality and a dry/wet control which offers parallel compression features. An 8 track mixer is also found in the master output which sums all of the levels of the audio output tracks. There are various summing stage levels across the Digitakt structure but the track levels shown bottom left of most parameters pages is the track levels summed. Three main pages are of interest when working with effects, these are accessible via pages REVERB accessed by [FUNC] + [AMP], DELAY page, accessed by [FUNC] + [FLTR] and the Master compressor and mixer pages accessed by [FUNC] + [LFO].The settings of the Delay and Reverb are found in these pages which the send levels fed to the Delay and Reverb are found on the main AMP page. While speaking of effects its worth pointing out that a bit reduction function exists which creates a more lo-fi effect and is found within the SRC page and a pre-filter distortion overdrive is found in the AMP page. A creative randomisation feature which enables parameter randomisation of the parameter page settings also exists. Effects & Master Out 9 The Digitakt Notebook : Reference & Guide 167
168 The Digitakt Notebook : Reference & Guide 9 Effects & Master Out 9.1 Using The Delay Effect Delay operates as send / return with the send amount set in the AMP Page. The delay parameter settings are in the DELAY section [FUNC] + [FLTR]. ▌SETTING A TRACK SEND LEVEL - DELAY 1. Select the desired audio track [TRK] + [1] … [8]. 2. Select [AMP] page. 3. Adjust the data entry control (E) to set the send level of the current track from OFF to a desired value where 0.01 is the min and a max is 127. 4. The delay return feeds the effected sound to the output via the delay function accessed by [FUNC] + [FLTR]. ▌ACCESSING THE DELAY EFFECT 1. The effect is a common effect meaning settings are common but send value adjustable per track. 2. Select [FUNC] + [FLTR] to open the DELAY effect page. The key illuminates yellow instead of red for the filter page. 3. Adjust the data entry controls (A) … (D) to set the delay parameters. ▌SENDING THE DELAY EFFECT INTO THE REVERB 1. The DELAY effect has the facility to feed also into the REVERB effect as well as return purely to the main output. 2. Select [FUNC] + [FLTR] to open the DELAY effect page. The key illuminates yellow instead of red. 3. Adjust the REV data entry control (G) to adjust the amount to feed into the reverb 0-127. NOTES Delay Chart Time (A) Delay Divide Ratio Time (A) Delay Divide Ratio Time (A) Delay Divide Ratio 1 1/128 8 1/16 42.67 1/3 (1/2 T) 2 1/64 10.67 1/2 (1/8 T) 48 1/4 D 2.67 1/48 (1/32 T) 12 1/16 D 64 1/2 3 1/64 D 16 1/8 48 1/4 D 4 1/32 21.33 1/6 (1/4 T) 96 1/2 D 5.33 1/24 (1/16 T) 24 1/8 D 128 1 6 1/32 D 32 1/4
Effects & Master Out9 9.2 Delay Page & Parameters The delay parameters are available in the [FUNC] + [FLTR] Page. Delay Delay Delay Reverb Send AMP Delay Reverb Effects Return + The Digitakt Notebook : Reference & Guide 169 (A) TIME Data Entry (B) X Data Entry (C) WID Data Entry (D) FDBK Data Entry Delay Time Ping Pong Panning Width Feedback Sets the delay time measured in 128th notes and is relative to BPM. Ping Pong (alternates across the stereo L-R field). ON (WID controls pan) or OFF (WID controls stereo spread). Sets the delay pan / width across the stereo field Left and Right. Sets the amount of feedback that is fed back into the delay signal to offer more interest in the sound design.. Various Times On, Off -64, +63 0 - 198 (E) HPF Data Entry (F) LPF Data Entry (G) REV Data Entry (H) VOL Data Entry High Pass Filter Low Pass Filter Reverb Send Volume Sets the delay high pass cutoff frequency of the filter. Sets the delay low pass cut off frequency of the filter. Sets how much delay output is sent to the reverb effect. Volume of the delay output. This is only the delay and not the track level. 0 - 127 0 - 127 0 - 127 0 - 127 The current value of each parameter is displayed when the control is adjusted or all parameter settings can be displayed by holding [FLTR] key within the Delay pages. Press (DATA ENTRY) + [NO] to reset parameter to default. Press [FUNC] + [FLTR] + [PLAY] to reset all delay page parameters to defaults.
170 The Digitakt Notebook : Reference & Guide 9.3 Reverb Page & Parameters The delay parameters are available in the [FUNC] + [AMP] Page. + Delay Reverb Reverb Send AMP Delay Reverb Effects Return 9 Effects & Master Out (A) PRE Data Entry (B) DEC Data Entry (C) FREQ Data Entry (D) GAIN Data Entry Pre-Delay Time Decay Shelving Frequency High Shelf Gain Pre-delay time i.e. the time of the first reflections after the initial sound of the reverb Decay of the reverberations and emulates the size of the acoustic space. Sets the shelving frequency which along with gain can emphasis or dampen reverb. Sets the high shelf above freq gain to emphasis the treble or dampen the high end characteristics. 0 - 127 1 - 127, Inf 0 - 127 0 - 127 (E) HPF Data Entry (F) LPF Data Entry (G) REV Data Entry (H) VOL Data Entry High Pass Filter Low Pass Filter Reverb Routing Volume Sets the reverb high pass cutoff frequency of the filter. Sets the reverb low pass cut off frequency of the filter. Sets if the reverb is fed PRE or POST Compressor into the signal chain. Volume of the reverb output. This is only the reverb and not the track level. 0 - 127 0 - 127 Post, Pre 0 - 127 The current value of each parameter is displayed when the control is adjusted or all parameter settings can be displayed by holding [AMP] key within the reverb pages. Press (DATA ENTRY) + [NO] to reset parameter to default. Press [FUNC] + [FAMP] + [PLAY] to reset all reverb page parameters to defaults.
9.4 Using The Reverb Effect Reverb operates on a send / return arrangement. The send amount is set in the AMP section with the parameter settings in the REVERB effect section [FUNC] + [AMP]. ▌SETTING A TRACK SEND LEVEL - REVERB 1. Select the desired audio track [TRK] + [1] … [8]. 2. Select [AMP] page. 3. Adjust the data entry control (F) to set the send level of the current track from OFF to a desired value where 0.01 is minimum, 127 is maximum. 4. The reverb return feeds the effected sound to the output via the reverb function accessed by [FUNC] + [AMP]. ▌ACCESSING THE REVERB EFFECT 1. The effect is a common effect meaning settings are common but send value adjustable per track. 2. Select [FUNC] + [AMP] to open the REVERB effect page. Key illuminates yellow instead of the red. 3. Adjust the data entry controls (A) … (D) to set the reverb parameters. NOTES The Digitakt Notebook : Reference & Guide 171 Effects & Master Out9
172 The Digitakt Notebook : Reference & Guide 9.5 Master Compressor Page & Parameters The compressor parameters are found in the [FUNC] + [LFO] Page 1. The compressor reduces dynamic range by lowering louder elements with respect to lower elements. The overall output gain therefore can increased + Sidechain Source Sidechain Filter Envelope Compressor Master L/R Output, L/R Inputs or T1-8 Mixer Out Make Up Gain Dry / Wet 9 Effects & Master Out (A) THR Data Entry (B) ATK Data Entry (C) REL Data Entry (D) MUP Data Entry Threshold Attack Release Make Up Gain Threshold of when the compression is triggered. Signals exceeding this value will be compressed. Envelope attack of the compressor and sets how fast the compression acts. Envelope release for the compressor setting how long to recover after compression. Make up gain increases the overall signal output in dB after the compressor has reduced the peaks. 0 - 127 0 - 127 0 - 127 0.0 - 24.0 (E) RAT Data Entry (F) SCS Data Entry (G) SCF Data Entry (H) MIX Data Entry Ratio Sidechain Source Sidechain Filter Mix Balance Sets the compression ratio. Higher number the more compression takes place. Sidechain audio source as an alternative compressor trigger. Default is the main signal. Sidechain filter enables the sidechain source input to be filtered pre compression. - Low Pass, + High Pass. Dry / Wet mix balance of the uncompressed signal and compressed signal sent to the output. 1.5, 2, 3, 4, 6, 8,16, 20 Main L+R Output, In L, In R, Track 1,2,3,4,5,6,7, or 8 -64 to +63 0 - 127
9.6 Master Compressor - Set Up and Workflow The compressor parameters are available in the [FUNC] + [LFO] on Page 1. S E 1 2 3 4 5 6 7 8 9 + Set all compressor parameters to a recommended starting position Signal is attenuated when crossing the threshold Ratio attenuates signal above threshold by an amount based on the ratio setting. 2:1 ratio (gentle) attenuates the signal to 1dB above the threshold for 2dB that exceeds the threshold Example: 4:1 ratio (medium), signal exceeds threshold by 8dB then reduction will be to 2dB above the threshold. 20:1 ratio (strong) would be considered limiting/ A sidechain provides an alternative audio signal to trigger the compressor. This can be used to create pumping or ducking effects or to add to the mix dynamics for example using a kick to drop the bass signal and make space for the kick. Attack is the time to reach full compression after exceeding the threshold. The Attack and Release are important at keeping the punch and transients on percussion during compression Don't use make up gain purely as a volume / level control, but use to balance i.e. make up difference from compression Release is the time to return back to normal after the compressor is released. A compressor is a device that reduces the peaks in a audio sound automatically as they exceed a specified threshold level and it reduces the dynamic range allowing the overall audio to then be increased using make up gain. THR 127 ATK 20 REL 20 MUP 0dB RAT 2 SCS LR SCF 0 MIX 127 Select ‘Play’ to output sound from all tracks Adjust: (A) Threshold until compression starts. Typically around 40. Compression is shown on right side display bar Adjust: (E) Ratio if more compression is needed. Compression will show an increase on right display bar Adjust: (B) Attack and (C) Release. Settings will depend on material being compressed and are particularly important on high transient sounds like percussion. Adjust: (D) Make Up Gain once compression settings are ok. This should balance the gain reduction from compression and increase the output (level will appear lower during peak reduction steps 3-5). Adjust: (H) If desired to mix in some of the original signal (parallel compression) Adjust: (F) Sidechain Source to select a track to trigger the compressor i.e. Track 1 Kick Audio Track or alternatively use audio from a connected external input L or R If needed filter the input from the sidechain so only high or low frequencies trigger the compressor (G) Sidechain Filter. End or Introduce SIDECHAIN Iteratively A/B check through steps 3,4,5,6,7 with and without compression by switching Mix (H) from 0 or 127. How it Works Digitakt Workflow Remember any ducking and pumping created will affect the whole mix as this is a master compressor and not dedicated to individual tracks. The compressor is that last effect in the chain following the track mixer. AMPLITUDE TIME AMPLITUDE The Digitakt Notebook : Reference & Guide 173 Effects & Master Out9
174 The Digitakt Notebook : Reference & Guide 9.7 Setting the Master Mix The output mixer sums all track levels and is the penultimate function in the Digitakt chain with the compressor being the last. All track audio LEV levels can be set in this single page accessed as Page 2 - Master Page [FUNC] + [LFO] + [LFO]. ▌MIXING ALL AUDIO TRACK LEVELS 1. Select the MASTER output page 2, toggle [FUNC] + [LFO] to the mixer. 2. Adjust the relative data entry control (A) - (H) representing tracks [1] - [8] levels. 3. Press and adjust the data entry controls for larger changes in level each with a range of 0-127. All 8 Audio Track Levels are available for mixing on one page. The Levels are the same as shown bottom level LEV on each Track page NOTES 9 Effects & Master Out
The Digitakt Notebook : Reference & Guide 175 9.8 Global FX Mix Option FX and Mix parameters are, by default, setup so that any editing or changes to parameters change the currently selected pattern. It is also possible to set the operating mode to global instead of at a pattern level. Global mode will change the edited parameter in all patterns at the same time, ensuring the parameter changes are consistent across all patterns. Functions which can be set to global are: • Delay [FUNC] + [FLTR] • Reverb [FUNC] + [AMP] • Compressor [FUNC] + [LFO] • Internal Mixer [FUNC] + [LFO], [LFO] • External Mixer [FUNC] + [LFO], [LFO], [LFO] ▌SETTING FX/MIX TO GLOBAL MODE ON OR OFF. 1. Press [SETTINGS] to open the global settings menu 2. Press [UP] or [DOWN] to scroll and highlight GLOBAL FX/MIX 3. Press [YES] to select and open the GLOBAL FX/MIX Option. 4. Press [UP] or [DOWN] to scroll and highlight the desired function option. 5. Press [YES] to toggle and check the global option for the highlighted function on. This means all parameter changes will be reflected across all patterns. Alternatively set to off / unchecked for a per pattern parameter change mode. 6. The page for the function set to global will show its parameter titles with a highlighted text to indicate that the parameters are set to global. NOTES Effects & Master Out9
176 The Digitakt Notebook : Reference & Guide GLOBAL FX/MIX MODE Access with [SETTINGS] then [GLOBAL FX/MIX] Delay page with parameters highlighted to show this page is in GLOBAL FX/MIX mode and changes applied across all patterns. Delay page showing default setting where GLOBAL FX/MIX mode is off / unchecked. Changes will be applied only to the selected pattern. NOTES 9 Effects & Master Out
The Digitakt Notebook : Reference & Guide 177 9.9 Randomising Parameter Pages The parameter page settings can be randomised for creative experimental and accidental sound design. ▌RANDOMISING PARAMETER PAGE SETTINGS 1. Select the desired parameter page to randomise e.g. FLTR. 2. Press [FLTR] + [YES] to shuffle / randomise the settings of the page. 3. Try various iterations to find a satisfactory setting or use to randomise during live play. ▌RESETTING THE RANDOMISED SETTINGS OF A PARAMETER PAGE 1. After randomising a parameter page settings, e.g. filter page [FLTR]. 2. Press the parameter page eg [FLTR] + [NO] to restore the page to its previous saved state. At the time of writing, randomisation does not affect the mixer and trig page parameters NOTES Page Parameter Page Settings Randomised SRC Play, Bit Reduction, Start, Length, Loop, Sample (Machine dependant - Oneshot default shown) FLTR Attack, Decay, Sustain, Release, Frequency, Resonance, Type, Envelope AMP Attack, Decay, Sustain, Release, Overdrive, Delay Send, Reverb Send LFO Speed, Multiplier, Fade, Destination, Wave, Phase Start Point, Mode, Depth Delay Time, X, Width, Feedback, High Pass Filter, Low Pass Filter, Reverb Send, Volume Reverb Pre-Delay, Decay, Frequency Shelf, Gain, High Pass Filter, Low Pass Filter, Reverb Post/Pre Compressor, Volume Master Compressor Threshold, Attack, Release, Make Up Gain, Ratio, Sidechain source, Sidechain Filter, Mix Effects & Master Out9
178 The Digitakt Notebook : Reference & Guide NOTES
Digitakt not only has the power and feature set to support 8 Audio tracks but also has the ability to sequence 8 MIDI tracks to control external equipment in sync with the Digitakt sequencer. An external midi keyboard controller can also be connected. Digitakt has MIDI IN, MIDI OUT and also a MIDI Thru connector which transfers the MIDI IN through Digitakt. MIDI Out (Sync A) and MIDI Thru (Sync B) doubles up as DIN Sync to enable connection to legacy equipment. All 3 use 5 Pin midi cables. A USB 2.0 connector also enables external connection to a PC / MAC and has the ability to also control MIDI. Digitakt can operate as a USB class compliant host including audio over USB. MIDI and USB can be configured in the GLOBAL Settings menu, within the System, Audio Routing and MIDI Config sub-menus respectively. Output to USB is recommended instead of both MIDI+USB if only USB is required as this avoids speed limitations of the MIDI+USB output. Control of midi CC, chords, and general control of external MIDI equipment is possible. MIDI Tracks also operate with parameter locks and modulation. The set up of most equivalent parameters on MIDI tracks are the same as for audio tracks. The parameter pages of interest other than setting pages are SRC, FLTR and AMP. TRIG also has specific MIDI settings for MIDI tracks. MIDI communications also has a turbo speed function which can be set when communicating with other compatible Elektron gear. Digitakt also has Sysex functionally for transferring data between devices and PC/MAC. Transfer is a bespoke utility for communicating with Digitakt. Overbridge also offers access to Digitakt as a plugin or stand alone control interface. These utilities may be touched upon in this guide where they are important to note but are not covered specifically in depth in this book. MIDI & USB 10 The Digitakt Notebook : Reference & Guide 179
180 The Digitakt Notebook : Reference & Guide 10.1 MIDI Definitions To clarify some of the terminology and technology around MIDI with respect to Digitakt a summary of definitions is provided. 5 PIN MIDI MIDI DIN 24 This is available from MIDI Out and Thru and enables syncing of classic devices. This uses 0v & 5v messages as sync signals at 24 pulses per quarter note (PPQN). When set to DIN 24 in the settings midi sync pulses are available but no midi data is transmitted MIDI CC MIDI Control and Note change messages are used to communicate with messages across midi values of 0-127. SYSEX System Exclusive. This is an expansion of the normal MIDI communications set up and is typically used for transferring data such as back ups, patches, presets and firmware updates to and from devices. MIDI If the output settings are set to MIDI, the connector will transmit MIDI data but no pulse signals. Never connect MIDI gear to incompatible DIN signals. MIDI STANDARDS While there are MIDI standards defined, many synth developers interpret this in slightly different ways. Its always worth reviewing the documentation with each to fully understand each device level implementation. SDS Sample Dump Standard. This is an older transfer protocol used for transferring data to and from devices. Elektron use C6 Software for this facility and is still usable, however elektron Transfer software is more up to date. MIDI DIN 48 This is available from MIDI Out and Thru and enables syncing of classic devices. This uses 0v & 5v messages as sync signals at 48 pulses per quarter note (PPQN). When set to DIN 48 in the settings midi sync pulses are available but no midi data is transmitted MSB & LSB Most Significant Byte and Least Significant Byte. MSB provides the 128 data resolution which is ok for most midi applications. More advanced devices use MSB and LSB values increasing resolution to 16,384 steps. NRPN Non-Registered Parameter Number is part of the MIDI standard. CC and NRPN are technically very similar but NRPN is less well defined in the standards. NRPN uses more data and can give better control. 10 MIDI & USB NOTES
The Digitakt Notebook : Reference & Guide 181 NOTES MIDI & USB 10 10.2 Using An External MIDI Keyboard An external MIDI controller can be connected to Digitakt and used to play chromatically. The illustration below is shown as an example only and configuration will be dependant also on the type of device connected. MIDI OUT Example: Arturia KeyStep (usesTRS to 5 Pin Dongle) Middle C (Shown on Digitakt Chromatic Keyboard) and Arturia Keystep are designated on the Digitakt as MIDI In Note 60 to play at default tuning Both 5 Pin MIDI or USB MIDI connections can be used with Digitakt. Actual configuration and key mapping to the Digitakt would be dependant on the MIDI controller being connected. While many follow the same conventions there can be differences between MIDI controller devices. Check with the manufacturers MIDI implementation guide. MIDI IN MIDI IN MIDI Program Change 0 - 127 = 1 - 128 Digitakt Pattern B A
182 The Digitakt Notebook : Reference & Guide 10 MIDI & USB NOTES MIDI Thru & Out MIDI OUT Example: Arturia KeyStep (usesTRS to 5 Pin Dongle) MIDI Out will transmit MIDI messages to another device, i.e. Digitone. This would allow sequencing and clock control from one device over another. MIDI Config is in the GLOBAL SETTINGS Menu. MIDI Thru passes the incoming messages to the thru port. This device would react to the keyboard the same way as the Digitakt in this example. MIDI Config is in the GLOBAL SETTINGS Menu. MIDI IN B A MIDI OUT MIDI IN
The Digitakt Notebook : Reference & Guide 183 MIDI & USB 10 10.3 MIDI Configuration The MIDI set up configuration is found in the GLOBAL SETTINGS menu and has sub menus for the respective parameter sets. See the MIDI Configuration Settings table for details of each available option. ▌ACCESSING THE MIDI CONFIG SETTINGS 1. Press [SETTINGS] - GLOBAL SETTINGS. 2. Highlight [MIDI CONFIG]. Scroll with (LEVEL/DATA) or [UP] [DOWN]. 3. Press [YES] to select MIDI CONFIG and reach the sub menu’s. 4. There are 3 submenu’s available, Sync, Port Config and Channels. 5. Highlight the selected option using (LEVEL/DATA) or [UP] [DOWN] and [YES] to select. 6. Press [NO] to step back to through the menu. When working with external devices and connecting to a PC / Mac Digitakt will be recognised by the USB MIDI port name ‘Elektron Digitakt’. NOTES
184 The Digitakt Notebook : Reference & Guide Sub Menu Option Name Description Sync Clock Receive MIDI Clock sent by external devices Sync Clock Send MIDI Clock controlled and sent by Digitakt Sync Transport Receive MIDI Transport - Enables Play, Stop to be received Sync Transport Send MIDI Transport - Enables Play, Stop to be sent to control external devices Sync Prog Ch Receive Allows pattern changes msg from an external device Sync Prog Ch Send Sends program change msg to external device from pattern changes Port Config Turbo Speed Turbo speed mode for fast communication with compatible devices Port Config Out Port Func Type of signal for MIDI output - MIDI : DIN24 : DIN48 Port Config Thru Port Func Type of signal for MIDI thru - MIDI : DIN24 : DIN48 Port Config Input From Selects source for midi data - DISABLED : MIDI : USB : MIDI+USB Port Config Output To Selects destination for midi data - DISABLED : MIDI : USB : MIDI+USB Port Config Output Ch Selects channel output for DATA ENTRY knobs - AUTO CH : TRK CH Port Config Param Output Selects message type for DATA ENTRY controls - CC : NRPN Port Config Encoder Dest Sends LEVEL+DATA ENTRY internal - INT or internal & external INT+EXT Port Config Trig Key Dest Sends Trig Keys internal - INT or internal & external INT+EXT or external EXT Port Config Mute Dest Sends Mutes internal - INT or internal & external INT+EXT or external EXT Port Config Receive Notes Accepts control from an external keyboard when on Port Config Receive CC/NPN Accepts CC/NRPN to control Digitakt parameters from an external device Channels Track 1 Channel Dedicated channel used to send / receive parameter data for the track. 1-16 or off Channels Track 2 Channel Dedicated channel used to send / receive parameter data for the track. 1-16 or off Channels Track 3 Channel Dedicated channel used to send / receive parameter data for the track. 1-16 or off Channels Track 4 Channel Dedicated channel used to send / receive parameter data for the track. 1-16 or off Channels Track 5 Channel Dedicated channel used to send / receive parameter data for the track. 1-16 or off Channels Track 6 Channel Dedicated channel used to send / receive parameter data for the track. 1-16 or off Channels Track 7 Channel Dedicated channel used to send / receive parameter data for the track. 1-16 or off Channels Track 8 Channel Dedicated channel used to send / receive parameter data for the track. 1-16 or off Channels Track A Channel* Dedicated channel used to send / receive parameter data for the track. 1-16 or off Channels Track B Channel* Dedicated channel used to send / receive parameter data for the track. 1-16 or off Channels Track C Channel* Dedicated channel used to send / receive parameter data for the track. 1-16 or off Channels Track D Channel* Dedicated channel used to send / receive parameter data for the track. 1-16 or off Channels Track E Channel* Dedicated channel used to send / receive parameter data for the track. 1-16 or off Channels Track F Channel* Dedicated channel used to send / receive parameter data for the track. 1-16 or off Channels Track G Channel* Dedicated channel used to send / receive parameter data for the track. 1-16 or off Channels Track H Channel* Dedicated channel used to send / receive parameter data for the track. 1-16 or off Channels FX Control Ch Dedicated channel to send / receive MIDI data for del/rev fx params 1-16, off Channels Auto Channel Dedicated channel to send / receive MIDI data for the active track 1-16, off Channels Prog Chg In Ch MIDI chan listens to incoming program change msg 1-16, Auto (auto chan) Channels Prog Chg Out Ch MIDI chan sends program change msg at pattern change 1-16, Auto (auto chan) * Controls TRIG & LFO MIDI Page Parameters only Sequencer data is always on MIDI Channel stated on SRC Page CHAN Param 10.4 MIDI Configuration Setting Options All Settings available in the GLOBAL SETTINGS under MIDI CONFIG and the associated Sub Menu. 10 MIDI & USB
The Digitakt Notebook : Reference & Guide 185 10.5 MIDI Tracks - SRC Page The SRC page when using MIDI Tracks covers channel, bank and program change settings and also pitch bend, mod wheel, aftertouch and breath control. Press [FUNC] + (DATA ENTRY) control to turn the function On / Off The current value of each parameter is displayed when the control is adjusted or all parameter settings can be displayed by holding [SRC] key within the SRC pages. Press (DATA ENTRY) + [NO] to reset parameter to default. Press [SRC] + [PLAY] to reset all SRC page parameters to defaults. Copy [SRC] + [REC] and Paste [SRC] + [STOP] also operate within and across the SRC pages + MIDI & USB 10 (A) CHAN Data Entry (B) BANK Data Entry (C) SBNK Data Entry (D) PROG Data Entry Channel Bank Sub Bank Program Change Select the MIDI channel that this track will output. The message that will be sent out for a bank change. Sent on CC0 MSB. The message that will be sent out for a sub-bank change. Sent on CC32 LSB. Sends out the program change message. Off, 1 - 16 Off, 1 - 128 Off, 1 - 128 Off, 1 - 128 (E) PB Data Entry (F) AT Data Entry (G) MW Data Entry (H) BC Data Entry Pitch Bend After Touch Mod Wheel Breath Control Controls pitch bend value sent out on the track’s MIDI output. Controls the after touch value sent out on the track’s MIDI output. Controls the mod wheel value sent out on the track’s MIDI output. Controls the breath control value sent out on the track’s MIDI output. Off, -128, +128 Off, 0 - 127 Off, 0 - 127 Off, 0 - 127
186 The Digitakt Notebook : Reference & Guide 10.6 MIDI Tracks - FLTR - CC Value The FLTR page when using MIDI Tracks allows the values to be assigned to the CC commands set in the AMP page Press [FUNC] + (DATA ENTRY) control to turn the function On / Off The current value of each parameter is displayed when the control is adjusted or all parameter settings can be displayed by holding [FLTR] key within the FLTR pages. Press (DATA ENTRY) + [NO] to reset parameter to default. Press [FLTR] + [PLAY] to reset all FLTR page parameters to defaults. Copy [FLTR] + [REC] and Paste [FLTR] + [STOP] also operate within and across the FLTR pages + 10 MIDI & USB (A) VAL1 Data Entry (B) VAL2 Data Entry (C) VAL3 Data Entry (D) VAL4 Data Entry CC Value 1 CC Value 2 CC Value 3 CC Value 4 Value 1 is sent as the CC output value and also based on the AMP page CC Sel 1. Value 2 is sent as the CC output value and also based on the AMP page CC Sel 2. Value 3 is sent as the CC output value and also based on the AMP page CC Sel 3. Value 4 is sent as the CC output value and also based on the AMP page CC Sel 4. Off, 1 - 127 Off, 1 - 127 Off, 1 - 127 Off, 1 - 127 (E) VAL5 Data Entry (F) VAL6 Data Entry (G) VAL7 Data Entry (H) VAL8 Data Entry CC Value 5 CC Value 6 CC Value 7 CC Value 8 Value 5 is sent as the CC output value and also based on the AMP page CC Sel 5. Value 6 is sent as the CC output value and also based on the AMP page CC Sel 6. Value 7 is sent as the CC output value and also based on the AMP page CC Sel 7. Value 8 is sent as the CC output value and also based on the AMP page CC Sel 8. Off, 1 - 127 Off, 1 - 127 Off, 1 - 127 Off, 1 - 127
The Digitakt Notebook : Reference & Guide 187 10.7 MIDI Tracks - AMP Page CC Select The AMP page sets the actual CC Select Commands that drive the values set on the FLTR Page. The current value of each parameter is displayed when the control is adjusted or all parameter settings can be displayed by holding [AMP] key within the AMP pages. Press (DATA ENTRY) + [NO] to reset parameter to default. Press [AMP] + [PLAY] to reset all AMP page parameters to defaults. Copy [AMP] + [REC] and Paste [AMP] + [STOP] also operate within and across the AMP pages MIDI & USB 10 (A) SEL1 Data Entry (B) SEL2 Data Entry (C) SEL3 Data Entry (D) SEL4 Data Entry CC Selection 1 CC Selection 2 CC Selection 3 CC Selection 4 Selects a standard MIDI CC message to control value 1, set on the FLTR Page. Selects a standard MIDI CC message to control value 2, set on the FLTR Page. Selects a standard MIDI CC message to control value 3, set on the FLTR Page. Selects a standard MIDI CC message to control value 4, set on the FLTR Page. (E) SEL5 Data Entry (F) SEL6 Data Entry (G) SEL7 Data Entry (H) SEL8 Data Entry CC Selection 5 CC Selection 6 CC Selection 7 CC Selection 8 Selects a standard MIDI CC message to control value 5, set on the FLTR Page. Selects a standard MIDI CC message to control value 6, set on the FLTR Page. Selects a standard MIDI CC message to control value 7, set on the FLTR Page. Selects a standard MIDI CC message to control value 8, set on the FLTR Page.
188 The Digitakt Notebook : Reference & Guide 10.8 MIDI Tracks CC Output An example of the configuration for CC output is shown below. MIDI OUT 5 Pin MIDI MIDI IN NOVATION BASS STATION II Midi Channel = 5 Volume CC = 7 The Midi Control Change parameter value assigned to the Novation Bass Station II master volume level. Others are available in the device documentation Take care to match the resolution and the parameter settings. For example Bass Station II Filter Cut Off has a 0-255 scale and operates over a LSB and MSB value which would need assigning at Digitakt ELEKTRON DIGITAKT Midi Channel = 5 Set up the Midi configuration in the Global Settings and the Channel in SRC and global settings (Midi Config - Port Config) OUT PORT FUNC = MIDI OUTPUT TO = MIDI USB MIDI is also an available option as well as the 5 Pin MIDI interface. CC #07 SRC Page AMP Page 100 0 - 127 100 FLTR Page CHAN VAL1 SEL1 5 A Volume NOTES 0 - 127 10 MIDI & USB
The Digitakt Notebook : Reference & Guide 189 Function Parameter CC MSB CC LSB NRPN MSB NRPN LSB Track Mute 94 1 101 Track Level 95 1 100 Trig Note 3 3 0 Trig Velocity 4 3 1 Trig Length 5 3 2 Trig Filter Trig 13 Trig LFO Trig 14 Source SRC Tune 16 1 0 Source SRC Play Mode 17 1 1 Source SRC Bit Reduction 18 1 2 Source SRC Sample Slot 19 1 3 Source SRC Start - Oneshot (Machine Dependant) 20 1 4 Source SRC Length - Oneshot (Machine Dependant) 21 1 5 Source SRC Loop Pos - Oneshot (Machine Dependant) 22 1 6 Source SRC Sample Level 23 1 7 Filter FLTR Filter Frequency 74 1 20 Filter FLTR Resonance 75 1 21 Filter FLTR Filter Type 76 1 22 Filter FLTR Attack Time 70 1 16 Filter FLTR Decay Time 71 1 17 Filter FLTR Sustain Level 72 1 18 Filter FLTR Release Time 73 1 19 Filter FLTR Envelope Depth 77 1 23 Filter FLTR Envelope Delay 86 1 50 Filter FLTR Base 84 1 51 Filter FLTR Width 85 1 52 Amp Attack Time 78 1 24 Amp Hold Time 79 1 25 Amp Decay Time 80 1 26 Amp Overdrive 81 1 27 Amp Delay Send 82 1 28 Amp Reverb Send 83 1 29 Amp Pan 10 1 30 Amp Volume 7 1 31 10.9 Digitakt MIDI CC Assignments MIDI & USB 10
190 The Digitakt Notebook : Reference & Guide 10.9 Digitakt MIDI CC Assignments (cont) 10 MIDI & USB Function Parameter CC MSB CC LSB NRPN MSB NRPN LSB LFO 1 Speed 102 1 32 LFO 1 Multiplier 103 1 33 LFO 1 Filter In/Out 104 1 34 LFO 1 Destination 105 1 35 LFO 1 Waveform 106 1 36 LFO 1 Start Phase 107 1 37 LFO 1 Trig Mode 108 1 38 LFO 1 Depth 109 61 1 39 LFO 2 Speed 112 1 40 LFO 2 Multiplier 113 1 41 LFO 2 Filter In/Out 114 1 42 LFO 2 Destination 115 1 43 LFO 2 Waveform 116 1 44 LFO 2 Start Phase 117 1 45 LFO 2 Trig Mode 118 1 46 LFO 2 Depth 119 63 1 47 FX Delay Delay Time 85 2 0 FX Delay Ping Pong 86 2 1 FX Delay Stereo Width 87 2 2 FX Delay Feedback 88 2 3 FX Delay High Pass Filter 89 2 4 FX Delay Low Pass Filter 90 2 5 FX Delay Reverb Send 91 2 6 FX Delay Mix Volume 92 2 7 FX Reverb Pre-delay 24 2 8 FX Reverb Decay Time 25 2 9 FX Reverb Shelving Frequency 26 2 10 FX Reverb Shelving Gain 27 2 11 FX Reverb High Pass Filter 28 2 12 FX Reverb Low Pass Filter 29 2 13 FX Reverb Rev Pre / Post Comp 30 2 14 FX Reverb Mix Volume 31 2 15
The Digitakt Notebook : Reference & Guide 191 Function Parameter CC MSB CC LSB NRPN MSB NRPN LSB FX Compressor Threshold 111 2 16 FX Compressor Attack Time 112 2 17 FX Compressor Release Time 113 2 18 FX Compressor Make Up Gain 114 2 19 FX Compressor Pattern Volume 119 2 24 FX Compressor Ratio 115 2 20 FX Compressor Sidechain Source 116 2 21 FX Compressor Sidechain Filter 117 2 22 FX Compressor Dry / Wet Mix 118 2 23 External Mixer Input L Level 102 2 30 External Mixer Input L Pan 103 2 31 External Mixer Input R Level 104 2 32 External Mixer Input R Pan 105 2 33 External Mixer Input L Delay Send 106 2 34 External Mixer Input R Delay Send 107 2 35 External Mixer Input L Reverb Send 108 2 36 External Mixer Input R Reverb Send 109 2 37 External Mixer Stereo Input 84 2 38 External Mixer Input L+R Level 102 2 30 External Mixer Input L+R Balance 103 2 31 External Mixer Input L+R Delay Send 106 2 34 External Mixer Input L+R Reverb Send 108 2 36 CC Value FLTR Value 1 70 CC Value FLTR Value 2 71 CC Value FLTR Value 3 72 CC Value FLTR Value 4 73 CC Value FLTR Value 5 74 CC Value FLTR Value 6 75 CC Value FLTR Value 7 76 CC Value FLTR Value 8 77 Misc Pattern Mute 110 1 104 10.9 Digitakt MIDI CC Assignments (cont) MIDI & USB 10
192 The Digitakt Notebook : Reference & Guide 10.10 USB MIDI & AUDIO Digitakt can operate as USB class compliant host meaning tight integration across the USB connection to other compliant devices. Complaint devices operate with built in compatibility without the need for additional drivers. ▌CONFIGURING USB TO CONNECT TO OTHER GEAR Digitakt should be set to operate with USB MIDI or USB Audio / MIDI unless communicating with Overbridge. USB Audio / MIDI is used when streaming audio across USB. Only one of the three options can be selected. 1. Press [SETTINGS] - GLOBAL SETTINGS. 2. Highlight ‘SYSTEM’ by scrolling with (LEVEL/DATA) or [UP] [DOWN]. 3. Press [YES] to select SYSTEM and to reach the sub menu. 4. Highlight USB CONFIG and press [YES] to select the sub menu. 5. Highlight the desired option. Move the selection using [LEFT] [RIGHT] & [YES] to select the desired option. • OVERBRIDGE. This selects overbridge functionality ON and toggles USB MIDI and USB AUDIO / MIDI to OFF. This enables Digitakt to operate with the Overbridge plug in / stand alone on a PC / Mac. • USB MIDI set ON toggles overbridge and USB AUDIO / MIDI mode OFF and only uses USB for MIDI. • USB AUDIO / MIDI set ON allows Digitakt to send and receive Audio and MIDI over the USB connection. This is used when connecting to other class compliant devices. Other two modes are switched off. 6. Exit from SYSTEM sub menu using [NO]. 7. Highlight ‘MIDI CONFIG’ by scrolling with (LEVEL/DATA) or [UP] [DOWN] and press [YES] to select and to reach its sub menu. 8. Highlight PORT CONFIG and press [YES] to select the sub menu. 9. Move the selection using [LEFT] [RIGHT] & [YES] to highlight the desired option. • INPUT FROM selects the USB, MIDI or both options. Use MIDI+USB or USB. • INPUT FROM selects the USB, MIDI or both options. Use MIDI+USB or USB. NOTES 10 MIDI & USB
The Digitakt Notebook : Reference & Guide 193 ▌ROUTING EXTERNAL USB AUDIO TO THROUGH DIGITAKT OUTPUT Digitakt can be set to operate with USB Audio and MIDI together. This is setup with parameters in the USB Config settings and the audio routing settings. The routing to the main output and headphones can be configured. 1. Ensure the USB CONFIG is set to USB AUDIO / MIDI in the SYSTEM Settings. 2. Press [SETTINGS] - GLOBAL SETTINGS 3. Highlight [AUDIO ROUTING] by scrolling with (LEVEL/DATA) or [UP] [DOWN] 4. Press [YES] to select AUDIO ROUTING and to reach it’s sub menu 5. Highlight the desired option. Move the selection using [LEFT] [RIGHT] & [YES] to select the desired option. • INT TO MAIN Set to ON. • OFF. Set if only the USB Audio is to be routed to the Digitakt output turning off internal Digitakt audio. • ON. This will route internal Digitakt audio to it’s output. • AUTO. No audio is sent to Digitakt output when overbridge is available and /or streaming audio. • USB TO MAIN (dB) Start at 0dB. • Can be adjusted between 0dB - 6dB - 18dB. This refers to the USB audio which is routed to the Digitakt output. The connected device input level will also determine the output level. Using [STOP], [STOP] i.e. Stop twice when working with MIDI and especially when linking external devices can prevent MIDI feedback problems. This acts as a panic stop if MIDI loop issues occur. NOTES MIDI & USB 10
194 The Digitakt Notebook : Reference & Guide 10.11 USB WITH LOGIC PRO X: EXAMPLES Logic examples are shown to illustrate the range of options USB MIDI and Audio provides. These are for example and illustration purposes only and other methods may be applied. Hardware and software versions may vary and evolve and the exact functionality may change. Logic Pro X 10.5.1 to Digitakt SETTINGS Other settings are suggested to remain at the defaults. Connectivity A Logic audio track can be set up to receive the Digitakt audio in via USB. Individual ‘External MIDI Instrument’ tracks can be set, for example one logic track to each Digitakt track. Individual control of Digitakt drum or sounds is then possible. Audio from the Digitakt USB will be available in the Logic MIDI Instrument plug in or audio track as a stereo 1-2 pair or 1 or 2 inputs in the audio track. Mac / Macbook’s typically have either a USB Type A or Type C connection. A compatible cable is needed for connection to the Digitakt USB - Type B connector. Digitakt is supplied with a Type A to Type B Cable. NOTES 10 MIDI & USB Digitakt Config Parameter Setting Description System > USB Config USB Audio / MIDI ON Enable MIDI and Audio over USB to Logic. MIDI Config > Sync Clock Receive ON If the Digitakt sequencer and tempo is to be synchronised from Logic MIDI Config > Sync Clock Send ON If the sequencer and tempo is to be synchronised in Logic from Digitakt MIDI Config > Sync Transport Receive ON Stop, Start control of Digitakt from Logic MIDI Config > Sync Transport Send ON Stop, Start control of Logic from Digitakt System > Audio Routing Int to Main OFF Internal Digitakt audio not routed to main output. Set ON if the internal audio is required to be output. System > Audio Routing USB to Main (dB) 0 Sets the gain of any USB audio coming in to Digitakt at the main output
The Digitakt Notebook : Reference & Guide 195 ▌AUDIO INTO LOGIC PRO X FROM DIGITAKT USB. 1. Connect the Digitakt to the Mac hosting Logic Pro X DAW. 2. Ensure Digitakt SETTINGS are configured for USB MIDI and Audio. 3. In Logic, setup the audio preferences. Menu: Logic Pro X > Preferences > Audio. This opens the audio set up window. Set ‘Elektron Digitakt’ as the input device (option also for output device). This may also be automatically set when connecting the device. 4. In Logic, add a new track. Select ‘+’ in the track window and the track selection window opens. Ensure the ‘detail’ drop down is open. 5. Select the ‘Audio’ track option. 6. Ensure ‘Elektron Digitakt’ is shown in the window as the selected device. Use the option to select the audio preference window to change if necessary. 7. Select the Audio Input - Typically ‘Input 1 + 2’ for the stereo output from the Digitakt. Audio output is the DAW output channels. 8. Digitakt audio can be monitored on the audio track created. 9. The audio track can be record enabled and audio recorded in from Logic when playing Digitakt. ▌TRANSPORT CONTROL FROM LOGIC PRO X TO DIGITAKT VIA USB. 1. Connect the Digitakt to the Mac hosting Logic Pro X DAW. 2. Ensure Digitakt SETTINGS are configured for MIDI Config > Sync to: Transport Receive = ON / Checked. Clock Receive and Send and Transport Send can also be checked as options if needed. 3. In Logic, setup the MIDI preferences. Menu: Logic Pro X > Preferences > MIDI then ‘Sync’ Tab. This opens the MIDI set up window. 4. In the ‘Sync’ window, Open the ‘MIDI Sync Project Settings...’ Option. 5. Select the destination ‘All’ or select ‘Elektron Digitakt’ as the destination. Check the ‘Clock’ option. Close the windows. 6. The transport in Logic will control Digitakt transport Play and Stop. > NOTES MIDI & USB 10
196 The Digitakt Notebook : Reference & Guide ▌EXTERNAL MIDI CONTROL FROM LOGIC WITH DIGITAKT USB. 1. Connect the Digitakt to the Mac hosting Logic Pro X DAW. 2. Ensure Digitakt SETTINGS are configured for USB MIDI and Audio. 3. In Logic, setup the audio preferences. Menu: Logic Pro X > Preferences > Audio. This opens the audio set up window. Set ‘Elektron Digitakt’ as the input device (option also for output device). This may also be automatically set when connecting the device. 4. In Logic, add a new track. Select ‘+’ in the track window and the track selection window opens. Ensure the ‘detail’ drop down is open. 5. Select the ‘Use External MIDI Instrument Plug-In’ checkbox. 6. Ensure ‘Elektron Digitakt’ is shown in the window as the selected device. Use the option to select the audio preference window to change if necessary. 7. Select the Audio Input - Typically ‘Input 1 + 2’ for the stereo output from the Digitakt. Audio Output is the DAW output channels. 8. Select MIDI Destination. This will be the track controlled by MIDI from Logic. By default, Logic Channel 1 = Track 1 in Digitakt - Kick, Channel 2 = Track 2 - Snare etc. It is useful to configure Logic to control the 8 drum tracks in Digitakt (or 16 including MIDI tracks). 9. Audio will be picked up in each Logic track which of course will be the Digitakt output 1-2 and not individual audio per Digitakt track. Digitakt sends on the two audio 1 and 2 channels. Therefore it is recommended to create a separate Logic audio track to record the stereo or mono inputs. Digitakt Audio M S R L R I 1 DG Kick Ch1 M S R L R 2 DG Snare Ch2 M S R L R 3 NOTES > 10 MIDI & USB